Words and Music

MGM, 1948
Starring Mickey Rooney, Betty Garrett, Tom Drake, and Janet Leigh
Directed by Norman Taurog
Music by Richard Rodgers; Lyrics by Lorenz Hart

This was the second lavish MGM musical biography about popular songwriters of the early part of the 20th century after Till the Clouds Roll By in 1946. The spotlight here is on Richard Rodgers and his first partner, the complex and troubled lyricist Lorenz "Larry" Hart. Hart had a difficult and tragic life that was often reflected in his dark, introspective words to Rodgers' graceful music. How does that come across on-screen in this time period? Let's join Tom Drake as Rodgers as he discusses how his relationship with Hart began to find out...

The Story: Richard Rodgers (Drake) first meets Lorenz Hart (Rooney) when their friend Eddie Anders (Perry Como) introduces them in the early 20's. Larry's late for their very first meeting, but he arrives with the lyrics for "Manhattan" already hashed out. They have little success for the next few years, until starlet Peggy McNeill (Garrett) performs their songs at a party. The number used in the revue The Garrick Gaieties is a hit and turns them into one of the most popular songwriting duos on Broadway. Their words and music are a perfect match, but Dick is getting tired of Larry's habit of disappearing for weeks while working on lyrics, his obsession with his height and lack of looks, and his partying, and his never being on time.

Neither man does especially well with the opposite sex at first. Peggy continuously turns Larry down; Dick is rejected by older Broadway star Joyce Harmon (Ann Southern) and teenager Dorothy Feiner (Leigh). Dick does eventually marry Dorothy and have two girls with her, but Larry never manages to settle down. Even when they go out to Hollywood, Larry still pops up whenever he feels like it after a spree. He's seriously depressed and sick, especially after Peggy rejects him one last time. Dick's tired of his never being on time, his heavy partying, and constantly disappearing and is considering taking a new partner. Larry is deliriously feverish, even as he wanders dazed into the theater in the rain to see one last show.

The Song and Dance: As with Till the Clouds Roll By, the musical numbers are the thing here. Energetic Rooney really throws himself into playing Hart, the brilliant wordsmith who ultimately succumbed to his demons, and Jeanette Nolan is very sweet as his beloved mother (whom he lived with for much of his life). Some of the costumes are gorgeous; I especially love the outfits for Southern's "Where's That Rainbow?" routine.

Favorite Number: "Where's That Rainbow?" was the only song I'd never heard of before I saw this movie. I'm glad I discovered it. Ann Southern and the chorus have a great time with the lively routine in their colorful dance outfits. June Allyson is squired by the Blackburn Twins in their adorable trio "Thou Swell." Lena Horne scores with stunning renditions of two of Rodgers and Hart's best songs, "Where Or When" and "The Lady Is a Tramp." Rooney and Drake (dubbed by Bill Lee) kick things off with a very cute version of "Manhattan." Cyd Charisse dances a lovely "Blue Room," sung by Como, while Ann Alyn McLerie and the chorus join him for rustic Okalahoma-esque "Mountain Greenery." 

The movie is probably best known for two numbers towards the end of the film. Rooney and his long-time friend Judy Garland performed together on the big screen one last time, and it was worth it to get them together. Their "I Wish I Were In Love Again" is absolutely hilarious. Gene Kelly and Vera-Ellen perform the Rodgers ballet "Slaughter On Tenth Avenue" from the Broadway show On Their Toes as far darker and more dramatic than pretty much anything else in the movie.

Trivia: Although the movie was a hit, it was so expensive that it barely recouped its costs.

For all the inaccuracies, some things really did happen. Most of Hart's destructive habits, including his chronic lateness, his running off for weeks while working, his obsession with his lack of looks and his shortness, and his partying, are portrayed more-or-less realistically. A friend really did introduce Rodgers to Hart; their first big show was The Garrick Gaieties. Hart was considered to be part of the Rodgers family. Dick and Dorothy's daughters thought of him as a fun-loving uncle.

Sadly, Hart's death is also portrayed fairly accurately. He did indeed die of pneumonia after wandering around in the rain the night of the the opening of the revival of A Connecticut Yankee.

What I Don't Like: This was even more sanitized than Till the Clouds Roll By. Hart was a closeted homosexual, something they couldn't exactly discuss in 1948. He did have problems with his relationships...with men. Richard Rodgers, who was consulted on the film, was well-known for being a control freak and a bit of a jerk. He was nothing like the blandly attractive Drake. Hart was actually witty and soft-spoken, very different from the brash and energetic Rooney. Drake's romances mid-way through the film feel almost as manufactured as most of the second half of Clouds Roll By. His attempt to woo the ladies just isn't that interesting.

Once again, there's no attempts whatsoever to represent the clothes of time period accurately. It looks like 1948 for the entire movie, including in the 20's in the opening.

The Big Picture: Same deal here. If you're a big fan of Rodgers and Hart or the MGM musicals of the 40's and 50's, you'll find a lot to enjoy if you can ignore the inaccuracies.

Home Media: Currently available on DVD and several streaming companies.

DVD
Amazon Prime