CBS, 1956
Starring Bing Crosby, Julie Andrews, Nancy Olsen, and Hans Conried
Directed by James Neilson
Music by Arthur Schwartz; Lyrics by Maxwell Anderson
Musicals were hot on Broadway in the 1950's, and they were equally popular on early television...but most early musicals were usually an hour. Anderson had been interested in turning his 1937 play into a TV musical as early as 1949. In 1955, CBS started the Ford Star Jubilee, an hour-and-a-half anthology of plays and variety shows. High Tor marked their first attempt at an original, made-for-TV musical. Crosby was still a very popular star, on TV, movies, and recordings; Andrews was a fresh-faced British beauty just days away from opening in My Fair Lady. How does this fantasy about a man obsessed with a mountain who falls in love with a ghost look now? Let's head to the mountain High Tor on New York's Palisades and find out...
The Story: Van Van Dorn (Crosby) is a laid-back fellow who would rather enjoy the quiet life on High Tor than hold down a job. His girlfriend Judith (Olsen) is fed up with his refusal to sell the mountain to a company that would strip mine the mountain and leaves him. The real estate agent's partner Skimmerhorn (Lloyd Corrigan) and his son Biggs Jr (Conried) try to scam him to sell for less than the mountain is worth and keep the money for themselves.
Van isn't the only one who doesn't want to sell the mountain. High Tor is home to a group of Dutch ghosts who's ship vanished on the Palisades 300 years before and are still waiting for it to come every night. Lisa (Andrews) is instructed by her husband DeWitt (Everett Sloane) to romance Van and try to get him off the mountain, while he goes after Judith. Lisa does as she told, but doesn't expect to fall for Van instead, and he with her. Meanwhile, a rock slide has stranded not only the real estate agents on the mountain, but a group of bank robbers who turn their money over to them for safekeeping.
The Song and Dance: I was surprised at how charming this is. It didn't have the best reputation then or now, but there's a few gems here. Andrews' youthful beauty and fresh sweetness glows even in the black-and-white copy on YouTube, and she and Crosby work fairly well together. Olsen makes the most of a thankless role as the other woman in Van's life who just wants security, and Corrigan and Conried have a few funny moments when the Dutch sailors get them stuck in a piece of mining equipment and no one will give them food.
Favorite Number: The show kicks off with Bing's salute to the simple life as he explains his feelings about the mountain to Olsen, "Living One Day at a Time." "John Barleycorn" turns up a few times, twice as a rousing drinking number for the Dutch sailors, and later in the film for Crosby as he teases Corrigan and Conried about being stuck. "Once Upon a Long Time Ago" is the big romantic number in the end, first for Andrews as she and Crosby part, then for Crosby after she leaves.
Trivia: Crosby insisted filming this, rather than broadcasting it live - he was supposedly uncomfortable with live television.
This was Julie Andrews' first film appearance.
What I Don't Like: Obviously, this is early TV. Despite it costing 300,000 dollars at the time, the sets and special effects are pretty cheap-looking and dated. That is a set, not a mountain. Bing's not doing anything terribly different from the movies he'd made since the mid-30's, and both women are frankly a little on the stiff side compared to him; Andrews would learn far more about acting doing My Fair Lady.
The Big Finale: Not really a lost gem of early TV, but worth a look once as a curiosity if you love Andrews or Crosby.
Home Media: This is a true rarity, never on DVD or video. As of this entry, it's only found at YouTube.
YouTube
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Thursday, April 30, 2020
Tuesday, April 28, 2020
Double or Nothing (1937)
Paramount, 1937
Starring Bing Crosby, Martha Raye, Andy Devine, and Mary Carlisle
Directed by Theodore Reed
Music and Lyrics by various
Bing Crosby was one of the biggest stars on the planet by the time this movie came out, and definitely the top star at Paramount. His recordings sold in the millions, and he was the much-loved host of the popular radio variety show Kraft Music Hall. Writers could throw him into pretty much any situation and location, and he'd make it into a hit...like the unusual plot on this next one. How does this story of a millionaire whose gift of money to strangers change their lives forever look now? Let's head to the streets of New York to see just who those wallets end up going to...
The Story: The people who find those wallets are Liza Lou Lane (Raye), a former burlesque dancer, out-of-work singer "Lefty" Boynton (Crosby), homeless man Half Pint (Devine), and gambler John Pederson (William Frawley). Turns out the money came from a recently-passed millionaire who had his lawyers drop the wallets on the ground to prove there are still honest people in the world. They're each given $5,000. If they can double it in a month, they'll earn the millionaire's entire fortune. If they don't, they lose the whole bundle.
Lefty eventually comes up with the idea of opening a nightclub. The others initially have their own ideas, but eventually follow suit. The millionaire's brother Johnathan (Samuel S. Hinds), angry about being cut out of the will, is determined to make sure no one inherits the million. He sends his pretty daughter Victoria to romance Lefty out of his share and his son Egbert (William Henry) to get to Liza Lou. Victoria ends up really falling for Lefty instead...and questioning her father's plans when the club is sabotaged.
The Song and Dance: One of the more typical of Bing's easy-going 30's vehicles, with a more interesting story than most. As long as the movie focuses on Bing, the wacky supporting cast, and how the four find the money and intend to double it, it's a lot of fun. Raye has a blast as the stripper who takes it all off whenever she hears a certain song - no matter where she is! Devine's pretty funny as the bum who suddenly finds himself a way out of the hole and a girl, in that order, and Hinds makes a great nasty-evil rich relative. There's also a couple of nifty gags from comic drunk Arthur Housman.
Favorite Number: Bing gets two decent solos, "The Moon Got In Your Eyes" at the diner and "It's the Natural Thing to Do" later. Raye's big nautical striptease to "It's On, It's Off" at the fountain starts with her singing with a chorus and ends with everyone taking off their clothes and swimming in the fountain after a calliope arrives playing the song. "After You" is the big finale number with Raye, Crosby, and singers Frances Faye and Harry Barris.
What I Don't Like: The movie starts strong...but the story pretty much peters out once everyone's all working at the nightclub. The entire last 20 minutes are given over to nightclub numbers with little or no relationship to the rest of the film, and the numbers go on for way too long. Frawley and Divine mostly disappear at this point, too. Neither Henry nor Carlisle make much of an impression beyond romantic window dressing.
The Big Finale: A unique premise is brought down by a finale that goes on for too long and makes no sense. Worth checking out for the cast and music if you're a major Crosby or Raye fan.
Home Media: On solo DVD as part of the made-to-order Universal Vault series; it can also be found on two Bing collections.
DVD - Universal Vault
DVD - Bing Crosby: The Silver Screen Collection
DVD - Bing Crosby: Screen Legend Collection
Starring Bing Crosby, Martha Raye, Andy Devine, and Mary Carlisle
Directed by Theodore Reed
Music and Lyrics by various
Bing Crosby was one of the biggest stars on the planet by the time this movie came out, and definitely the top star at Paramount. His recordings sold in the millions, and he was the much-loved host of the popular radio variety show Kraft Music Hall. Writers could throw him into pretty much any situation and location, and he'd make it into a hit...like the unusual plot on this next one. How does this story of a millionaire whose gift of money to strangers change their lives forever look now? Let's head to the streets of New York to see just who those wallets end up going to...
The Story: The people who find those wallets are Liza Lou Lane (Raye), a former burlesque dancer, out-of-work singer "Lefty" Boynton (Crosby), homeless man Half Pint (Devine), and gambler John Pederson (William Frawley). Turns out the money came from a recently-passed millionaire who had his lawyers drop the wallets on the ground to prove there are still honest people in the world. They're each given $5,000. If they can double it in a month, they'll earn the millionaire's entire fortune. If they don't, they lose the whole bundle.
Lefty eventually comes up with the idea of opening a nightclub. The others initially have their own ideas, but eventually follow suit. The millionaire's brother Johnathan (Samuel S. Hinds), angry about being cut out of the will, is determined to make sure no one inherits the million. He sends his pretty daughter Victoria to romance Lefty out of his share and his son Egbert (William Henry) to get to Liza Lou. Victoria ends up really falling for Lefty instead...and questioning her father's plans when the club is sabotaged.
The Song and Dance: One of the more typical of Bing's easy-going 30's vehicles, with a more interesting story than most. As long as the movie focuses on Bing, the wacky supporting cast, and how the four find the money and intend to double it, it's a lot of fun. Raye has a blast as the stripper who takes it all off whenever she hears a certain song - no matter where she is! Devine's pretty funny as the bum who suddenly finds himself a way out of the hole and a girl, in that order, and Hinds makes a great nasty-evil rich relative. There's also a couple of nifty gags from comic drunk Arthur Housman.
Favorite Number: Bing gets two decent solos, "The Moon Got In Your Eyes" at the diner and "It's the Natural Thing to Do" later. Raye's big nautical striptease to "It's On, It's Off" at the fountain starts with her singing with a chorus and ends with everyone taking off their clothes and swimming in the fountain after a calliope arrives playing the song. "After You" is the big finale number with Raye, Crosby, and singers Frances Faye and Harry Barris.
What I Don't Like: The movie starts strong...but the story pretty much peters out once everyone's all working at the nightclub. The entire last 20 minutes are given over to nightclub numbers with little or no relationship to the rest of the film, and the numbers go on for way too long. Frawley and Divine mostly disappear at this point, too. Neither Henry nor Carlisle make much of an impression beyond romantic window dressing.
The Big Finale: A unique premise is brought down by a finale that goes on for too long and makes no sense. Worth checking out for the cast and music if you're a major Crosby or Raye fan.
Home Media: On solo DVD as part of the made-to-order Universal Vault series; it can also be found on two Bing collections.
DVD - Universal Vault
DVD - Bing Crosby: The Silver Screen Collection
DVD - Bing Crosby: Screen Legend Collection
Saturday, April 25, 2020
Animation Celebration Saturday - Snoopy Come Home
National General Pictures, 1972
Voices of Chad Webber, Robin Kohn, David Carey, and Stephan Shea
Directed by Bill Melendez
Music and Lyrics by Richard M. and Robert B. Sherman
After A Boy Named Charlie Brown became a surprise hit in 1969, Bill Melendez and Charles Schultz began work on a somewhat more elaborate follow-up film. By 1972, Snoopy was likely the most popular character in the strip. His carefree, ultra-cool attitude towards life - not to mention his fights with the Red Baron that inspired two hit songs - continues to fascinate audiences to this day. It was likely inevitable that the second feature-length Peanuts film would revolve around him. How do Snoopy and his blanket-stealing, cat-dodging antics fare on the big screen? Let's start with the Peanuts during an outing at the beach and find out...
The Story: Snoopy (Bill Melendez) is fed up with "no dogs allowed" signs being put up everywhere in the Peanuts' town. He can't get back on the beach to spend time with Peppermint Patty (Chris De Fara) and is thrown out of the library after being too loud. Even trying to take Linus' (Shea) blanket and getting into a boxing match with Lucy (Kohn) doesn't improve his mood.
He finally takes off with his buddy Woodstock (Melendez) when he receives a letter from his previous owner Lila (Joanna Baer), who is in the hospital and misses him badly. While Snoopy dodges more "no dogs allowed" signs and a bratty little girl (Linda Ercoll) who wants to keep him, Charlie Brown and the others have to figure out where he went...and possibly come to terms with the fact that he may not be coming back.
The Animation: Same as in the previous film. There's fewer "fantasy" watercolor sequences, save one gorgeous montage done over an instrumental version of Lila's dreamy theme "Do You Remember Me?" as Snoopy and Woodstock make their way to the hospital. The opening at the beach is also nicely done and very atmospheric, especially the crashing waves.
The Song and Dance: Snoopy's only major solo theatrical outing is charming and even touching. The story about Lila and Snoopy leaving Charlie Brown is actually a little on the dark-ish side for this franchise. Even as a kid, there were several sequences that always leave me in tears, especially towards the end during and directly after Snoopy's going-away party. Not that everything's gloomy. The beginning is very funny, with the "no dogs allowed" running gags and Snoopy getting the best of Linus and Lucy. His boxing match with the latter is especially hilarious.
Favorite Number: The Sherman Brothers wrote one of their best non-Disney scores for this one, starting with the catchy title song that plays over the opening and closing credits. Lila's wistful "Do You Remember Me?', performed as she writes to Snoopy at the hospital, is a touching ballad with a breathy refrain that tells us more about Lila than the script does. Snoopy and Woodstock have two great "best pal" numbers as they travel together, "The Best of Buddies" (which is heard again when Snoopy returns in the finale) and "Gettin' It Together." "Fundamental-Friend-Dependability" continues the Shermans' fondness for crazy made-up words as the naughty girl who tries to force Snoopy to be her pet describes their relationship (from her side, anyway) while roughly cleaning him and shoving him into doll clothes.
My favorite number from this one is also the saddest. Charlie Brown's heartbreaking ballad "It Changes," sung as he gazes despondently at Snoopy's empty dog house, is one of the most meaningful songs on grief and losing someone you love I've ever heard.
Trivia: This is the only Peanuts project jazz composer Vince Guaraldi didn't do the music for until his death in 1976.
Woodstock made his animated debut in this film.
What I Don't Like: The story may actually be a little too dark for very young or sensitive kids, though it does end more-or-less happily. Beyond her sad song, Lila is such a nonentity you have no idea why Snoopy runs to her side or wants to stay, nor do they ever mention why she's in the hospital. There's fewer typical Peanuts gags here than in Boy Named Charlie Brown, no baseball games or fights with the Red Baron. Some sequences, including the musical number with Snoopy and the bratty girl, have nothing whatsoever to do with the story are are really there more as padding.
The Big Finale: In some ways, I like this one even more than Boy Named Charlie Brown. Some nice gags, a more linear and thoughtful story, and a delightful score make this enjoyable viewing for home-bound older elementary-school-age kids who can handle some of the more depressing aspects of the plot.
Home Media: Easily found in all formats; it and Boy Named Charlie Brown are on streaming company Hulu with a subscription.
DVD
Blu-Ray
Hulu
Voices of Chad Webber, Robin Kohn, David Carey, and Stephan Shea
Directed by Bill Melendez
Music and Lyrics by Richard M. and Robert B. Sherman
After A Boy Named Charlie Brown became a surprise hit in 1969, Bill Melendez and Charles Schultz began work on a somewhat more elaborate follow-up film. By 1972, Snoopy was likely the most popular character in the strip. His carefree, ultra-cool attitude towards life - not to mention his fights with the Red Baron that inspired two hit songs - continues to fascinate audiences to this day. It was likely inevitable that the second feature-length Peanuts film would revolve around him. How do Snoopy and his blanket-stealing, cat-dodging antics fare on the big screen? Let's start with the Peanuts during an outing at the beach and find out...
The Story: Snoopy (Bill Melendez) is fed up with "no dogs allowed" signs being put up everywhere in the Peanuts' town. He can't get back on the beach to spend time with Peppermint Patty (Chris De Fara) and is thrown out of the library after being too loud. Even trying to take Linus' (Shea) blanket and getting into a boxing match with Lucy (Kohn) doesn't improve his mood.
He finally takes off with his buddy Woodstock (Melendez) when he receives a letter from his previous owner Lila (Joanna Baer), who is in the hospital and misses him badly. While Snoopy dodges more "no dogs allowed" signs and a bratty little girl (Linda Ercoll) who wants to keep him, Charlie Brown and the others have to figure out where he went...and possibly come to terms with the fact that he may not be coming back.
The Animation: Same as in the previous film. There's fewer "fantasy" watercolor sequences, save one gorgeous montage done over an instrumental version of Lila's dreamy theme "Do You Remember Me?" as Snoopy and Woodstock make their way to the hospital. The opening at the beach is also nicely done and very atmospheric, especially the crashing waves.
The Song and Dance: Snoopy's only major solo theatrical outing is charming and even touching. The story about Lila and Snoopy leaving Charlie Brown is actually a little on the dark-ish side for this franchise. Even as a kid, there were several sequences that always leave me in tears, especially towards the end during and directly after Snoopy's going-away party. Not that everything's gloomy. The beginning is very funny, with the "no dogs allowed" running gags and Snoopy getting the best of Linus and Lucy. His boxing match with the latter is especially hilarious.
Favorite Number: The Sherman Brothers wrote one of their best non-Disney scores for this one, starting with the catchy title song that plays over the opening and closing credits. Lila's wistful "Do You Remember Me?', performed as she writes to Snoopy at the hospital, is a touching ballad with a breathy refrain that tells us more about Lila than the script does. Snoopy and Woodstock have two great "best pal" numbers as they travel together, "The Best of Buddies" (which is heard again when Snoopy returns in the finale) and "Gettin' It Together." "Fundamental-Friend-Dependability" continues the Shermans' fondness for crazy made-up words as the naughty girl who tries to force Snoopy to be her pet describes their relationship (from her side, anyway) while roughly cleaning him and shoving him into doll clothes.
My favorite number from this one is also the saddest. Charlie Brown's heartbreaking ballad "It Changes," sung as he gazes despondently at Snoopy's empty dog house, is one of the most meaningful songs on grief and losing someone you love I've ever heard.
Trivia: This is the only Peanuts project jazz composer Vince Guaraldi didn't do the music for until his death in 1976.
Woodstock made his animated debut in this film.
What I Don't Like: The story may actually be a little too dark for very young or sensitive kids, though it does end more-or-less happily. Beyond her sad song, Lila is such a nonentity you have no idea why Snoopy runs to her side or wants to stay, nor do they ever mention why she's in the hospital. There's fewer typical Peanuts gags here than in Boy Named Charlie Brown, no baseball games or fights with the Red Baron. Some sequences, including the musical number with Snoopy and the bratty girl, have nothing whatsoever to do with the story are are really there more as padding.
The Big Finale: In some ways, I like this one even more than Boy Named Charlie Brown. Some nice gags, a more linear and thoughtful story, and a delightful score make this enjoyable viewing for home-bound older elementary-school-age kids who can handle some of the more depressing aspects of the plot.
Home Media: Easily found in all formats; it and Boy Named Charlie Brown are on streaming company Hulu with a subscription.
DVD
Blu-Ray
Hulu
Thursday, April 23, 2020
Dixiana
RKO, 1930
Starring Bebe Daniels, Bert Wheeler & Bob Woosley, Everett Marshall, and Joseph Cawthorn
Directed by Luther Reed
Music by Harry Tierney; Lyrics by Ann Caldwell and Benny Davis
After RKO had success with the musical western Rio Rita in 1929, they decided to throw its stars Daniels, Wheeler, and Woosley into another historical epic. This time, they really went all-out, with lavish sets and costumes, early Technicolor in the finale, and Metropolitan Opera baritone Everett Marshall as Daniels' leading man. How does this frothy bit of southern comfort look today? Let's head to the Van Horn plantation in Louisiana as its owner Cornelius Van Horn (Cawthorn) is having a chat with his son Carl (Marshall) and find out...
The Story: Carl goes to New Orleans to find a bride...and returns with the lovely Dixiana Caldwell (Daniels) and her two goofy friends Peewee (Wheeler) and Ginger Dandy (Woosley). She's accepted by one at all, until Ginger lets it slip that he, his buddy, and Dixiana were once circus performers. Mrs. Van Horn (Jobyna Howland) is scandalized, and Dixiana and the guys are sent back to New Orleans in disgrace.
Desperate for work, the trio take jobs at a local gambling den, run by Royal Montague (Ralf Harolde). Royal not only has his own interests in Dixiana, but he's after the Van Horn fortune. He intends to use Carl's continuing interest in Dixiana as blackmail to force him into giving up money. During Mardi Gras, Royal kidnaps Dixiana...but she's the one who is on top of things and helps Carl reveal Royal for the less-than-royal blackguard he is. Meanwhile, Ginger and Peewee almost have a duel over pretty, perky local lass Poppy (Dorothy Lee).
The Song and Dance: Wheeler and Woosley are, admittedly, an acquired taste. Some folks find them funny even now; others think they're more annoying than hilarious. Some of their business does still work, especially their attempts at showing off for the crowds at the engagement party with silly tricks.
This is worth seeing just for the final 20 minutes. The two-strip Technicolor finale was lost for years, until it was unearthed and restored in 1988. It was worth it. The color is gorgeous, glowing and warm, and Daniels looks every inch the Queen she is at the Mardi Gras.
Favorite Number: The opening "Mrs. and Mr. Sippi," performed by Marshall in the credits and very start of the film, isn't too bad, even if it doesn't have much to do with the movie itself. Bill Robinson makes his film debut with a dynamic, delightful tap solo to an instrumental version in the finale. Daniels' first song "I am Your Baby Now" is a bit short, but it does have a unique entrance, with her popping out of a huge egg. Dorothy Lee and Bert Wheeler clown to "My One Ambition Is You," while Bob Woosley reveals to the chorus girls at Mardi Gras why "A Lady Loves a Soldier."
What I Don't Like: They put too much focus on the production and not nearly enough on the cliched story. We don't really learn much about any of the characters. Poppy just appears mid-way through with no explanation, and Dixiana is so dull and poorly-written, you really can't understand why all these men are fighting over her. Most of the music isn't terribly memorable, either, and as mentioned, Wheeler and Woosley's comedy tends to be an acquired taste at best. Everett Marshall sings well, but he tends to overact like he's at the Met, has zero chemistry with Daniels,and has a strange face that looks like it belongs to two different people.
The Big Finale: Only for fans of Wheeler and Woosley, Robinson, or early talkie musicals.
Home Media: It's in the public domain and can easily be found on several different DVD copies. Amazon Prime and Sling TV have it with a subscription.
DVD
Amazon Prime
Starring Bebe Daniels, Bert Wheeler & Bob Woosley, Everett Marshall, and Joseph Cawthorn
Directed by Luther Reed
Music by Harry Tierney; Lyrics by Ann Caldwell and Benny Davis
After RKO had success with the musical western Rio Rita in 1929, they decided to throw its stars Daniels, Wheeler, and Woosley into another historical epic. This time, they really went all-out, with lavish sets and costumes, early Technicolor in the finale, and Metropolitan Opera baritone Everett Marshall as Daniels' leading man. How does this frothy bit of southern comfort look today? Let's head to the Van Horn plantation in Louisiana as its owner Cornelius Van Horn (Cawthorn) is having a chat with his son Carl (Marshall) and find out...
The Story: Carl goes to New Orleans to find a bride...and returns with the lovely Dixiana Caldwell (Daniels) and her two goofy friends Peewee (Wheeler) and Ginger Dandy (Woosley). She's accepted by one at all, until Ginger lets it slip that he, his buddy, and Dixiana were once circus performers. Mrs. Van Horn (Jobyna Howland) is scandalized, and Dixiana and the guys are sent back to New Orleans in disgrace.
Desperate for work, the trio take jobs at a local gambling den, run by Royal Montague (Ralf Harolde). Royal not only has his own interests in Dixiana, but he's after the Van Horn fortune. He intends to use Carl's continuing interest in Dixiana as blackmail to force him into giving up money. During Mardi Gras, Royal kidnaps Dixiana...but she's the one who is on top of things and helps Carl reveal Royal for the less-than-royal blackguard he is. Meanwhile, Ginger and Peewee almost have a duel over pretty, perky local lass Poppy (Dorothy Lee).
The Song and Dance: Wheeler and Woosley are, admittedly, an acquired taste. Some folks find them funny even now; others think they're more annoying than hilarious. Some of their business does still work, especially their attempts at showing off for the crowds at the engagement party with silly tricks.
This is worth seeing just for the final 20 minutes. The two-strip Technicolor finale was lost for years, until it was unearthed and restored in 1988. It was worth it. The color is gorgeous, glowing and warm, and Daniels looks every inch the Queen she is at the Mardi Gras.
Favorite Number: The opening "Mrs. and Mr. Sippi," performed by Marshall in the credits and very start of the film, isn't too bad, even if it doesn't have much to do with the movie itself. Bill Robinson makes his film debut with a dynamic, delightful tap solo to an instrumental version in the finale. Daniels' first song "I am Your Baby Now" is a bit short, but it does have a unique entrance, with her popping out of a huge egg. Dorothy Lee and Bert Wheeler clown to "My One Ambition Is You," while Bob Woosley reveals to the chorus girls at Mardi Gras why "A Lady Loves a Soldier."
What I Don't Like: They put too much focus on the production and not nearly enough on the cliched story. We don't really learn much about any of the characters. Poppy just appears mid-way through with no explanation, and Dixiana is so dull and poorly-written, you really can't understand why all these men are fighting over her. Most of the music isn't terribly memorable, either, and as mentioned, Wheeler and Woosley's comedy tends to be an acquired taste at best. Everett Marshall sings well, but he tends to overact like he's at the Met, has zero chemistry with Daniels,and has a strange face that looks like it belongs to two different people.
The Big Finale: Only for fans of Wheeler and Woosley, Robinson, or early talkie musicals.
Home Media: It's in the public domain and can easily be found on several different DVD copies. Amazon Prime and Sling TV have it with a subscription.
DVD
Amazon Prime
Tuesday, April 21, 2020
Coney Island
20th Century Fox, 1943
Starring Betty Grable, George Montgomery, Caesar Romero, and Phil Silvers
Directed by Walter Lang
Music by Ralph Rainger and others; Lyrics by Leo Robin and others
Betty Grable was the biggest star in the US during the war years...and movies like this one were a big part of the reason why. A nostalgic romance set during the turn of the 20th century in romantic Coney Island was just what war-weary audiences wanted during those difficult times. How does this movie look nowadays, during another round of difficult times? Let's head to the famous island of amusement in New York as Eddie Johnson (Montgomery) is making his way to a certain saloon and find out...
The Story: Eddie arrives at the low-down night spot on the boardwalk owned by his old buddy Joe Rocco (Romero) and eternally drunk Irishman Finnegan (Charles Winninger). Eddie has lots of ideas, but Joe says no. Another friend, Frankie (Silvers), is game, so they set up shop with beautiful "harem" girls across the boardwalk. Eddie also has his eyes on Kate (Grable), Rocco's loud, brash girlfriend. After Rocco's boys destroy Eddie's faux-Arabian venture, Eddie bribes his way into a share of the club when he claims Joe accidentally killed Finnegan in a brawl. He wants to turn the saloon into the premiere nightspot on the Bowery and make Kate into an elegant star. She resists at first, until she starts to fall for him.
The shows are a hit, and Kate becomes a star...at least until Finnegan returns from Atlantic City alive and intact. William Hammerstein (Matt Briggs), a major Broadway producer, comes to see Kate perform. Hoping to use her for his own nightspot, Eddie takes her out on the boardwalk and admits he's in love. They end up getting a marriage license, until she finds out he took out the money for his new club and intends for Kate to star. She does go to Hammerstein and becomes a major star, but can't forget Eddie...
The Song and Dance: The surprise here is the gritty feel, especially in the first half. There's a couple of brawls, two grifters trying to out-con each other, and the entire blackmailing plot with Finnegan. It's a little tougher and rowdier than most Grable vehicles, and it's fairly refreshing. Grable herself, loud and brash, is also refreshing. Winninger has a great time with the drunk cliches as the Irish saloon owner who enjoys whiskey and life, in that order. Turn of the century New York, from the bustling boardwalk to glamorous Broadway, is beautifully recreated in glowing Technicolor that amply shows off the smoky saloon and Grable's golden legs.
I also appreciate that everyone stays friends in the end, including Joe and Eddie. The two literally laugh the whole thing off in the last ten minutes or so. It's rare enough for modern movies to not have an obvious villain, let alone a musical from 1943.
Favorite Number: "Cuddle Up a Little Closer" is Grable's big solo as Montgomery literally has to handcuff her to keep her from dancing and belting what's really a slow ballad, pairing down her dress and her singing style. Silvers gets "Get the Money" at the saloon. "Winter, Winter" is a new Currier and Ives skating-themed number at the saloon that segways into the genuine vintage "Pretty Baby." Grable reveals how ladylike she's become in the simple black-dress-and-male-singers "Take It From There." The big number in the finale is "There's Danger In the Dance," showing off everything from graceful southern belle waltzes to early 20th century ragtime.
What I Don't Like: If I were Kate, I would have dropped those jerks ages ago. All they do is use her, Finnegan, Frankie, and each other. When they're not using her, they're fairly bland, and neither are singers or take much part in the musical side of things. The first half, when they're still at Coney Island, is far more interesting than the more typical second half after Kate becomes a star and the romantic problems come to the fore. Also, it has to be admitted that the store doesn't make much use of its setting. It could probably have been set at any turn of the century city and been fine. The 1950 remake Wabash Avenue is set in Chicago.
Also, the easily offended will want to beware of "Lulu from Louisville," with Grable in dark makeup and the chorus in blackface. There's blackface in the southern segment of the "Danger In the Dance" finale routine as well.
The Big Finale: Highly recommended if you love Grable or the fluffy, romantic musicals of the 1940's.
Home Media: Alas, the made-to-order 20th Century Fox Cinema Archives DVD is currently out of print. Check used venues and online.
DVD
Starring Betty Grable, George Montgomery, Caesar Romero, and Phil Silvers
Directed by Walter Lang
Music by Ralph Rainger and others; Lyrics by Leo Robin and others
Betty Grable was the biggest star in the US during the war years...and movies like this one were a big part of the reason why. A nostalgic romance set during the turn of the 20th century in romantic Coney Island was just what war-weary audiences wanted during those difficult times. How does this movie look nowadays, during another round of difficult times? Let's head to the famous island of amusement in New York as Eddie Johnson (Montgomery) is making his way to a certain saloon and find out...
The Story: Eddie arrives at the low-down night spot on the boardwalk owned by his old buddy Joe Rocco (Romero) and eternally drunk Irishman Finnegan (Charles Winninger). Eddie has lots of ideas, but Joe says no. Another friend, Frankie (Silvers), is game, so they set up shop with beautiful "harem" girls across the boardwalk. Eddie also has his eyes on Kate (Grable), Rocco's loud, brash girlfriend. After Rocco's boys destroy Eddie's faux-Arabian venture, Eddie bribes his way into a share of the club when he claims Joe accidentally killed Finnegan in a brawl. He wants to turn the saloon into the premiere nightspot on the Bowery and make Kate into an elegant star. She resists at first, until she starts to fall for him.
The shows are a hit, and Kate becomes a star...at least until Finnegan returns from Atlantic City alive and intact. William Hammerstein (Matt Briggs), a major Broadway producer, comes to see Kate perform. Hoping to use her for his own nightspot, Eddie takes her out on the boardwalk and admits he's in love. They end up getting a marriage license, until she finds out he took out the money for his new club and intends for Kate to star. She does go to Hammerstein and becomes a major star, but can't forget Eddie...
The Song and Dance: The surprise here is the gritty feel, especially in the first half. There's a couple of brawls, two grifters trying to out-con each other, and the entire blackmailing plot with Finnegan. It's a little tougher and rowdier than most Grable vehicles, and it's fairly refreshing. Grable herself, loud and brash, is also refreshing. Winninger has a great time with the drunk cliches as the Irish saloon owner who enjoys whiskey and life, in that order. Turn of the century New York, from the bustling boardwalk to glamorous Broadway, is beautifully recreated in glowing Technicolor that amply shows off the smoky saloon and Grable's golden legs.
I also appreciate that everyone stays friends in the end, including Joe and Eddie. The two literally laugh the whole thing off in the last ten minutes or so. It's rare enough for modern movies to not have an obvious villain, let alone a musical from 1943.
Favorite Number: "Cuddle Up a Little Closer" is Grable's big solo as Montgomery literally has to handcuff her to keep her from dancing and belting what's really a slow ballad, pairing down her dress and her singing style. Silvers gets "Get the Money" at the saloon. "Winter, Winter" is a new Currier and Ives skating-themed number at the saloon that segways into the genuine vintage "Pretty Baby." Grable reveals how ladylike she's become in the simple black-dress-and-male-singers "Take It From There." The big number in the finale is "There's Danger In the Dance," showing off everything from graceful southern belle waltzes to early 20th century ragtime.
What I Don't Like: If I were Kate, I would have dropped those jerks ages ago. All they do is use her, Finnegan, Frankie, and each other. When they're not using her, they're fairly bland, and neither are singers or take much part in the musical side of things. The first half, when they're still at Coney Island, is far more interesting than the more typical second half after Kate becomes a star and the romantic problems come to the fore. Also, it has to be admitted that the store doesn't make much use of its setting. It could probably have been set at any turn of the century city and been fine. The 1950 remake Wabash Avenue is set in Chicago.
Also, the easily offended will want to beware of "Lulu from Louisville," with Grable in dark makeup and the chorus in blackface. There's blackface in the southern segment of the "Danger In the Dance" finale routine as well.
The Big Finale: Highly recommended if you love Grable or the fluffy, romantic musicals of the 1940's.
Home Media: Alas, the made-to-order 20th Century Fox Cinema Archives DVD is currently out of print. Check used venues and online.
DVD
Saturday, April 18, 2020
Family Fun Saturday - Bedknobs and Broomsticks
Disney, 1971
Starring Angela Landsbury, David Tomlinson, Ian Weighill, and Cindy O'Callaghan
Directed by Robert Stevenson
Music and Lyrics by Robert and Richard Sherman
This adaptation of the 1940's children's books was originally ear-marked as a live-action/animated hybrid as far back as 1961 as a replacement for Mary Poppins when Disney had a hard time getting the rights. After that got off the ground, it went on the back burner at the studio after they realized how close it was to Poppins. They returned to this one in the late 60's when Poppins was a huge success, bringing on Landsbury to play one of the most unusual witches in film history. How does the story of a witch, her charges, and a con-man who want to find a spell to help stop World War II come off now? Let's head to the small town Pepperinge Eye in Northern England, home of apprentice witch Eglantine Price (Landsbury), and find out...
The Story: Ms. Price is a reclusive woman who lives alone in a large house by the sea, and she's not too happy to take in London orphans Carrie (O'Callaghan), Paul (Roy Snart), and Charlie (Weighill) after they were displaced by the Blitz. She's even less happy when they witness her practicing flying on the broom sent to her by Professor Browne's witch correspondence school. The kids convince her to give them something to keep them quiet. She agrees to a spell on a bed knob that will allow them to travel anywhere on the bed.
They need to travel sooner than they think. Horrified when the college closes without revealing the final spell, Ms. Price and her charges take the bed to London. The head of the college turns out to be Professor Emelius Browne (Tomlinson), a con-man whose "college" is really just his way of making money off an old book he found. He's a huckster and a showman who can't believe Ms. Price can actually get these spells to work. Ms. Price, Professor Browne, and the kids go from London's Portobello Road to the fantasy island of Naboombu to Pepperinge Eye, searching first for the words to the spell to make inanimate objects move, and then how to get the spell to work and keep the Nazis off their doorstep.
The Animation: Par for the course for Disney in this time period. Naboombu looks remarkably like Robin Hood with a nautical and soccer theme, rather than Medieval England. King Leonidas even bears a resemblance to King Richard in the end of the film.
The Song and Dance: Landsbury is the thing in this charming tale. She works well with the kids and makes a delightful witch, whether she's trying to get her broom to work or attempting (and failing) to change people into toads. The animated sequence is hilarious, especially once that wild soccer game gets going. This was the only time Tomlinson got to play anything like a leading man at Disney, and he runs with it, romping through his "With a Flair" number and having a great time with the slapstick in the soccer game.
The other nifty aspect of this one are the special effects. They won an Oscar in 1971 and generally still look pretty decent, especially that finale with every bit of armor Disney could get their hands on at the time literally kicking Nazi rear!
Favorite Number: "Age of Not Believing" is a gentle but pointed ballad that Ms. Price sings to a skeptical Charlie as she and the other two kids prepare to leave for London. It was nominated for an Oscar, and it comes off well in a simple and sweet moment. Professor Browne gets two great solos, "With a Flair" as he shows off his cheap illusions for the crowds in London and "Eglantine" when he's trying to talk Ms. Price to join him in an act as she's attempting to find that all-important spell. "Portobello Road" is the big number for Professor Browne and the chorus as the citizens of London join him in saluting its major shopping street. "The Beautiful Briny Sea" takes us into animation as the Professor and Ms. Price describe the bright citizens of the ocean floating past them and even take part in a well-animated dance contest.
Trivia: Other women considered for Landsbury's role included Julie Andrews, Leslie Caron, Lynn Redgrave, and Judy Carne. Ron Moody was wanted for the Professor but asked for too much money.
"The Beautiful Briny Sea" was originally written for a sequence in Mary Poppins where Mary spun a compass and let the children choose any exotic location they wanted to explore.
The movie was edited from 139 to 112 minutes for its regular theatrical release. Most of the footage was restored in 1996, and this is what I reviewed.
The armor was originally used for the Spanish epic El Cid and were shipped to the US for the King Arthur musical Camelot. Disney rented it for the big finale with the amour coming to life.
What I Don't Like: I am glad they re-added "With a Flair," which explains the Professor's charlatan personality better than any words could, and a short scene in the beginning with Carrie telling Ms. Price how the kids were orphans and ended up in her care was welcome, but most of the other additional scenes don't do much besides pad out the film. "Portobello Road" goes on for way, way, way too long, too. We don't need to see every group in London do their thing.
The biggest problem is...yeah, I can see why Disney thought this was too close to Mary Poppins. There are some close resemblances - magical woman leads kids into a fantasy world with a maybe-love-interest in tow - and it can occasionally come off as too cliched or derivative.
The Big Finale: This is an old favorite of mine. In some ways, I prefer the linear story, tougher kids, and earthier flavor to the flightier Poppins. It's equally recommended, especially for fans of Landsbury or kids' musicals.
Home Media: I have the original 2001 Special Edition. It's since been re-released on DVD and streaming. For some reason, the Blu-Ray only has the theatrical version.
DVD
Blu-Ray
Amazon Prime
Starring Angela Landsbury, David Tomlinson, Ian Weighill, and Cindy O'Callaghan
Directed by Robert Stevenson
Music and Lyrics by Robert and Richard Sherman
This adaptation of the 1940's children's books was originally ear-marked as a live-action/animated hybrid as far back as 1961 as a replacement for Mary Poppins when Disney had a hard time getting the rights. After that got off the ground, it went on the back burner at the studio after they realized how close it was to Poppins. They returned to this one in the late 60's when Poppins was a huge success, bringing on Landsbury to play one of the most unusual witches in film history. How does the story of a witch, her charges, and a con-man who want to find a spell to help stop World War II come off now? Let's head to the small town Pepperinge Eye in Northern England, home of apprentice witch Eglantine Price (Landsbury), and find out...
The Story: Ms. Price is a reclusive woman who lives alone in a large house by the sea, and she's not too happy to take in London orphans Carrie (O'Callaghan), Paul (Roy Snart), and Charlie (Weighill) after they were displaced by the Blitz. She's even less happy when they witness her practicing flying on the broom sent to her by Professor Browne's witch correspondence school. The kids convince her to give them something to keep them quiet. She agrees to a spell on a bed knob that will allow them to travel anywhere on the bed.
They need to travel sooner than they think. Horrified when the college closes without revealing the final spell, Ms. Price and her charges take the bed to London. The head of the college turns out to be Professor Emelius Browne (Tomlinson), a con-man whose "college" is really just his way of making money off an old book he found. He's a huckster and a showman who can't believe Ms. Price can actually get these spells to work. Ms. Price, Professor Browne, and the kids go from London's Portobello Road to the fantasy island of Naboombu to Pepperinge Eye, searching first for the words to the spell to make inanimate objects move, and then how to get the spell to work and keep the Nazis off their doorstep.
The Animation: Par for the course for Disney in this time period. Naboombu looks remarkably like Robin Hood with a nautical and soccer theme, rather than Medieval England. King Leonidas even bears a resemblance to King Richard in the end of the film.
The Song and Dance: Landsbury is the thing in this charming tale. She works well with the kids and makes a delightful witch, whether she's trying to get her broom to work or attempting (and failing) to change people into toads. The animated sequence is hilarious, especially once that wild soccer game gets going. This was the only time Tomlinson got to play anything like a leading man at Disney, and he runs with it, romping through his "With a Flair" number and having a great time with the slapstick in the soccer game.
The other nifty aspect of this one are the special effects. They won an Oscar in 1971 and generally still look pretty decent, especially that finale with every bit of armor Disney could get their hands on at the time literally kicking Nazi rear!
Favorite Number: "Age of Not Believing" is a gentle but pointed ballad that Ms. Price sings to a skeptical Charlie as she and the other two kids prepare to leave for London. It was nominated for an Oscar, and it comes off well in a simple and sweet moment. Professor Browne gets two great solos, "With a Flair" as he shows off his cheap illusions for the crowds in London and "Eglantine" when he's trying to talk Ms. Price to join him in an act as she's attempting to find that all-important spell. "Portobello Road" is the big number for Professor Browne and the chorus as the citizens of London join him in saluting its major shopping street. "The Beautiful Briny Sea" takes us into animation as the Professor and Ms. Price describe the bright citizens of the ocean floating past them and even take part in a well-animated dance contest.
Trivia: Other women considered for Landsbury's role included Julie Andrews, Leslie Caron, Lynn Redgrave, and Judy Carne. Ron Moody was wanted for the Professor but asked for too much money.
"The Beautiful Briny Sea" was originally written for a sequence in Mary Poppins where Mary spun a compass and let the children choose any exotic location they wanted to explore.
The movie was edited from 139 to 112 minutes for its regular theatrical release. Most of the footage was restored in 1996, and this is what I reviewed.
The armor was originally used for the Spanish epic El Cid and were shipped to the US for the King Arthur musical Camelot. Disney rented it for the big finale with the amour coming to life.
What I Don't Like: I am glad they re-added "With a Flair," which explains the Professor's charlatan personality better than any words could, and a short scene in the beginning with Carrie telling Ms. Price how the kids were orphans and ended up in her care was welcome, but most of the other additional scenes don't do much besides pad out the film. "Portobello Road" goes on for way, way, way too long, too. We don't need to see every group in London do their thing.
The biggest problem is...yeah, I can see why Disney thought this was too close to Mary Poppins. There are some close resemblances - magical woman leads kids into a fantasy world with a maybe-love-interest in tow - and it can occasionally come off as too cliched or derivative.
The Big Finale: This is an old favorite of mine. In some ways, I prefer the linear story, tougher kids, and earthier flavor to the flightier Poppins. It's equally recommended, especially for fans of Landsbury or kids' musicals.
Home Media: I have the original 2001 Special Edition. It's since been re-released on DVD and streaming. For some reason, the Blu-Ray only has the theatrical version.
DVD
Blu-Ray
Amazon Prime
Thursday, April 16, 2020
Cult Flops - I Married an Angel
MGM, 1942
Starring Jeanette MacDonald, Nelson Eddy, Edward Everett Horton, and Binnie Barnes
Directed by W.S Van Dyke
Music by Herbert Stothart and Richard Rodgers; Lyrics by Lorenz Hart, George Forrest, and Robert Wright
MGM wanted to do this movie ever since they got Jeanette under contract in the mid-30's, but the original play and Rodgers and Hart musical were too spicy for the era. By 1942, they'd cleaned it up enough to pass the censors...but MacDonald and Eddy were both past their prime, and the movie didn't do well at the box office. Does this angel deserve a second chance on Earth today? Let's head to the bank owned by playboy Count Palaffi (Eddy) in Budapest and find out...
The Story: Count Willie Palaffi would rather chase all the lovely ladies in town than take care of his bank affairs or pay attention to hard-working secretary Anna Zador (MacDonald). His head teller Whiskers (Reginald Owen) tries to encourage Willie to take a second look at her, but his head secretary Martika (Mona Maris) also has designs on her boss and gives Anna a costume to wear to his big birthday ball. She arrives dressed as an angel, but everyone else is wearing elaborate gowns and headdresses. Willie dances with her until they're laughed at.
He flees and falls asleep in his office, where he dreams that Anna is an angel named Brigitta who has come to Earth to marry him. He thinks she's perfect and does take her for his wife...but she's too perfect and too honest, alienating his society friends and causing a run on the bank. His sister Peggy (Barnes) takes her aside to teach her to be a little more devlish...but it proves to be too successful when she flirts with one of his partners (Douglass Dumbrille).
The Song and Dance: This charming fantasy is a great way for MacDonald and Eddy to go out. They both have some very funny moments; check out her rearranging the Bank's board of directors so they're sitting next to their mistresses, rather than their wives, or the expressions on Eddy's face during the surreal montage towards the end where he can't get to his angel, no matter how hard he tries. The lavish costumes, including MacDonald's "real" angel wings, give the film the appropriate decadent European feel. Great cast, too, including sarcastic Barnes as the Count's sensible sister and Edward Everett Horton as the Count's valet and announcer.
Favorite Number: The title number is heard twice, first as a solo for Eddy, then as a duet for him and MacDonald as he introduces her to his bank board at his wedding reception. "Spring Is Here" is also heard twice - MacDonald sings it in the opening, and she and Eddy perform it together later when they're on their honeymoon. Eddy talks to "Hey Butcher" on the streets in Paris, leading into "I'll Tell the Man In the Street." "Tira Lira La" is the big number for the Count's girls in their fancy costume at the party; they later sing it at the wedding reception when he's getting married. Barnes teaches MacDonald how to be a human woman with "A Twinkle In Your Eyes," complete with a really cute little jitterbug.
Trivia: This was originally going to be a Paramount musical in the early 30's, but Rodgers and Hart moved it to Broadway when the Hays Code declared the idea of an angel losing her wings to a mortal man to be too racy. The original I Married an Angel debuted on Broadway in May 1938 and ran nine months, not bad for the time. While it's probably too fluffy to be revived, it has been seen as staged concerts recently, including an Encores! concert in New York in 2019.
What I Don't Like: The fluffy story is cute but insubstantial, and is likely one of the big reasons this has rarely been seen outside of concert halls since 1938. The idea of a mortal "deflocking" an angel and the angel being corrupted may rub some people the wrong way even today, let alone then, and the film and show aren't terribly kind to women, either. MacDonald and Eddy, as funny as they are, were also a tad old for their roles by this point.
The Big Finale: Many MacDonald and Eddy fans aren't crazy about this one, but I think it's a great way for them to end their partnership. It was just the wrong movie at the wrong time. A European-set fantasy romance probably wasn't the best thing to be releasing during the height of World War II, and the stars had probably worn out their welcome by then, too. One of their better and more unique films.
Home Media: On DVD from the Warner Archives and several streaming companies.
DVD
Amazon Prime
Starring Jeanette MacDonald, Nelson Eddy, Edward Everett Horton, and Binnie Barnes
Directed by W.S Van Dyke
Music by Herbert Stothart and Richard Rodgers; Lyrics by Lorenz Hart, George Forrest, and Robert Wright
MGM wanted to do this movie ever since they got Jeanette under contract in the mid-30's, but the original play and Rodgers and Hart musical were too spicy for the era. By 1942, they'd cleaned it up enough to pass the censors...but MacDonald and Eddy were both past their prime, and the movie didn't do well at the box office. Does this angel deserve a second chance on Earth today? Let's head to the bank owned by playboy Count Palaffi (Eddy) in Budapest and find out...
The Story: Count Willie Palaffi would rather chase all the lovely ladies in town than take care of his bank affairs or pay attention to hard-working secretary Anna Zador (MacDonald). His head teller Whiskers (Reginald Owen) tries to encourage Willie to take a second look at her, but his head secretary Martika (Mona Maris) also has designs on her boss and gives Anna a costume to wear to his big birthday ball. She arrives dressed as an angel, but everyone else is wearing elaborate gowns and headdresses. Willie dances with her until they're laughed at.
He flees and falls asleep in his office, where he dreams that Anna is an angel named Brigitta who has come to Earth to marry him. He thinks she's perfect and does take her for his wife...but she's too perfect and too honest, alienating his society friends and causing a run on the bank. His sister Peggy (Barnes) takes her aside to teach her to be a little more devlish...but it proves to be too successful when she flirts with one of his partners (Douglass Dumbrille).
The Song and Dance: This charming fantasy is a great way for MacDonald and Eddy to go out. They both have some very funny moments; check out her rearranging the Bank's board of directors so they're sitting next to their mistresses, rather than their wives, or the expressions on Eddy's face during the surreal montage towards the end where he can't get to his angel, no matter how hard he tries. The lavish costumes, including MacDonald's "real" angel wings, give the film the appropriate decadent European feel. Great cast, too, including sarcastic Barnes as the Count's sensible sister and Edward Everett Horton as the Count's valet and announcer.
Favorite Number: The title number is heard twice, first as a solo for Eddy, then as a duet for him and MacDonald as he introduces her to his bank board at his wedding reception. "Spring Is Here" is also heard twice - MacDonald sings it in the opening, and she and Eddy perform it together later when they're on their honeymoon. Eddy talks to "Hey Butcher" on the streets in Paris, leading into "I'll Tell the Man In the Street." "Tira Lira La" is the big number for the Count's girls in their fancy costume at the party; they later sing it at the wedding reception when he's getting married. Barnes teaches MacDonald how to be a human woman with "A Twinkle In Your Eyes," complete with a really cute little jitterbug.
Trivia: This was originally going to be a Paramount musical in the early 30's, but Rodgers and Hart moved it to Broadway when the Hays Code declared the idea of an angel losing her wings to a mortal man to be too racy. The original I Married an Angel debuted on Broadway in May 1938 and ran nine months, not bad for the time. While it's probably too fluffy to be revived, it has been seen as staged concerts recently, including an Encores! concert in New York in 2019.
What I Don't Like: The fluffy story is cute but insubstantial, and is likely one of the big reasons this has rarely been seen outside of concert halls since 1938. The idea of a mortal "deflocking" an angel and the angel being corrupted may rub some people the wrong way even today, let alone then, and the film and show aren't terribly kind to women, either. MacDonald and Eddy, as funny as they are, were also a tad old for their roles by this point.
The Big Finale: Many MacDonald and Eddy fans aren't crazy about this one, but I think it's a great way for them to end their partnership. It was just the wrong movie at the wrong time. A European-set fantasy romance probably wasn't the best thing to be releasing during the height of World War II, and the stars had probably worn out their welcome by then, too. One of their better and more unique films.
Home Media: On DVD from the Warner Archives and several streaming companies.
DVD
Amazon Prime
Tuesday, April 14, 2020
Cult Flops - Labyrinth
Tri-Star, 1986
Starring Jennifer Connelly and David Bowie; Voices of Brian Henson and Ron Mueck
Directed by Jim Henson
Music and Lyrics by David Bowie
Jim Henson experimented with unusual puppets and dark fantasies in the mid-80's that went far beyond the Muppets and Sesame Street characters he was associated with. Labyrinth was his attempt at a modern Wizard of Oz, a hallucinatory fantasy with a blossoming young girl at its core. Today, it's best-known for its dark and imaginative special effects and for glam rock star David Bowie swishing around in long capes and tight trousers. How does this fairy tale about a girl who goes on a quest to find her brother in a fantastic maze look today? Let's head to a green field in a park, where a teenager (Connelly) recites her favorite book, and find out...
The Story: Sarah (Connelly) is a fantasy fan who would rather be acting out the world of her favorite book The Labyrinth than taking care of her baby brother. After her stepmother leaves her to babysit him one rainy Saturday night, she rashly calls to Jareth, the King of the Goblins (Bowie) to take her brother away. He's heard her cries and does so, whisking the baby away to his castle and his Goblin guards. He tells her he'll give her everything she wants, but she realizes she regrets her request and refuses him. She ends up in the labyrinth outside of castle, a series of stone walls and sculpted bushes where nothing is every what it seems.
Eventually, she befriends Hoggle (Henson), a cowardly dwarf who leads her through much of the Labyrinth, Sir Didymus the fox knight (David Shaughnessy), his sheepdog "steed" Ambrosius (Percy Edwards), and giant horned monster Ludo (Mueck). Jareth and a junk lady (Denise Bryer) try to distract her from her quest and make her forget, but she eventually realizes how much she'd rather have real friends and family than a false fantasy, and how important it is to make good choices rather than acting without thinking.
The Song and Dance: Kudos to Jim Henson and his puppeteers and writers for coming up with a truly original fantasy, with echoes of everything from The Wizard of Oz to Where the Wild Things Are. Bowie revels in his performance as the mysterious and deeply sensual Jareth, who lords his power over his underlings and does everything he can to convince Sarah to live in her dreams and forget her quest. The puppets and backgrounds are intricate and creative; the macabre fantasy world of the Goblin King's city and the trails of the Labyrinth itself are rich in detail and design, with very little CGI used.
Favorite Number: "Underground" begins the film over the credits with Jareth singing about his land in his owl form; it's heard again towards the end as he once again attempts to beguile Sarah. He gives her a swirling masquerade ball in a massive white gown in "As the World Falls Down," but she ends the dream by smashing a mirror. "Magic Dance" gets a little too weird as he and the Goblins revel in the stolen baby and their power over his sister. "Chilly Down" is the only number to be performed by someone besides Bowie; the Firey fairies sing it to Sarah as they attack her.
Trivia: This was the last movie Jim Henson himself directed before his untimely death in 1989.
What I Don't Like: Oh boy. This is the most 80's fantasy there is. The odd characters and confusing script sometimes revels in weirdness for its own sake, and Bowie can be more campy than mysterious at times. While the songs aren't bad, they're really kind of shoehorned in and don't have much to do with the film. I can kind of understand why audiences were confused in 1986. If you're not into Bowie or heavy-dark fantasy, this absolutely is not going to be your thing. Connelly can sometimes be a little annoying or grating, but keep in mind too that she really was a teenager when this was made.
The Big Finale: If you love Bowie or macabre Wizard of Oz-style fantasy tales, you'll want to take a trip into the Labyrinth with Sarah and her unusual friends.
Home Media: This film's cult audience assures that it's easily found in all major formats; the DVD can often be found for under five dollars.
DVD
Blu-Ray
Amazon Prime
Starring Jennifer Connelly and David Bowie; Voices of Brian Henson and Ron Mueck
Directed by Jim Henson
Music and Lyrics by David Bowie
Jim Henson experimented with unusual puppets and dark fantasies in the mid-80's that went far beyond the Muppets and Sesame Street characters he was associated with. Labyrinth was his attempt at a modern Wizard of Oz, a hallucinatory fantasy with a blossoming young girl at its core. Today, it's best-known for its dark and imaginative special effects and for glam rock star David Bowie swishing around in long capes and tight trousers. How does this fairy tale about a girl who goes on a quest to find her brother in a fantastic maze look today? Let's head to a green field in a park, where a teenager (Connelly) recites her favorite book, and find out...
The Story: Sarah (Connelly) is a fantasy fan who would rather be acting out the world of her favorite book The Labyrinth than taking care of her baby brother. After her stepmother leaves her to babysit him one rainy Saturday night, she rashly calls to Jareth, the King of the Goblins (Bowie) to take her brother away. He's heard her cries and does so, whisking the baby away to his castle and his Goblin guards. He tells her he'll give her everything she wants, but she realizes she regrets her request and refuses him. She ends up in the labyrinth outside of castle, a series of stone walls and sculpted bushes where nothing is every what it seems.
Eventually, she befriends Hoggle (Henson), a cowardly dwarf who leads her through much of the Labyrinth, Sir Didymus the fox knight (David Shaughnessy), his sheepdog "steed" Ambrosius (Percy Edwards), and giant horned monster Ludo (Mueck). Jareth and a junk lady (Denise Bryer) try to distract her from her quest and make her forget, but she eventually realizes how much she'd rather have real friends and family than a false fantasy, and how important it is to make good choices rather than acting without thinking.
The Song and Dance: Kudos to Jim Henson and his puppeteers and writers for coming up with a truly original fantasy, with echoes of everything from The Wizard of Oz to Where the Wild Things Are. Bowie revels in his performance as the mysterious and deeply sensual Jareth, who lords his power over his underlings and does everything he can to convince Sarah to live in her dreams and forget her quest. The puppets and backgrounds are intricate and creative; the macabre fantasy world of the Goblin King's city and the trails of the Labyrinth itself are rich in detail and design, with very little CGI used.
Favorite Number: "Underground" begins the film over the credits with Jareth singing about his land in his owl form; it's heard again towards the end as he once again attempts to beguile Sarah. He gives her a swirling masquerade ball in a massive white gown in "As the World Falls Down," but she ends the dream by smashing a mirror. "Magic Dance" gets a little too weird as he and the Goblins revel in the stolen baby and their power over his sister. "Chilly Down" is the only number to be performed by someone besides Bowie; the Firey fairies sing it to Sarah as they attack her.
Trivia: This was the last movie Jim Henson himself directed before his untimely death in 1989.
What I Don't Like: Oh boy. This is the most 80's fantasy there is. The odd characters and confusing script sometimes revels in weirdness for its own sake, and Bowie can be more campy than mysterious at times. While the songs aren't bad, they're really kind of shoehorned in and don't have much to do with the film. I can kind of understand why audiences were confused in 1986. If you're not into Bowie or heavy-dark fantasy, this absolutely is not going to be your thing. Connelly can sometimes be a little annoying or grating, but keep in mind too that she really was a teenager when this was made.
The Big Finale: If you love Bowie or macabre Wizard of Oz-style fantasy tales, you'll want to take a trip into the Labyrinth with Sarah and her unusual friends.
Home Media: This film's cult audience assures that it's easily found in all major formats; the DVD can often be found for under five dollars.
DVD
Blu-Ray
Amazon Prime
Saturday, April 11, 2020
Happy Easter! - The Prince of Egypt
Dreamworks, 1998
Voices of Val Kilmer, Ralph Fiennes, Michelle Pfieffer, and Sandra Bullock
Music and Lyrics by Stephen Schwartz
Directed by Brenda Chapman, Steve Hickner, and Simon Welles
The Ten Commandments is probably the last movie most people would think of making into an animated musical, but that's exactly what studio executive Jeffery Katzenberg suggested for the Disney Studios' next big animated film in the early 90's. He finally put it into production when he started Dreamworks in 1994. Was his passion for this project worth it, or should it be dumped into the Red Sea? Let's head to Egypt, where the Pharaoh Seti (Patrick Stewart), is giving a fateful declaration, and find out...
The Story: Fearing a revolution by the enslaved Hebrews in Egypt, Seti declares that all newborn sons be put to death. Hebrew slave Yocheved (Ofra Haza) sets her little son in a basket and sends him down the Nile River. He's adopted by Queen Tuya (Helen Mirren), Seti's wife, who names his Moses. Moses grows up as a prince alongside elder son Ramses II (Fiennes), who only wants to prove to his father that he can be a good pharaoh and follow the ways of their people. His brother is more devil-may-care.
Moses is given a slave, Tzipporah (Pfieffer), who is offended by the idea. He catches her escaping that night, but lets her go after he meets two more slaves, Miriam (Bullock) and Aaron (Jeff Goldblum). They're Moses' real sister and brother, though he doesn't remember them. Miriam sings his mother's lullaby, which awakens his memories, but he runs back to the palace in confusion. After he has a nightmare, Seti confirms his adoption, though he disturbs him by calling the Hebrews slaves.
After he pushes one of the royal guards to their deaths for whipping a slave, Moses flees the palace. He crosses the desert, eventually rescuing three little girls from bandits. Turns out they were Tzipporah's younger sisters. He falls for her, marries her, and is accepted into her community by her father Jethro (Danny Glover). He's content...until he finds a burning bush and learns that God (Kilmer) has a special job for him. Only he can confront Ramses and create the miracles that will lead his people to freedom.
The Animation: Katzenburg brought over 350 animators from Disney to make this one, and it was worth every penny. This is a towering achievement, from the dusty, glowing desert to the vast vistas and massive pyramids of Egypt. The burning bush and parting of the Red Sea are just as stunning here as they were in De Mille's epics; the CGI on the backgrounds and the Red Sea look as majestic now as they did when they wowed audiences in 1998.
The Song and Dance: Dreamworks' only theatrical animated musical is a truly majestic achievement. I'm surprised they never tried anything like this again. The cast is a delight; who knew Kilmer would make such a wonderful, tender Moses, or that Pfieffer could be so tough as the young woman who is determined to not remain a slave for long. Hans Zimmer's background score is just glorious, especially in the quieter moments and during the Curses of Egypt in the end. Stephen Schwartz may have written his single greatest movie score for this one, too.
Favorite Number: "Deliver Us" starts things off in stirring fashion, as the Hebrews pray to be freed from Egyptian oppression and we see how badly they're treated. Moses explains his confusion after he learns his true ancestry in "All I Wanted"; the Queen gets an affecting reprise when she tries to explain that she loves him no matter what. Jethro tells Moses how to live the simple life and see things "Through Heaven's Eyes" in a montage at the desert town that ends with Moses accepted into the community and married to TZipporah.
The two big numbers here make up most of the last 20 minutes. Moses brings "The Plagues" to Egypt after Ramses digs his heels and refuses to release the Hebrew people, despite the fact that he still loves his brother. The Oscar-winning inspirational ballad "When You Believe" starts with Miriam and Tzipporah assuring Moses that they still believe in him and their cause...and ends with all Hebrews following Moses in a stirring procession as they sing of their hopes and dreams for a better life.
Trivia: A stage version of Prince of Egypt that debuted in 2017 and has mainly played European and regional theaters since then. It was running in a limited engagement in London, but that's on hold until May 31st due to the virus.
What I Don't Like: Where the movie falters is with the Egyptians. As much as I like the emphasis on Ramses and Moses' relationship as brothers and how it falls apart, Fiennes otherwise plays Ramses too much like a stock evil bad guy. Steve Martin and Martin Short are totally out of place as two very annoying high priests. Their song to Moses at the palace "Playing With the Big Boys" is too goofy for this very serious drama and stands out like a sore thumb among the more inspirational music. There's a reason the priests and their number were cut from the stage version.
The Big Finale: With wonderful songs, stirring music, and an incredible cast, this stirring musical makes me wish Dreamworks Animation would take more stabs at the genre. Highly recommended for families looking for religious Easter programming for older kids or anyone who appreciates a really good animated musical.
Home Media: As one of Dreamworks' most popular animated movies, it's easily found in all formats.
DVD
Blu-Ray
Amazon Prime
Voices of Val Kilmer, Ralph Fiennes, Michelle Pfieffer, and Sandra Bullock
Music and Lyrics by Stephen Schwartz
Directed by Brenda Chapman, Steve Hickner, and Simon Welles
The Ten Commandments is probably the last movie most people would think of making into an animated musical, but that's exactly what studio executive Jeffery Katzenberg suggested for the Disney Studios' next big animated film in the early 90's. He finally put it into production when he started Dreamworks in 1994. Was his passion for this project worth it, or should it be dumped into the Red Sea? Let's head to Egypt, where the Pharaoh Seti (Patrick Stewart), is giving a fateful declaration, and find out...
The Story: Fearing a revolution by the enslaved Hebrews in Egypt, Seti declares that all newborn sons be put to death. Hebrew slave Yocheved (Ofra Haza) sets her little son in a basket and sends him down the Nile River. He's adopted by Queen Tuya (Helen Mirren), Seti's wife, who names his Moses. Moses grows up as a prince alongside elder son Ramses II (Fiennes), who only wants to prove to his father that he can be a good pharaoh and follow the ways of their people. His brother is more devil-may-care.
Moses is given a slave, Tzipporah (Pfieffer), who is offended by the idea. He catches her escaping that night, but lets her go after he meets two more slaves, Miriam (Bullock) and Aaron (Jeff Goldblum). They're Moses' real sister and brother, though he doesn't remember them. Miriam sings his mother's lullaby, which awakens his memories, but he runs back to the palace in confusion. After he has a nightmare, Seti confirms his adoption, though he disturbs him by calling the Hebrews slaves.
After he pushes one of the royal guards to their deaths for whipping a slave, Moses flees the palace. He crosses the desert, eventually rescuing three little girls from bandits. Turns out they were Tzipporah's younger sisters. He falls for her, marries her, and is accepted into her community by her father Jethro (Danny Glover). He's content...until he finds a burning bush and learns that God (Kilmer) has a special job for him. Only he can confront Ramses and create the miracles that will lead his people to freedom.
The Animation: Katzenburg brought over 350 animators from Disney to make this one, and it was worth every penny. This is a towering achievement, from the dusty, glowing desert to the vast vistas and massive pyramids of Egypt. The burning bush and parting of the Red Sea are just as stunning here as they were in De Mille's epics; the CGI on the backgrounds and the Red Sea look as majestic now as they did when they wowed audiences in 1998.
The Song and Dance: Dreamworks' only theatrical animated musical is a truly majestic achievement. I'm surprised they never tried anything like this again. The cast is a delight; who knew Kilmer would make such a wonderful, tender Moses, or that Pfieffer could be so tough as the young woman who is determined to not remain a slave for long. Hans Zimmer's background score is just glorious, especially in the quieter moments and during the Curses of Egypt in the end. Stephen Schwartz may have written his single greatest movie score for this one, too.
Favorite Number: "Deliver Us" starts things off in stirring fashion, as the Hebrews pray to be freed from Egyptian oppression and we see how badly they're treated. Moses explains his confusion after he learns his true ancestry in "All I Wanted"; the Queen gets an affecting reprise when she tries to explain that she loves him no matter what. Jethro tells Moses how to live the simple life and see things "Through Heaven's Eyes" in a montage at the desert town that ends with Moses accepted into the community and married to TZipporah.
The two big numbers here make up most of the last 20 minutes. Moses brings "The Plagues" to Egypt after Ramses digs his heels and refuses to release the Hebrew people, despite the fact that he still loves his brother. The Oscar-winning inspirational ballad "When You Believe" starts with Miriam and Tzipporah assuring Moses that they still believe in him and their cause...and ends with all Hebrews following Moses in a stirring procession as they sing of their hopes and dreams for a better life.
Trivia: A stage version of Prince of Egypt that debuted in 2017 and has mainly played European and regional theaters since then. It was running in a limited engagement in London, but that's on hold until May 31st due to the virus.
What I Don't Like: Where the movie falters is with the Egyptians. As much as I like the emphasis on Ramses and Moses' relationship as brothers and how it falls apart, Fiennes otherwise plays Ramses too much like a stock evil bad guy. Steve Martin and Martin Short are totally out of place as two very annoying high priests. Their song to Moses at the palace "Playing With the Big Boys" is too goofy for this very serious drama and stands out like a sore thumb among the more inspirational music. There's a reason the priests and their number were cut from the stage version.
The Big Finale: With wonderful songs, stirring music, and an incredible cast, this stirring musical makes me wish Dreamworks Animation would take more stabs at the genre. Highly recommended for families looking for religious Easter programming for older kids or anyone who appreciates a really good animated musical.
Home Media: As one of Dreamworks' most popular animated movies, it's easily found in all formats.
DVD
Blu-Ray
Amazon Prime
Thursday, April 9, 2020
Jesus Christ Superstar (1973)
Universal, 1973
Starring Ted Neely, Carl Anderson, Yvonne Ellman, and Barry Dennen
Directed by Norman Jewison
Music by Andrew Lloyd Webber; Lyrics by Tim Rice
We celebrate the real meaning of Easter with this dynamic rock opera. It originally opened on Broadway in 1971, and despite attracting controversy from various religious groups, was a huge hit. Jewison brought it to the big screen two years later, where it was just as big of a hit...and courted just as much controversy. What was so offensive about this particular version of the passion of Christ? To find out, we head to the Middle East, just as a performing group is about to begin their show, to find out...
The Story: Jesus (Neely) is becoming the most popular of a group of disciples of God. He's being hailed as the Son of God, which makes fellow disciple Judas Iscariot (Anderson) jealous. He's not crazy about Jesus associating with prostitute Mary Magdalene (Ellman), but Jesus defends her and insists that the disciples don't really care about him or his causes. The priest Calaphus (Bob Bingham) is worried that Jesus will be crowned king and that there will be an uprising. While Jesus tries to clear their temple of merchants and to do everything his followers want, the Jewish priests ply Judas with money for the poor in order to get him to tell them where Jesus will be and how to get him. Jesus knows about the betrayal and allows them to toss him into prison, for he knows that there's a higher cause out there for him, and that even when he dies, he'll never truly be forgotten.
The Song and Dance: And song and dance are the words here. This is actually an opera, with no spoken words. Some of the dances that you can see are flat out amazing, with incredible group choreography banging to jangly rock songs of the early 70's. Anderson is the stand-out as the conflicted Judas, and Bingham and Mostel also do fairly well as what amounts to the villain of the piece. Isreal looks stunning in Technicolor, with its glowing greens, earthy yellows, and dusty browns setting off the sometimes-simple, sometimes-glittery costumes well.
Favorite Number: The movie starts off with a bang as Jesus and his followers perform "Heaven On Their Minds" and Judas tries to remind Jesus that he's a man, not a god. "Everything Is Alright" shows off Mary, Judas, and Jesus' differing viewpoints as Judas tries to convince Jesus to focus on the poor, not his own popularity. "Hosanna" and "Simon Zealotes" are big numbers for Jesus and his followers as Simon whips the crowd into a frenzy and tries to convince Jesus to rise against the Romans.
Mary wonders how she fell in love with a far gentler man than what a woman in her trade is used to in the shadowy, beautifully-shot hit ballad "I Don't Know How to Love Him." She also gets to lead the apostles in the mournful "Could We Start Again Please?" after Jesus is arrested. King Harrod's Song" is a wacky vaudeville routine with Harrod and his entourage writhing around his brilliant blue pool.The movie ends with the smash title song, looking more like a 70's rock concert as Judas considers how much easier it would be for Jesus to spread his message with modern technology and communication.
Trivia: The original show opened on Broadway in 1971 and proved just as controversial onstage as on film, especially for its depiction of the Jews as the antagonists. Despite this, it was a major hit, running two years on Broadway and eight in London. It hasn't been back to Broadway since then (though a North American tour proved popular in the 90's), but has been revived at least three times on the West End. A live NBC version in 2018 went over well with critics, but didn't draw in ratings as big as some of their earlier live musicals.
What I Don't Like: If you're a bigger fan of religion or more of a purist than I am, you may be just as offended as many audiences in the 70's by the changes to the story and the darker, grittier tone. While Neely's a fine singer and many of his numbers sound wonderful (especially "Poor Jerulselem" and the first version of "Hosanna"), he's not a wonderful actor and has little chemistry with Ellman. Ellman isn't really much of a prostitute, either. Not to mention, the movie has the same problem as The Wiz - many of those big numbers are set up in shots that are so long, you can't tell half of what anyone is doing.
I'm also throwing out the same general warning that I gave in my review for Rent that this is a rock opera, with no spoken words. If you don't love rock or operas, or are looking for a more typical fluffy story, this is absolutely not the place for you.
The Big Finale: If you're a fan of Webber or 70's rock and can handle the modernized portrayals of Jesus and the apostles, you might enjoy this one.
Home Media: Easy to find on all formats, with the DVD and streaming copies often going for under 10.
DVD
Blu-Ray
Amazon Prime
Starring Ted Neely, Carl Anderson, Yvonne Ellman, and Barry Dennen
Directed by Norman Jewison
Music by Andrew Lloyd Webber; Lyrics by Tim Rice
We celebrate the real meaning of Easter with this dynamic rock opera. It originally opened on Broadway in 1971, and despite attracting controversy from various religious groups, was a huge hit. Jewison brought it to the big screen two years later, where it was just as big of a hit...and courted just as much controversy. What was so offensive about this particular version of the passion of Christ? To find out, we head to the Middle East, just as a performing group is about to begin their show, to find out...
The Story: Jesus (Neely) is becoming the most popular of a group of disciples of God. He's being hailed as the Son of God, which makes fellow disciple Judas Iscariot (Anderson) jealous. He's not crazy about Jesus associating with prostitute Mary Magdalene (Ellman), but Jesus defends her and insists that the disciples don't really care about him or his causes. The priest Calaphus (Bob Bingham) is worried that Jesus will be crowned king and that there will be an uprising. While Jesus tries to clear their temple of merchants and to do everything his followers want, the Jewish priests ply Judas with money for the poor in order to get him to tell them where Jesus will be and how to get him. Jesus knows about the betrayal and allows them to toss him into prison, for he knows that there's a higher cause out there for him, and that even when he dies, he'll never truly be forgotten.
The Song and Dance: And song and dance are the words here. This is actually an opera, with no spoken words. Some of the dances that you can see are flat out amazing, with incredible group choreography banging to jangly rock songs of the early 70's. Anderson is the stand-out as the conflicted Judas, and Bingham and Mostel also do fairly well as what amounts to the villain of the piece. Isreal looks stunning in Technicolor, with its glowing greens, earthy yellows, and dusty browns setting off the sometimes-simple, sometimes-glittery costumes well.
Favorite Number: The movie starts off with a bang as Jesus and his followers perform "Heaven On Their Minds" and Judas tries to remind Jesus that he's a man, not a god. "Everything Is Alright" shows off Mary, Judas, and Jesus' differing viewpoints as Judas tries to convince Jesus to focus on the poor, not his own popularity. "Hosanna" and "Simon Zealotes" are big numbers for Jesus and his followers as Simon whips the crowd into a frenzy and tries to convince Jesus to rise against the Romans.
Mary wonders how she fell in love with a far gentler man than what a woman in her trade is used to in the shadowy, beautifully-shot hit ballad "I Don't Know How to Love Him." She also gets to lead the apostles in the mournful "Could We Start Again Please?" after Jesus is arrested. King Harrod's Song" is a wacky vaudeville routine with Harrod and his entourage writhing around his brilliant blue pool.The movie ends with the smash title song, looking more like a 70's rock concert as Judas considers how much easier it would be for Jesus to spread his message with modern technology and communication.
Trivia: The original show opened on Broadway in 1971 and proved just as controversial onstage as on film, especially for its depiction of the Jews as the antagonists. Despite this, it was a major hit, running two years on Broadway and eight in London. It hasn't been back to Broadway since then (though a North American tour proved popular in the 90's), but has been revived at least three times on the West End. A live NBC version in 2018 went over well with critics, but didn't draw in ratings as big as some of their earlier live musicals.
What I Don't Like: If you're a bigger fan of religion or more of a purist than I am, you may be just as offended as many audiences in the 70's by the changes to the story and the darker, grittier tone. While Neely's a fine singer and many of his numbers sound wonderful (especially "Poor Jerulselem" and the first version of "Hosanna"), he's not a wonderful actor and has little chemistry with Ellman. Ellman isn't really much of a prostitute, either. Not to mention, the movie has the same problem as The Wiz - many of those big numbers are set up in shots that are so long, you can't tell half of what anyone is doing.
I'm also throwing out the same general warning that I gave in my review for Rent that this is a rock opera, with no spoken words. If you don't love rock or operas, or are looking for a more typical fluffy story, this is absolutely not the place for you.
The Big Finale: If you're a fan of Webber or 70's rock and can handle the modernized portrayals of Jesus and the apostles, you might enjoy this one.
Home Media: Easy to find on all formats, with the DVD and streaming copies often going for under 10.
DVD
Blu-Ray
Amazon Prime
Tuesday, April 7, 2020
Can-Can
20th Century Fox, 1960
Starring Shirley MacLaine, Frank Sinatra, Maurice Chevalier, and Louis Jordan
Directed by Walter Lang
Music and Lyrics by Cole Porter
Let's take a trip to Paris in the late 1890's to forget our cares and enjoy a big, bright musical comedy. This Cole Porter hit did well enough on Broadway in 1953, where it introduced Gwen Verdon to audiences. It was enough of a hit for 20th Century Fox to adapt it to film seven years later as a vehicle for popular comedienne and dancer Shirley MacLaine, Maurice Chevalier and Louis Jordan coming off the success of Gigi, and Frank Sinatra. How does the story of a cafe owner who romances a judge in order to perform the scandalous dance in her establishment look now? We head to Montmartre, with it's colorful street life, to find out...
The Story: La Mome Pistache (MacLaine) runs a popular cafe in Montmartre where she performs the infamously leg-barring dance the Can-Can. Her lover and lawyer Francois Durnais (Sinatra) claims he has it all arranged, but the cafe is raided and her dancers arrested for indecency. Francois' friend Chief Magistrate Paul Barriere (Chevalier) tries to drop the charges, but his new colleague Judge Phillippe Forrestier (Jordan) truly thinks the Can-Can is indecent. He goes to the cafe under a different name the next night to find out for himself. Pistache tries to seduce him...and it works too well, as he falls for her.
After he arranges for another raid on the cafe, Francois tries to blackmail him with a photo of him in a compromising position. Turns out it's unnecessary. Phillippe has already dropped the charges and asked Pistache to marry him. She accepts his proposal, only to call it off after embarrassing herself getting drunk at a party on a boat. To get Francois back for plying her with liquor, she borrows money to hold a ball and signs the cafe over to Francois, only to have him arrested for showing the Can-Can this time. Now they all have to prove that showing a little leg is not a bad thing, and that the Can-Can is really good clean fun for all.
The Song and Dance: "Song and dance" are really the operative words here. The fluffy plot is mostly a framework for some of Cole Porter's best songs. MacLaine has a great time, whether she's dancing the Can-Can or trying to seduce Jordan. Chevalier and Jordan bring along some of the Gallic flair and wonderful chemistry that they also showed in Gigi, and in very similar roles. Juliet Prowse made her film debut here, and she does well in what little screen time she has. The lavish sets and costumes do a magnificent job of bringing Paris both high and low to life; the glittering costumes were Oscar-nominated.
Favorite Number: Sinatra and Jordan introduce us to the delights of Paris' red-light district in the opening number "Montmartre." "Maidens Typical of France" brings on Pistache's girls to show that they are anything but! Sinatra and MacLaine revel in their unmarried relationship with a tango to the ribald "Let's Do It." Barriere tries to convince his colleague to "Live and Let Live" after the second raid on the cafe. Sinatra sings a really nice "It's All Right With Me" to an attentive Prowse. "Come Along With Me" is Pistache's drunk song at the party, and MacLaine really throws herself into it, kicking and reeling and sitting in laps with abandon.
MacLaine figures into all three of the film's big numbers. She does an apache dance early on with two unnamed male dancers that shows her in a slightly more dramatic light. The Adam and Eve Ballet at the ball has her as Eve frolicking with a barely-clad Adam and dancers in animal costumes, before the snake brings the apple and turns up the heat. The finale is the big can-can in full, with Prowse and MacLaine swirling amid a riot of frills and black stocking-clad legs.
Trivia: The then-head of Russia, Nikita Khruschchev, visited the set and watched the can-can number be filmed, only to denounce it as "pornographic" and "depraved."
The original Broadway production of Can-Can was a hit in 1953 that ran a year and made a star of Gwen Verdon, who won her first Tony in Prowse's role. It also did relatively well in London a year later...but its success ended there. The movie was a hit, but was so expensive that it couldn't make its money back, and a Broadway revival in 1981 shuttered after five performances. A heavily revised London revival could only push three months in 1988 and 1989.
What I Don't Like: There's a reason this show doesn't do well in revival. This is pretty much fluffy, overlong silliness. It reduces Prowse's role to almost nothing, dropping a major subplot revolving around Claudine and her artist boyfriend, and didn't give Chevalier much to do either. Jordan's role is dull, and Sinatra is even more so. He was pretty much forced to do this after he dropped out of Carousel, and other than some good singing, doesn't look like he wants to be there. MacLaine and Sinatra sound and act more like residents of 1960 New York than 1890's Paris, especially compared to the actual French actors around them.
Several songs from the original show were cut from the film. The most notable loss was "I Love Paris," which is heard over the credits but not in the film itself. Apparently, it was filmed with Sinatra and Chevalier, but dropped. Wish they'd kept it. It's one of the show's signature hits. Other losses include "Never Give Anything Away" for Pistache and her girls, the solo ballad "I am In Love" for Judge Forrestier, and "Alles Vous-En" for Pistache.
The Big Finale: If you love the cast or want to check out some great Cole Porter music and have time on your hands, this is one trip to Paris worth making.
Home Media: On DVD as part of 20th Century Fox's Marquee Musicals series and on several streaming services.
DVD
Google Play
Starring Shirley MacLaine, Frank Sinatra, Maurice Chevalier, and Louis Jordan
Directed by Walter Lang
Music and Lyrics by Cole Porter
Let's take a trip to Paris in the late 1890's to forget our cares and enjoy a big, bright musical comedy. This Cole Porter hit did well enough on Broadway in 1953, where it introduced Gwen Verdon to audiences. It was enough of a hit for 20th Century Fox to adapt it to film seven years later as a vehicle for popular comedienne and dancer Shirley MacLaine, Maurice Chevalier and Louis Jordan coming off the success of Gigi, and Frank Sinatra. How does the story of a cafe owner who romances a judge in order to perform the scandalous dance in her establishment look now? We head to Montmartre, with it's colorful street life, to find out...
The Story: La Mome Pistache (MacLaine) runs a popular cafe in Montmartre where she performs the infamously leg-barring dance the Can-Can. Her lover and lawyer Francois Durnais (Sinatra) claims he has it all arranged, but the cafe is raided and her dancers arrested for indecency. Francois' friend Chief Magistrate Paul Barriere (Chevalier) tries to drop the charges, but his new colleague Judge Phillippe Forrestier (Jordan) truly thinks the Can-Can is indecent. He goes to the cafe under a different name the next night to find out for himself. Pistache tries to seduce him...and it works too well, as he falls for her.
After he arranges for another raid on the cafe, Francois tries to blackmail him with a photo of him in a compromising position. Turns out it's unnecessary. Phillippe has already dropped the charges and asked Pistache to marry him. She accepts his proposal, only to call it off after embarrassing herself getting drunk at a party on a boat. To get Francois back for plying her with liquor, she borrows money to hold a ball and signs the cafe over to Francois, only to have him arrested for showing the Can-Can this time. Now they all have to prove that showing a little leg is not a bad thing, and that the Can-Can is really good clean fun for all.
The Song and Dance: "Song and dance" are really the operative words here. The fluffy plot is mostly a framework for some of Cole Porter's best songs. MacLaine has a great time, whether she's dancing the Can-Can or trying to seduce Jordan. Chevalier and Jordan bring along some of the Gallic flair and wonderful chemistry that they also showed in Gigi, and in very similar roles. Juliet Prowse made her film debut here, and she does well in what little screen time she has. The lavish sets and costumes do a magnificent job of bringing Paris both high and low to life; the glittering costumes were Oscar-nominated.
Favorite Number: Sinatra and Jordan introduce us to the delights of Paris' red-light district in the opening number "Montmartre." "Maidens Typical of France" brings on Pistache's girls to show that they are anything but! Sinatra and MacLaine revel in their unmarried relationship with a tango to the ribald "Let's Do It." Barriere tries to convince his colleague to "Live and Let Live" after the second raid on the cafe. Sinatra sings a really nice "It's All Right With Me" to an attentive Prowse. "Come Along With Me" is Pistache's drunk song at the party, and MacLaine really throws herself into it, kicking and reeling and sitting in laps with abandon.
MacLaine figures into all three of the film's big numbers. She does an apache dance early on with two unnamed male dancers that shows her in a slightly more dramatic light. The Adam and Eve Ballet at the ball has her as Eve frolicking with a barely-clad Adam and dancers in animal costumes, before the snake brings the apple and turns up the heat. The finale is the big can-can in full, with Prowse and MacLaine swirling amid a riot of frills and black stocking-clad legs.
Trivia: The then-head of Russia, Nikita Khruschchev, visited the set and watched the can-can number be filmed, only to denounce it as "pornographic" and "depraved."
The original Broadway production of Can-Can was a hit in 1953 that ran a year and made a star of Gwen Verdon, who won her first Tony in Prowse's role. It also did relatively well in London a year later...but its success ended there. The movie was a hit, but was so expensive that it couldn't make its money back, and a Broadway revival in 1981 shuttered after five performances. A heavily revised London revival could only push three months in 1988 and 1989.
What I Don't Like: There's a reason this show doesn't do well in revival. This is pretty much fluffy, overlong silliness. It reduces Prowse's role to almost nothing, dropping a major subplot revolving around Claudine and her artist boyfriend, and didn't give Chevalier much to do either. Jordan's role is dull, and Sinatra is even more so. He was pretty much forced to do this after he dropped out of Carousel, and other than some good singing, doesn't look like he wants to be there. MacLaine and Sinatra sound and act more like residents of 1960 New York than 1890's Paris, especially compared to the actual French actors around them.
Several songs from the original show were cut from the film. The most notable loss was "I Love Paris," which is heard over the credits but not in the film itself. Apparently, it was filmed with Sinatra and Chevalier, but dropped. Wish they'd kept it. It's one of the show's signature hits. Other losses include "Never Give Anything Away" for Pistache and her girls, the solo ballad "I am In Love" for Judge Forrestier, and "Alles Vous-En" for Pistache.
The Big Finale: If you love the cast or want to check out some great Cole Porter music and have time on your hands, this is one trip to Paris worth making.
Home Media: On DVD as part of 20th Century Fox's Marquee Musicals series and on several streaming services.
DVD
Google Play
Saturday, April 4, 2020
Family Fun Saturday - Rumpelstiltskin (1987)
The Cannon Group, 1987
Starring Amy Irving, Billy Barty, John Moulder-Brown, and Clive Revill
Directed by David Irving
Music by Max Robert; Lyrics by Max Robert and others
This was the first of the musical fairy tales B-movie producers Cannon Group made in the late 1980's. It's also pretty much the only one that hasn't been heavily adapted into other media, especially here in the US, which makes it a little more unique among the group. How does the story of a young woman whose father's boast and her own rash promise ends with her running afoul of a gold-hungry king and mischievous dwarf look today? Let's head to the underground home of said dwarf as he prepares his dinner and find out...
The Story: Katie (Irving) the miller's daughter spends her days dreaming of someday becoming the wife of a prince and living in luxury as the Queen. Her father (Robert Symonds) boasts constantly of her great beauty and cleverness. One day, he rashly claims to a group of fine nobles passing on horseback that Katie is so talented, she can spin straw into gold. Katie can do no such thing, but the greedy and gold-obsessed King Mezzer (Revill) is so desperate for more to add to his treasury, he forces her to spin gold or lose her life. Katie is helped three times by a strange little man (Barty) who asks for increasingly precious things. The third time, hoping to marry the handsome Prince Henry (Moulder-Brown), she rashly promises she'll give up her first-born child.
She comes to regret this a year later when the dwarf comes to collect a year later. He tells her that she has to find out what his name is, or he'll take the child. It's up to Katie and her mute servant girl (Yael Uziely) to learn the true identity of the magical man and save the little prince from becoming his slave.
The Song and Dance: As the first of the Cannon Tales, it actually comes off pretty well. They manage to get around some of the notorious cheapness of the production by frequently filming outside, and the costumes look like something from out of a storybook. Irving and Barty come off by far the best as the peasant lass who's a lot tougher than she appears and the wicked little dwarf who has ulterior motives behind his desire to help her. Revill's obviously having a great time as the gold-mad king, too. And at the very least, Irving does have a genuinely good voice and Moulder-Brown sounds pretty good as well.
Favorite Number: Barty kicks things off well in his underground lair with his explanation as to why he performs his mischievous tricks and what he wants in "My Name Is Rumpelstiltskin." Katie sings of what will happen "When I am Queen of the Castle" as she does the wash against a pastoral, woodsy backdrop. Katie and Henry hope against hope that she'll find a way to spin that straw into gold in "I Need a Miracle." Revill chews every bit of the cheap scenery in his solo "I'm Greedy" as he simply explains why he loves gold so much.
Trivia: This is a bit of an Irving family affair. Director David Irving is Amy's brother, the Queen Priscilla Pointer is her mother, and Symonds, who plays the miller, is her stepfather.
What I Don't Like: First and foremost, the tinny synthesizer background score doesn't suit the fairy-tale story and undermines the fantasy feel they're going for. Though the cheap sets aren't as obvious as in Beauty and the Beast, it's still a low-budget production. The gold strands look like the painted straw they probably are, the indoor sets are dull and often poorly-lit, and the special effects are mostly slow-mo and smoke. The second half, where she's looking for the dwarf's name, seems a bit rushed, especially given we don't see Katie until almost fifteen minutes in.
The Big Finale: Surprisingly charming adaptation is worth checking out for fantasy-crazy young girls and lovers of fairy tales who are willing to look past the low-budget production.
Home Media: Same deal as Beauty and the Beast. It's out of print on DVD but can currently be found streaming for free on Tubi.
DVD
Tubi
Starring Amy Irving, Billy Barty, John Moulder-Brown, and Clive Revill
Directed by David Irving
Music by Max Robert; Lyrics by Max Robert and others
This was the first of the musical fairy tales B-movie producers Cannon Group made in the late 1980's. It's also pretty much the only one that hasn't been heavily adapted into other media, especially here in the US, which makes it a little more unique among the group. How does the story of a young woman whose father's boast and her own rash promise ends with her running afoul of a gold-hungry king and mischievous dwarf look today? Let's head to the underground home of said dwarf as he prepares his dinner and find out...
The Story: Katie (Irving) the miller's daughter spends her days dreaming of someday becoming the wife of a prince and living in luxury as the Queen. Her father (Robert Symonds) boasts constantly of her great beauty and cleverness. One day, he rashly claims to a group of fine nobles passing on horseback that Katie is so talented, she can spin straw into gold. Katie can do no such thing, but the greedy and gold-obsessed King Mezzer (Revill) is so desperate for more to add to his treasury, he forces her to spin gold or lose her life. Katie is helped three times by a strange little man (Barty) who asks for increasingly precious things. The third time, hoping to marry the handsome Prince Henry (Moulder-Brown), she rashly promises she'll give up her first-born child.
She comes to regret this a year later when the dwarf comes to collect a year later. He tells her that she has to find out what his name is, or he'll take the child. It's up to Katie and her mute servant girl (Yael Uziely) to learn the true identity of the magical man and save the little prince from becoming his slave.
The Song and Dance: As the first of the Cannon Tales, it actually comes off pretty well. They manage to get around some of the notorious cheapness of the production by frequently filming outside, and the costumes look like something from out of a storybook. Irving and Barty come off by far the best as the peasant lass who's a lot tougher than she appears and the wicked little dwarf who has ulterior motives behind his desire to help her. Revill's obviously having a great time as the gold-mad king, too. And at the very least, Irving does have a genuinely good voice and Moulder-Brown sounds pretty good as well.
Favorite Number: Barty kicks things off well in his underground lair with his explanation as to why he performs his mischievous tricks and what he wants in "My Name Is Rumpelstiltskin." Katie sings of what will happen "When I am Queen of the Castle" as she does the wash against a pastoral, woodsy backdrop. Katie and Henry hope against hope that she'll find a way to spin that straw into gold in "I Need a Miracle." Revill chews every bit of the cheap scenery in his solo "I'm Greedy" as he simply explains why he loves gold so much.
Trivia: This is a bit of an Irving family affair. Director David Irving is Amy's brother, the Queen Priscilla Pointer is her mother, and Symonds, who plays the miller, is her stepfather.
What I Don't Like: First and foremost, the tinny synthesizer background score doesn't suit the fairy-tale story and undermines the fantasy feel they're going for. Though the cheap sets aren't as obvious as in Beauty and the Beast, it's still a low-budget production. The gold strands look like the painted straw they probably are, the indoor sets are dull and often poorly-lit, and the special effects are mostly slow-mo and smoke. The second half, where she's looking for the dwarf's name, seems a bit rushed, especially given we don't see Katie until almost fifteen minutes in.
The Big Finale: Surprisingly charming adaptation is worth checking out for fantasy-crazy young girls and lovers of fairy tales who are willing to look past the low-budget production.
Home Media: Same deal as Beauty and the Beast. It's out of print on DVD but can currently be found streaming for free on Tubi.
DVD
Tubi
Thursday, April 2, 2020
Deep In My Heart (1954)
MGM, 1954
Starring Jose Ferrer, Merele Oberon, Helen Traubel, and Doe Avedon
Directed by Stanley Donen
Music by Sigmund Romberg; Lyrics by various
This was the last of the MGM "semi-revues" revolving around a famous composer of earlier in the 20th century. Sigmund Romberg did do pop or jazz-oriented music, but then and now, he's mainly known for the series of lush operettas he wrote from the late 10's through the 1930's. With operettas frequently turning up on early TV, MGM producer Joe Pasternak opted to air his "life story," with many MGM stars who specialized in operetta. How does the story of Romberg and how he went from ragtime to the concert halls look now? We join Romberg (Ferrer) as he looks for a job in a New York cafe and find out...
The Story: "Romy" really wants to write romantic operettas, but his lush music doesn't fly in newly ragtime-crazed America. With the help of Anna Mueller (Traubel), the owner of the restaurant, he composes "The Leg 'O Mutton Rag" and creates a dance sensation. He's hired by the Shuberts, who use his jazzier compositions in a series of nonsensical revues, but what he really wants is to have an operetta on Broadway. Lyricist and playwright Dorothy Donnelly (Merle Oberon) helps him whip his Maytime into shape and convinces Ziegfeld (Paul Henried) to give it a chance.
The show is a smash, but its follow-up fails. Romberg and his songwriting partners end up back writing girlie shows for the Shuberts. It's not until he meets the lovely and intelligent Lillian Harris (Doe Avedon) at a mountain resort and falls for her that he's able to gather the inspiration to write some of the most beloved operettas of the 1920's, including New Moon and The Desert Song.
The Song and Dance: And "song and dance" are the operative words. Once again, the story is really more of a framework to hang elaborate routines based around songs done by the composer. That said, Ferrer does make a charming and energetic Romberg, and Avedon isn't bad as his love interest and eventual wife. Oberon also goes over well as Donnelly, one of the few female songwriters of the early 20th century. The lavish Technicolor production and costumes provide some truly fine eye candy, especially in the first half.
Favorite Number: Traubel and Ferrer lay into the catchy "Leg 'O Mutton Rag" at the cafe shortly after he comes looking for a job. He also gets to join his then-wife Rosemary Clooney for, appropriately, "Mr. and Mrs" in the revue medley. Gene Kelly performs with his brother Fred for the only time on film in the vaudeville beach spoof "I Love to Go Swimmin' With Wimmin'." Vic Damone and Jane Powell share two gorgeous duets from Maytime, "Road to Paradise" and "Sweetheart, Will You Remember?" Cyd Charisse and James Mitchell perform a pas de deux to "One Alone" that's sexier than anything in the 1953 Desert Song.
The movie does boast some genuinely rare tunes. Ann Miller gets to perform a comedy number from The Desert Song, "It," with a Roaring 20's-clad chorus. Howard Keel leads the male chorus through the rousing "Your Land and My Land" from the Civil War operetta My Maryland.
But the number for the record books is a truly amazing solo for Ferrer. He shows off for Lillian and her mother (Isobel Elsom) by performing all the roles in the Al Jolson vehicle he and his partners are currently working on. He sings three songs, "Goodbye Girls," "Fat, Fat Fatima," and "Jazz-a-Doo" and is such a ball of energy, he really must be seen to be believed.
What I Don't Like: Another biography with absolutely nothing to do with the composer in question. Romberg did come from Hungary, he did write pop songs for the Shuberts' Al Jolson vehicles and fluffy revues, he did hit it big with Maytime, only to return to the Shuberts, and it really was The Student Prince that finally broke him free of the grind and allowed him to stick entirely from operetta. He really did have bad luck on Broadway in the 30's, with a string of flop shows. He did better in Hollywood, writing several standards for film operettas, before making a comeback in New York in the 40's with Up In Central Park.
Almost every character besides Romberg, Donnelly, Lillian, and the big producers are fictional. His writing partners at the resort and Anna are composites of the many people he worked with throughout his career. Romberg married at least once before Lillian, and he was Hungarian, not Viennese. The songs are all out of order and often listed to be from shows other than what's claimed. Frankly, the whole movie is just one big cliche. And as with most MGM musicals of this era, once they get to the 20's, historical accuracy goes out the door. Once we get past the first half-hour or so, it looks like the 50's for the rest of the movie.
The Big Finale: Critics were rough on this one when it came out, but it's actually worn pretty well. Worth seeing for the musical numbers alone if you're a fan of operetta, the stars, or Romberg's work.
Home Media: Easily found in all formats; the Blu Ray and DVD are currently available from the Warner Archives.
DVD
Blu-Ray
Amazon Prime
Starring Jose Ferrer, Merele Oberon, Helen Traubel, and Doe Avedon
Directed by Stanley Donen
Music by Sigmund Romberg; Lyrics by various
This was the last of the MGM "semi-revues" revolving around a famous composer of earlier in the 20th century. Sigmund Romberg did do pop or jazz-oriented music, but then and now, he's mainly known for the series of lush operettas he wrote from the late 10's through the 1930's. With operettas frequently turning up on early TV, MGM producer Joe Pasternak opted to air his "life story," with many MGM stars who specialized in operetta. How does the story of Romberg and how he went from ragtime to the concert halls look now? We join Romberg (Ferrer) as he looks for a job in a New York cafe and find out...
The Story: "Romy" really wants to write romantic operettas, but his lush music doesn't fly in newly ragtime-crazed America. With the help of Anna Mueller (Traubel), the owner of the restaurant, he composes "The Leg 'O Mutton Rag" and creates a dance sensation. He's hired by the Shuberts, who use his jazzier compositions in a series of nonsensical revues, but what he really wants is to have an operetta on Broadway. Lyricist and playwright Dorothy Donnelly (Merle Oberon) helps him whip his Maytime into shape and convinces Ziegfeld (Paul Henried) to give it a chance.
The show is a smash, but its follow-up fails. Romberg and his songwriting partners end up back writing girlie shows for the Shuberts. It's not until he meets the lovely and intelligent Lillian Harris (Doe Avedon) at a mountain resort and falls for her that he's able to gather the inspiration to write some of the most beloved operettas of the 1920's, including New Moon and The Desert Song.
The Song and Dance: And "song and dance" are the operative words. Once again, the story is really more of a framework to hang elaborate routines based around songs done by the composer. That said, Ferrer does make a charming and energetic Romberg, and Avedon isn't bad as his love interest and eventual wife. Oberon also goes over well as Donnelly, one of the few female songwriters of the early 20th century. The lavish Technicolor production and costumes provide some truly fine eye candy, especially in the first half.
Favorite Number: Traubel and Ferrer lay into the catchy "Leg 'O Mutton Rag" at the cafe shortly after he comes looking for a job. He also gets to join his then-wife Rosemary Clooney for, appropriately, "Mr. and Mrs" in the revue medley. Gene Kelly performs with his brother Fred for the only time on film in the vaudeville beach spoof "I Love to Go Swimmin' With Wimmin'." Vic Damone and Jane Powell share two gorgeous duets from Maytime, "Road to Paradise" and "Sweetheart, Will You Remember?" Cyd Charisse and James Mitchell perform a pas de deux to "One Alone" that's sexier than anything in the 1953 Desert Song.
The movie does boast some genuinely rare tunes. Ann Miller gets to perform a comedy number from The Desert Song, "It," with a Roaring 20's-clad chorus. Howard Keel leads the male chorus through the rousing "Your Land and My Land" from the Civil War operetta My Maryland.
But the number for the record books is a truly amazing solo for Ferrer. He shows off for Lillian and her mother (Isobel Elsom) by performing all the roles in the Al Jolson vehicle he and his partners are currently working on. He sings three songs, "Goodbye Girls," "Fat, Fat Fatima," and "Jazz-a-Doo" and is such a ball of energy, he really must be seen to be believed.
What I Don't Like: Another biography with absolutely nothing to do with the composer in question. Romberg did come from Hungary, he did write pop songs for the Shuberts' Al Jolson vehicles and fluffy revues, he did hit it big with Maytime, only to return to the Shuberts, and it really was The Student Prince that finally broke him free of the grind and allowed him to stick entirely from operetta. He really did have bad luck on Broadway in the 30's, with a string of flop shows. He did better in Hollywood, writing several standards for film operettas, before making a comeback in New York in the 40's with Up In Central Park.
Almost every character besides Romberg, Donnelly, Lillian, and the big producers are fictional. His writing partners at the resort and Anna are composites of the many people he worked with throughout his career. Romberg married at least once before Lillian, and he was Hungarian, not Viennese. The songs are all out of order and often listed to be from shows other than what's claimed. Frankly, the whole movie is just one big cliche. And as with most MGM musicals of this era, once they get to the 20's, historical accuracy goes out the door. Once we get past the first half-hour or so, it looks like the 50's for the rest of the movie.
The Big Finale: Critics were rough on this one when it came out, but it's actually worn pretty well. Worth seeing for the musical numbers alone if you're a fan of operetta, the stars, or Romberg's work.
Home Media: Easily found in all formats; the Blu Ray and DVD are currently available from the Warner Archives.
DVD
Blu-Ray
Amazon Prime
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