Disney, 2010
Starring Demi Lovato, The Jonas Brothers (Joe, Nick, and Kevin), and Alyson Stoner
Directed by Paul Hoen
Music and Lyrics by various
Our "Final Jam" for the summer season is this Disney Channel sequel to their huge 2008 hit. Does the tale of warring camps hit the same high notes as the original, or do we encounter more than a few sour tunes? Let's once again start with Mitchie Torres (Lovato) and her mother heading to Camp Rock and find out...
The Story: Mitchie is excited to see all her friends at camp again, especially her boyfriend Shane (Joe Jonas) and his brothers Nate (Nick Jonas) and Jason (Kevin Jonas). Her excitement dims when the camp's owner Brown Ceasario (Daniel Fathers) reveals that ritzy Camp Star opened across the lake. It's operated by his old band mate Axel Turner (Daniel Kash), whom he fired for being too competitive. Turner holds what he calls a bonfire the first night of camp, claiming he wants to let bygones be bygones. What he's really doing is using the dynamic performances of his campers to lure kids from Camp Rock.
Tess is among the few campers who defect, but they lose almost all of their counselors. Mitchie convinces the Gray brothers and her friends to take over as counselors. She also takes the kids across the lake to challenge Camp Star to a showdown. Axel hears this and insists on broadcasting it on national television. Mitchie is determined to win and pushes the Camp Rock kids to be bigger and better than Camp Star, alienating her friends and Shane in the process. Shane and the junior campers are the ones who eventually remind her that it doesn't matter how flashy a camp is, it means nothing if it's not about having fun.
The Song and Dance: At the very least, the story is slightly stronger this time around. It's not just about Mitchie trying to fit in. As she points out, the future of the camp is at stake. The kids are just as talented and energetic, putting their huge numbers over with gusto. Kevin Jonas has some mildly amusing moments with the youngest campers as he tries to gain their trust, and ends up being the butt of their pranks for most of the summer.
Favorite Number: Mitchie kicks things off with the Camp Rock campers as they sing about it being a "Brand New Day" at the first Jam of the summer. "Fire" is the big, flashy dance routine that introduces the kids of Camp Star and their more "professional" style. Nate adorably tells his crush Dana (Chloe Bridges) what he's like - before her father Axel realizes he's there - in "Introducing Me." The Camp Rock kids come together at the Camp Wars jam with images from their summer in the background to remind everyone "What We Came Here For."
What I Don't Like: Other than the so-dorky-it's-endearing "Introducing Me," the side plot with Nate falling for Dana is your basic Romeo and Juliet cliche, and Dana is frankly a bit of a nonentity. The drama with Mitchie pushing the kids too hard mid-way through seems manufactured and there just to pad out the film. While we do see more of the Jonas siblings, we see far less of Mitchie's buddies from the first film, making things feel more than a little uneven.
The Big Finale: I enjoyed this one slightly more than the previous film, but I still only recommend it for those who remember watching it on the Disney Channel, major fans of the stars, or the appropriate 8 to 14-year-old target audience.
Home Media: Same deal; easily found in all major formats.
DVD
Blu-Ray
Disney Plus
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Saturday, August 29, 2020
Thursday, August 27, 2020
I Live for Love
Warner Bros, 1935
Starring Dolores Del Rio, Everett Marshall, Allen Jenkins, and Guy Kibbee
Directed by Busby Berkeley
Music by Allie Wrubel; Lyrics by Mort Dixon
Berkeley didn't just direct spectacular musicals. He also made the occasional dive into smaller-scale projects, such as this radio-set romantic comedy with song sequence. This was also Metropolitan Opera performer Everett Marshall's second go at a film career after Dixiana from 1930, and Del Rio's second small-scale musical that year. How do she and Berkeley fit with the story of a South American stage actress who finds herself linked to a radio star? Let's head to a theater in New York, where Donna (Del Rio) is about to star in her next big show, and find out...
The Story: Donna is hoping to push her eager young lover Rico (Don Alvardo) as her leading man. The producers Fabian (Benton Churchill) and Townsend (Hobart Canavaugh) would rather have anyone else, including an out-of-work opera singer named Roger Perry (Marshall) whom they yank off the street and hand a contract to. Angry over them pushing an unknown into the role, Donna constantly berates Roger's acting until he quits. Roger eventually becomes a major radio star, while Donna's show flops. Donna is pushed onto Roger's show, which she hates at first...until they fall in love. Their producers try to push them together, but when they actually announce a wedding, they pull them apart for the good of their careers.
The Song and Dance: A few good comic bits and some nice songs from Marshall are pretty much all to recommend in this B movie. Jenkins is joined by Al Shaw, Sam Lee, and pianist Eddie Conrad as Roger's street musician buddies who take advantage of his radio fame to join his show, and later help reunite him and Donna. They have some decent gags, especially in the beginning when they're trying to get noticed and during the "Man Must Shave" number.
Favorite Number: "Silver Wings" is a mildly attractive ballad Marshall sings at a nightclub when Donna and her producers are watching his show towards the end. The street singers and Allen Jenkins join Marshall for the hilarious "A Man Must Shave," as they disrupt his attempts to get himself cleaned up and out the door.
What I Don't Like: Dull romantic comedy is nothing like Berkeley's usual backstage extravaganzas. Other than showing a few of his touches in the numbers, it barely evinces his touch. Despite being the nominal star, Del Rio doesn't have much to do. Marshall is only slightly improved from his previous outing in Dixiana. His face does look slightly better without the mustache, but he still plays to the balcony instead of the camera and comes off as a bit stiff.
The Big Finale: Completely unnecessary unless you're a huge Berkeley or Del Rio fan or are looking for something semi-cute to pass time on TCM.
Home Media: To my knowledge, the only place you can see this one is occasionally on the cable channel Turner Classic Movies that specializes in older films. Check their website and on-demand service for dates and times.
Watch TCM
Starring Dolores Del Rio, Everett Marshall, Allen Jenkins, and Guy Kibbee
Directed by Busby Berkeley
Music by Allie Wrubel; Lyrics by Mort Dixon
Berkeley didn't just direct spectacular musicals. He also made the occasional dive into smaller-scale projects, such as this radio-set romantic comedy with song sequence. This was also Metropolitan Opera performer Everett Marshall's second go at a film career after Dixiana from 1930, and Del Rio's second small-scale musical that year. How do she and Berkeley fit with the story of a South American stage actress who finds herself linked to a radio star? Let's head to a theater in New York, where Donna (Del Rio) is about to star in her next big show, and find out...
The Story: Donna is hoping to push her eager young lover Rico (Don Alvardo) as her leading man. The producers Fabian (Benton Churchill) and Townsend (Hobart Canavaugh) would rather have anyone else, including an out-of-work opera singer named Roger Perry (Marshall) whom they yank off the street and hand a contract to. Angry over them pushing an unknown into the role, Donna constantly berates Roger's acting until he quits. Roger eventually becomes a major radio star, while Donna's show flops. Donna is pushed onto Roger's show, which she hates at first...until they fall in love. Their producers try to push them together, but when they actually announce a wedding, they pull them apart for the good of their careers.
The Song and Dance: A few good comic bits and some nice songs from Marshall are pretty much all to recommend in this B movie. Jenkins is joined by Al Shaw, Sam Lee, and pianist Eddie Conrad as Roger's street musician buddies who take advantage of his radio fame to join his show, and later help reunite him and Donna. They have some decent gags, especially in the beginning when they're trying to get noticed and during the "Man Must Shave" number.
Favorite Number: "Silver Wings" is a mildly attractive ballad Marshall sings at a nightclub when Donna and her producers are watching his show towards the end. The street singers and Allen Jenkins join Marshall for the hilarious "A Man Must Shave," as they disrupt his attempts to get himself cleaned up and out the door.
What I Don't Like: Dull romantic comedy is nothing like Berkeley's usual backstage extravaganzas. Other than showing a few of his touches in the numbers, it barely evinces his touch. Despite being the nominal star, Del Rio doesn't have much to do. Marshall is only slightly improved from his previous outing in Dixiana. His face does look slightly better without the mustache, but he still plays to the balcony instead of the camera and comes off as a bit stiff.
The Big Finale: Completely unnecessary unless you're a huge Berkeley or Del Rio fan or are looking for something semi-cute to pass time on TCM.
Home Media: To my knowledge, the only place you can see this one is occasionally on the cable channel Turner Classic Movies that specializes in older films. Check their website and on-demand service for dates and times.
Watch TCM
Tuesday, August 25, 2020
In Caliente
1935, Warner Bros.
Starring Dolores Del Rio, Pat O'Brian, Edward Everett Horton, and Leo Carrillo
Directed by Lloyd Bacon
Music by various
Dolores Del Rio was one of Hollywood's most popular stars in the late 20's and early 30's. Her fiery temperament and exotic Mexican beauty made her a stand-out among the more typical goofy blondes and sarcastic brunettes who were the popular "types" of the era. This is pretty typical of not only her 30's vehicles, but of the kind of movie Busby Berkeley directed dance numbers for between Gold Diggers spectaculars. How does Del Rio's Latin heat look in this Mexican-set romantic comedy? Let's head to New York, where editor Larry MacArthur (O'Brian) is trying to put Manhattan Magazine to bed, and find out...
The Story: In addition to being the magazine's editor, Larry is also its chief critic. He spends most of his time drunk, then writing bad reviews because he hadn't really seen the performances while under the influence. His flustered publisher Harold Brandon (Horton) is fed up with his boozing and falling in love with every woman he sees, including blonde gold-digger Clara Thorne (Glenda Farrell). He shanghais him while on a spree and smuggles him over the border to the popular Mexican resort Agua Caliente Casino to dry out.
While there, Larry falls for lovely Mexican dancer Rita Gomez (Del Rio). She's not as fond of him at first. He gave her a terrible review the year before, and she's wanted her revenge ever since. She and her scheming Uncle Jose (Carrillo) intend to make him look as foolish as he made her look a year ago...but her falling for Larry wasn't part of the deal.
The Song and Dance: Del Rio and filming at the real Agua Caliente resort spice up this typical romantic comedy. Horton and Farrell also have fun as the flustered publisher who just wants his partner to drop the booze and find the right woman and the gold-digger who isn't about to lose her meal ticket. Del Rio's a lot of fun as the dancer who wants to get this jerk back for panning her, especially after her introduction when she realizes he doesn't recognize her.
Favorite Number: By far the best thing about this one is two terrific Busby Berkeley routines. The big chorus song "The Lady In Red" begins with the chorus girls in tilted hats and sexy dresses, singing about the lady of the title in a darkened room with matches in their hands. Dance team the Del Marcos pick up an intricate ballroom duet before finishing with the Lady herself (Wini Shaw) cha-cha-ing with a very drunk Horton. "Tango Muchacha" is the dramatic finale, with Del Rio as the beautiful Mexican senorita who steals all hearts, including that of singer Phil Regan.
Trivia: Agua Caliente Casino was a real Mexican resort that was popular with wealthy Californians during Prohibition. After Mexico outlawed gambling later in 1935, it became a high school. The racetrack there still exists to this day.
What I Don't Like: I have no idea what O'Brian is doing in a musical. He does well enough with the comic moments, but he can't sing or dance and seems uncomfortable around the Berkeley routines. Wish there was even more Berkeley. Might have gone a long way towards adding more color to a story that's a little on the bland side.
The Big Finale: If you love Del Rio or romantic comedy or want to check out some lesser-known Busby Berkeley routines, this south of the border charmer is worth checking out if you ever run into it on TCM.
Home Media: Currently DVD only from the Warner Archives.
DVD
Starring Dolores Del Rio, Pat O'Brian, Edward Everett Horton, and Leo Carrillo
Directed by Lloyd Bacon
Music by various
Dolores Del Rio was one of Hollywood's most popular stars in the late 20's and early 30's. Her fiery temperament and exotic Mexican beauty made her a stand-out among the more typical goofy blondes and sarcastic brunettes who were the popular "types" of the era. This is pretty typical of not only her 30's vehicles, but of the kind of movie Busby Berkeley directed dance numbers for between Gold Diggers spectaculars. How does Del Rio's Latin heat look in this Mexican-set romantic comedy? Let's head to New York, where editor Larry MacArthur (O'Brian) is trying to put Manhattan Magazine to bed, and find out...
The Story: In addition to being the magazine's editor, Larry is also its chief critic. He spends most of his time drunk, then writing bad reviews because he hadn't really seen the performances while under the influence. His flustered publisher Harold Brandon (Horton) is fed up with his boozing and falling in love with every woman he sees, including blonde gold-digger Clara Thorne (Glenda Farrell). He shanghais him while on a spree and smuggles him over the border to the popular Mexican resort Agua Caliente Casino to dry out.
While there, Larry falls for lovely Mexican dancer Rita Gomez (Del Rio). She's not as fond of him at first. He gave her a terrible review the year before, and she's wanted her revenge ever since. She and her scheming Uncle Jose (Carrillo) intend to make him look as foolish as he made her look a year ago...but her falling for Larry wasn't part of the deal.
The Song and Dance: Del Rio and filming at the real Agua Caliente resort spice up this typical romantic comedy. Horton and Farrell also have fun as the flustered publisher who just wants his partner to drop the booze and find the right woman and the gold-digger who isn't about to lose her meal ticket. Del Rio's a lot of fun as the dancer who wants to get this jerk back for panning her, especially after her introduction when she realizes he doesn't recognize her.
Favorite Number: By far the best thing about this one is two terrific Busby Berkeley routines. The big chorus song "The Lady In Red" begins with the chorus girls in tilted hats and sexy dresses, singing about the lady of the title in a darkened room with matches in their hands. Dance team the Del Marcos pick up an intricate ballroom duet before finishing with the Lady herself (Wini Shaw) cha-cha-ing with a very drunk Horton. "Tango Muchacha" is the dramatic finale, with Del Rio as the beautiful Mexican senorita who steals all hearts, including that of singer Phil Regan.
Trivia: Agua Caliente Casino was a real Mexican resort that was popular with wealthy Californians during Prohibition. After Mexico outlawed gambling later in 1935, it became a high school. The racetrack there still exists to this day.
What I Don't Like: I have no idea what O'Brian is doing in a musical. He does well enough with the comic moments, but he can't sing or dance and seems uncomfortable around the Berkeley routines. Wish there was even more Berkeley. Might have gone a long way towards adding more color to a story that's a little on the bland side.
The Big Finale: If you love Del Rio or romantic comedy or want to check out some lesser-known Busby Berkeley routines, this south of the border charmer is worth checking out if you ever run into it on TCM.
Home Media: Currently DVD only from the Warner Archives.
DVD
Saturday, August 22, 2020
Musicals On TV - Camp Rock
Disney, 2008
Starring Devi Lovato, Joe Jonas, Meaghan Martin, and Alyson Stoner
Directed by Matthew Diamond
Music by various
High School Musical and its sequel were so huge, Disney immediately started looking for more musical talent. They hit on The Jonas Brothers, a trio of young gentlemen who were the Next Big Thing in 2007. The brothers would eventually appear on two Disney Channel series as well, making them a natural to headline their next big musical franchise. Lovato also had considerable experience in musical circles, having started as a young child Barney & Friends and appeared in the Disney short series As the Bell Rings. With all that talent, how rockin' is this particular camp? Let's head to the bedroom of teen Mitchie Torres (Lovato), and find out...
The Story: Mitchie begs her mother to let her attend Camp Rock, a summer camp for aspiring performers. Her mother Connie (Maria Canals-Barrera) arranges for her to go in exchange for becoming the camp's cook. Embarrassed about how she got in, she lies to popular girl Tess (Martin) and her friends that her mother is a rich producer. She ends up singing background to spoiled Tess, even though she's a fine singer in her own right. Mitchie gets involved in a fight between Tess and less-wealthy Catalyn (Stoner), but fears losing Tess' friendship and doesn't say what really happens.
Meanwhile, obnoxious pop singer Shane Gray (Jonas) has been shoved into teaching dance classes at Camp Rock by his brothers, the other members of hit group Connect 3 (Nick and Kevin Jonas). He befriends Mitchie after she overhears a song he wrote, but doesn't think is "commercial" enough. They fall for each other...until a jealous Tess lets the cat out of the bag about who Mitchie's mother really is. Now Mitchie and Catalyn have to band together to show the entire camp what they can really do. Tess, however, has one last trick up her sleeve...
The Song and Dance: I'll give the kids some credit. No wonder Lovato went on to become a genuine music star as an adult, and the Jonas Brothers were popular in their own right for a while. They really are fine singers and dancers. The numbers in the Final Jam in particular are a blast and show off what the kids can do. Those of you who have your own memories of rock in the early 90's will want to look for former MTV VJ "Downtown" Julie Brown in a small part as the camp's musical director.
Favorite Number: Lovato kicks things off trying to figure out what her real style is in "Who Will I Be?" Ella (Anna Maria Perez de Tagle), one of Tess' former background singers, joins rappers Barron (Jordan Francis) and Sander (Roshon Fegan) for the spirited rap chorus number "Hasta La Vista." Another former Tess background singer, Peggy (Jasmine Richards), wowed the crowd (and me) with her impassioned guitar playing to "Here I Am." Shane joins Mitchie for their duet on her big song "This Is Me."
What I Don't Like: Even more than High School Musical or the Descendants films, this is one big, huge cliche. Mitchie's perpetual lying makes her less a likable kid trying too hard to fit in than a bratty turncoat who is lucky anyone wants to talk to her by the end of the summer. She and Jonas have all the chemistry of two wet rags (despite the actors having dated in real-life for a while), and you really don't care if they get together in the end or not. I found Tess' background buddies growing spines and splitting off from her to be more interesting than Mitchie's (mostly self-created) problems.
Ironically, for all Shane's claims that his song isn't "commercial," it sounds just like every other pop song in the film. Despite some of the good performances, the music is pretty bland, and the kids can only do so much with it.
The Big Finale: It lacks the charm of High School Musical and the creative movie satire of Teen Beach Movie, and other than a few good numbers, it's kind of annoying. Only jam with this one if you're a huge fan of the film or its stars or have kids in the appropriate 8 to 14 age range.
Home Media: As one of the most popular Disney Channel Original Films (it remains the third most-watched in the channel's history), this is easy to find in all major formats, often for under 5 dollars.
DVD
Blu-Ray
Amazon Prime
Starring Devi Lovato, Joe Jonas, Meaghan Martin, and Alyson Stoner
Directed by Matthew Diamond
Music by various
High School Musical and its sequel were so huge, Disney immediately started looking for more musical talent. They hit on The Jonas Brothers, a trio of young gentlemen who were the Next Big Thing in 2007. The brothers would eventually appear on two Disney Channel series as well, making them a natural to headline their next big musical franchise. Lovato also had considerable experience in musical circles, having started as a young child Barney & Friends and appeared in the Disney short series As the Bell Rings. With all that talent, how rockin' is this particular camp? Let's head to the bedroom of teen Mitchie Torres (Lovato), and find out...
The Story: Mitchie begs her mother to let her attend Camp Rock, a summer camp for aspiring performers. Her mother Connie (Maria Canals-Barrera) arranges for her to go in exchange for becoming the camp's cook. Embarrassed about how she got in, she lies to popular girl Tess (Martin) and her friends that her mother is a rich producer. She ends up singing background to spoiled Tess, even though she's a fine singer in her own right. Mitchie gets involved in a fight between Tess and less-wealthy Catalyn (Stoner), but fears losing Tess' friendship and doesn't say what really happens.
Meanwhile, obnoxious pop singer Shane Gray (Jonas) has been shoved into teaching dance classes at Camp Rock by his brothers, the other members of hit group Connect 3 (Nick and Kevin Jonas). He befriends Mitchie after she overhears a song he wrote, but doesn't think is "commercial" enough. They fall for each other...until a jealous Tess lets the cat out of the bag about who Mitchie's mother really is. Now Mitchie and Catalyn have to band together to show the entire camp what they can really do. Tess, however, has one last trick up her sleeve...
The Song and Dance: I'll give the kids some credit. No wonder Lovato went on to become a genuine music star as an adult, and the Jonas Brothers were popular in their own right for a while. They really are fine singers and dancers. The numbers in the Final Jam in particular are a blast and show off what the kids can do. Those of you who have your own memories of rock in the early 90's will want to look for former MTV VJ "Downtown" Julie Brown in a small part as the camp's musical director.
Favorite Number: Lovato kicks things off trying to figure out what her real style is in "Who Will I Be?" Ella (Anna Maria Perez de Tagle), one of Tess' former background singers, joins rappers Barron (Jordan Francis) and Sander (Roshon Fegan) for the spirited rap chorus number "Hasta La Vista." Another former Tess background singer, Peggy (Jasmine Richards), wowed the crowd (and me) with her impassioned guitar playing to "Here I Am." Shane joins Mitchie for their duet on her big song "This Is Me."
What I Don't Like: Even more than High School Musical or the Descendants films, this is one big, huge cliche. Mitchie's perpetual lying makes her less a likable kid trying too hard to fit in than a bratty turncoat who is lucky anyone wants to talk to her by the end of the summer. She and Jonas have all the chemistry of two wet rags (despite the actors having dated in real-life for a while), and you really don't care if they get together in the end or not. I found Tess' background buddies growing spines and splitting off from her to be more interesting than Mitchie's (mostly self-created) problems.
Ironically, for all Shane's claims that his song isn't "commercial," it sounds just like every other pop song in the film. Despite some of the good performances, the music is pretty bland, and the kids can only do so much with it.
The Big Finale: It lacks the charm of High School Musical and the creative movie satire of Teen Beach Movie, and other than a few good numbers, it's kind of annoying. Only jam with this one if you're a huge fan of the film or its stars or have kids in the appropriate 8 to 14 age range.
Home Media: As one of the most popular Disney Channel Original Films (it remains the third most-watched in the channel's history), this is easy to find in all major formats, often for under 5 dollars.
DVD
Blu-Ray
Amazon Prime
Thursday, August 20, 2020
Bitter Sweet (1940)
MGM, 1940
Starring Jeanette MacDonald, Nelson Eddy, George Sanders, and Ian Hunter
Directed by W.S Van Dyke
Music by Noel Coward; Lyrics by Noel Coward and Gus Kahn
This was MacDonald and Eddy's second go at a tragic romance after Maytime, and their second film in color after the romantic comedy Sweethearts. MGM had high hopes for this to be as well-received as Maytime in 1938, but things didn't work out that way. Playwright and songwriter Coward really hated it, and MacDonald and Eddy weren't overly pleased, either. Why did this delicate confection engender so much hostility? To answer that question, let's head to London, where pretty young Sarah (MacDonald) is singing with her handsome music teacher Carl Linden (Eddy) and find out...
The Story: Sarah is to be married to Harry Daventry (Edward Ashley), a dull, stuffy member of the Foreign Office, but she really loves Carl. They marry secretly and run off to his home in Vienna, where they live in happy poverty as starving artists. Sarah, whom Carl calls "Sari," thinks their luck is changing when superstitious British aristocrat Lord Shayne (Hunter) is convinced their music helped his card game and hires them to sing at a local cafe. The cafe is popular with Austrian military officers, including Baron Von Tranisch (Saunders), who has his eyes on Sarah. When Carl's attempt to defend his wife's honor one evening ends in tragedy, Sarah's left with nothing but her husband's operetta and memories she holds dear for the rest of her life.
The Song and Dance: Gorgeous color and a decent supporting cast enliven this brittle story. Saunders is a delightfully scheming cad, with his roving eyes and sneering accent. Felix Bressart and Curt Bois have a few funny bits as Carl's buddies Ernst and Max, who have the habit of pawning anything their fingers can reach. (Including most of the furniture in Carl's apartment.) The bold palate gives the movie the look of a Dresden fairy tale...until the big "Ziguerner" finale, which is done in the most exquisite pale creams, coppers, and tans.
Favorite Number: We're introduced to the duo as Carl teaches Sarah the big hit from this show, the lovely duet "I'll See You Again." He explains why he so badly wishes to return to Vienna - and wants her to come along - in the yearning "If You Could Only Come With Me." When they do make it to Vienna, Carl leads the men at his favorite cafe through the rousing drinking song "Tokay." He and Sarah sing of their "Dear Little Cafe" as they set up for a meager dinner in their tiny flat. They perform "What Is Love" initially at their flat, then at the cafe among whirling dancers...right before Von Tranisch makes his improper advances at Sarah...
Trivia: There was an earlier British film in 1933 that starred Anna Neagle and apparently came a lot closer to what the original show was like.
What I Don't Like: No amount of color or stunning costumes can cover up the fact that the drama falls flat. I haven't seen the original 1929 Coward Bitter Sweet, but MGM apparently cut a lot out, including the other hit ballad "If Love Were All" and a prologue and epilogue set in the present that sounded too much like Maytime. A sequence with MacDonald and Eddy vying to teach music to shopkeeper Herman Bing's daughter is overwrought and seems completely out of left field with the rest of the film. MacDonald and Eddy don't even attempt to sound British or Austrian, making them fit in awkwardly with the real Brits and Germans in the supporting cast, and are way too old for their roles.
The Big Finale: This is my least-favorite of MacDonald and Eddy's eight films together. Even I Married an Angel shows more wit and sparkle. Only if you're a really huge fan of them, Coward, or operetta.
Home Media: Easily found for streaming and on DVD from the Warner Archives.
DVD
Amazon Prime
Starring Jeanette MacDonald, Nelson Eddy, George Sanders, and Ian Hunter
Directed by W.S Van Dyke
Music by Noel Coward; Lyrics by Noel Coward and Gus Kahn
This was MacDonald and Eddy's second go at a tragic romance after Maytime, and their second film in color after the romantic comedy Sweethearts. MGM had high hopes for this to be as well-received as Maytime in 1938, but things didn't work out that way. Playwright and songwriter Coward really hated it, and MacDonald and Eddy weren't overly pleased, either. Why did this delicate confection engender so much hostility? To answer that question, let's head to London, where pretty young Sarah (MacDonald) is singing with her handsome music teacher Carl Linden (Eddy) and find out...
The Story: Sarah is to be married to Harry Daventry (Edward Ashley), a dull, stuffy member of the Foreign Office, but she really loves Carl. They marry secretly and run off to his home in Vienna, where they live in happy poverty as starving artists. Sarah, whom Carl calls "Sari," thinks their luck is changing when superstitious British aristocrat Lord Shayne (Hunter) is convinced their music helped his card game and hires them to sing at a local cafe. The cafe is popular with Austrian military officers, including Baron Von Tranisch (Saunders), who has his eyes on Sarah. When Carl's attempt to defend his wife's honor one evening ends in tragedy, Sarah's left with nothing but her husband's operetta and memories she holds dear for the rest of her life.
The Song and Dance: Gorgeous color and a decent supporting cast enliven this brittle story. Saunders is a delightfully scheming cad, with his roving eyes and sneering accent. Felix Bressart and Curt Bois have a few funny bits as Carl's buddies Ernst and Max, who have the habit of pawning anything their fingers can reach. (Including most of the furniture in Carl's apartment.) The bold palate gives the movie the look of a Dresden fairy tale...until the big "Ziguerner" finale, which is done in the most exquisite pale creams, coppers, and tans.
Favorite Number: We're introduced to the duo as Carl teaches Sarah the big hit from this show, the lovely duet "I'll See You Again." He explains why he so badly wishes to return to Vienna - and wants her to come along - in the yearning "If You Could Only Come With Me." When they do make it to Vienna, Carl leads the men at his favorite cafe through the rousing drinking song "Tokay." He and Sarah sing of their "Dear Little Cafe" as they set up for a meager dinner in their tiny flat. They perform "What Is Love" initially at their flat, then at the cafe among whirling dancers...right before Von Tranisch makes his improper advances at Sarah...
Trivia: There was an earlier British film in 1933 that starred Anna Neagle and apparently came a lot closer to what the original show was like.
What I Don't Like: No amount of color or stunning costumes can cover up the fact that the drama falls flat. I haven't seen the original 1929 Coward Bitter Sweet, but MGM apparently cut a lot out, including the other hit ballad "If Love Were All" and a prologue and epilogue set in the present that sounded too much like Maytime. A sequence with MacDonald and Eddy vying to teach music to shopkeeper Herman Bing's daughter is overwrought and seems completely out of left field with the rest of the film. MacDonald and Eddy don't even attempt to sound British or Austrian, making them fit in awkwardly with the real Brits and Germans in the supporting cast, and are way too old for their roles.
The Big Finale: This is my least-favorite of MacDonald and Eddy's eight films together. Even I Married an Angel shows more wit and sparkle. Only if you're a really huge fan of them, Coward, or operetta.
Home Media: Easily found for streaming and on DVD from the Warner Archives.
DVD
Amazon Prime
Tuesday, August 18, 2020
The Student Prince
MGM, 1954
Starring Edmund Purdom, Ann Blyth, Edmund Gwenn, and John Ericson
Directed by Richard Thorpe
Music by various
Not every love affair in a musical ends on a happy note. This week, we're going to explore two operettas that feature romances where the lovers part or die before the end. The Student Prince, the bittersweet tale of a bar maid who falls for royalty, likely remains the most famous and popular of the melodramatic operettas Romberg wrote in the late 10's and 20's. How does this version look today? Let's head to the tiny German kingdom of Karlsberg in the early 20th century as Prince Karl (Purdom) is greeting his grandfather King Ferdinand (Louis Cahern) and find out...
The Story: King Ferdinand is proud of his grandson and how he's been able to drill military bearing into him. The prince's intended bride Princess Joanna (Betta St. John) finds him too stiff and cold to be around. Hoping to loosen him up and teach him to have fun, his tutor Professor Juttner (Gwenn) suggests sending him to university at Heidleburg to teach him social graces and to get along with his peers.
He has a hard time settling down at first. He's used to being in command. Gradually, he joins a group of poor but cheerful students and falls in love with the bar maid at their favorite beer garden, Kathie (Blyth). They're ready to run off together when Ferdiand dies and he has to go home and prepare to marry the princess. He's never forgotten Kathie, though, and returns to Heidleburg to give her a final farewell.
The Song and Dance: Glowing romance enlivens this sweet story. Blyth is radiant as Kathie, who resents the obnoxious prince until she starts to realize she's fallen for him as he becomes more carefree. She and Mario Lanza (who dubbed Purdom) sound glorious on their duets. Gwenn and John Ericson are a delight as the fun-loving professor who thinks the prince will learn more among his peers than he ever could in a military formation and the prince's stuffy major-domo. Special kudos to the amazing costumes that ably show off a fairy-tale Germany at the turn of the 20th century, with colorful peasant dirndls, haughty military uniforms smothered in gold braid, and suits for the students that's far more sober than their rowdy behavior.
Favorite Number: "The Student's Drinking Song" introduces the prince to his fellow learners at the beer garden. He's not impressed with Kathie's arrival, as she says "Come Boys" and joins in their high spirited antics. "Serenade," the prince's solo to woo Kathie, sounds absolutely amazing here, with Lanza really pouring his heart into Karl's attempts to woo the lovely barmaid. Likewise, "Golden Days" at the end is genuinely heartfelt as Karl lingers on the memories of his time with Kathie. "Deep In My Heart" brings the two together for the first time. "I'll Walk With God" is a touching hymm for Karl after his grandfather dies.
Trivia: Mario Lanza was originally supposed to play the prince himself, not just dub him, but he refused to work with the first choice director Curtis Bernhardt after he criticized his singing and either walked out or was fired. MGM eventually suspended his contract for 15 months and agreed to use his singing with someone else.
Most of Dorothy Donnelly's original lyrics were re-written by Nicholas Brodzky.
S.Z Sakall's last film.
What I Don't Like: Note that "most of Dorothy Donnelly's original lyrics were re-written" thing above. What was wrong with the original lyrics? Why did the give all the songs to the chorus, the Prince, or Kathie? In the original operetta, everyone sang, including the Professor and Princess Joanna and her own illicit sweetheart, the latter of whom was cut from the film. Purdom isn't bad when fencing with students or being called on to look stiff and Teutonic, but he lacks the passion that the Prince is supposed to have later in the story (and that Lanza likely would have injected into the role).
The Big Finale: Mostly recommended for major fans of Lanza, romances, or operetta.
Home Media: The Warner Archives DVD is currently out of print. Your best bet is likely used venues or seeing if you can catch it on TCM.
DVD
Starring Edmund Purdom, Ann Blyth, Edmund Gwenn, and John Ericson
Directed by Richard Thorpe
Music by various
Not every love affair in a musical ends on a happy note. This week, we're going to explore two operettas that feature romances where the lovers part or die before the end. The Student Prince, the bittersweet tale of a bar maid who falls for royalty, likely remains the most famous and popular of the melodramatic operettas Romberg wrote in the late 10's and 20's. How does this version look today? Let's head to the tiny German kingdom of Karlsberg in the early 20th century as Prince Karl (Purdom) is greeting his grandfather King Ferdinand (Louis Cahern) and find out...
The Story: King Ferdinand is proud of his grandson and how he's been able to drill military bearing into him. The prince's intended bride Princess Joanna (Betta St. John) finds him too stiff and cold to be around. Hoping to loosen him up and teach him to have fun, his tutor Professor Juttner (Gwenn) suggests sending him to university at Heidleburg to teach him social graces and to get along with his peers.
He has a hard time settling down at first. He's used to being in command. Gradually, he joins a group of poor but cheerful students and falls in love with the bar maid at their favorite beer garden, Kathie (Blyth). They're ready to run off together when Ferdiand dies and he has to go home and prepare to marry the princess. He's never forgotten Kathie, though, and returns to Heidleburg to give her a final farewell.
The Song and Dance: Glowing romance enlivens this sweet story. Blyth is radiant as Kathie, who resents the obnoxious prince until she starts to realize she's fallen for him as he becomes more carefree. She and Mario Lanza (who dubbed Purdom) sound glorious on their duets. Gwenn and John Ericson are a delight as the fun-loving professor who thinks the prince will learn more among his peers than he ever could in a military formation and the prince's stuffy major-domo. Special kudos to the amazing costumes that ably show off a fairy-tale Germany at the turn of the 20th century, with colorful peasant dirndls, haughty military uniforms smothered in gold braid, and suits for the students that's far more sober than their rowdy behavior.
Favorite Number: "The Student's Drinking Song" introduces the prince to his fellow learners at the beer garden. He's not impressed with Kathie's arrival, as she says "Come Boys" and joins in their high spirited antics. "Serenade," the prince's solo to woo Kathie, sounds absolutely amazing here, with Lanza really pouring his heart into Karl's attempts to woo the lovely barmaid. Likewise, "Golden Days" at the end is genuinely heartfelt as Karl lingers on the memories of his time with Kathie. "Deep In My Heart" brings the two together for the first time. "I'll Walk With God" is a touching hymm for Karl after his grandfather dies.
Trivia: Mario Lanza was originally supposed to play the prince himself, not just dub him, but he refused to work with the first choice director Curtis Bernhardt after he criticized his singing and either walked out or was fired. MGM eventually suspended his contract for 15 months and agreed to use his singing with someone else.
Most of Dorothy Donnelly's original lyrics were re-written by Nicholas Brodzky.
S.Z Sakall's last film.
What I Don't Like: Note that "most of Dorothy Donnelly's original lyrics were re-written" thing above. What was wrong with the original lyrics? Why did the give all the songs to the chorus, the Prince, or Kathie? In the original operetta, everyone sang, including the Professor and Princess Joanna and her own illicit sweetheart, the latter of whom was cut from the film. Purdom isn't bad when fencing with students or being called on to look stiff and Teutonic, but he lacks the passion that the Prince is supposed to have later in the story (and that Lanza likely would have injected into the role).
The Big Finale: Mostly recommended for major fans of Lanza, romances, or operetta.
Home Media: The Warner Archives DVD is currently out of print. Your best bet is likely used venues or seeing if you can catch it on TCM.
DVD
Saturday, August 15, 2020
Animation Celebration Saturday - The Thief and the Cobbler (Arabian Knight)
Miramax, 1995
Voices of Matthew Broderick, Jennifer Beals, Vincent Price, and Johnathan Winters
Directed by Richard Williams and others
Music by Robert Folk; Lyrics by Norman Gimbel
Richard Williams had one overwhelming desire - to create an independent animated film that had all the elegance and artistry of the big studios. He threw his heart into this movie for 30 years, taking other jobs like Raggedy Ann & Andy: A Musical Adventure and the animated portions of Who Framed Roger Rabbit to support its production, until it was finally taken out of his hands in 1992 and handed to others. How does the version of this much-maligned film that Miramax released to theaters in 1995 hold up today? Let's begin in old Baghdad as Tack the Cobbler (Broderick) tells us his story and find out...
The Story: Tack is a poor but kind cobbler who lives in the city, along with a nameless thief (Winters) who will take anything that's not nailed down (and probably a few things that are). One day, after getting tangled with the Thief, he accidentally drops a tack just as the Grand Vizier ZigZag (Price) is walking to the palace. ZigZag angrily arrests Tack and brings him to the castle to be imprisoned. Lovely and spirited Princess Yum Yum (Beals) takes a liking to Tack and lets him fix her shoe to keep him out of jail. ZigZag tosses him there anyway once the shoe is repaired.
Meanwhile, the Thief has his eyes on the golden balls on top of the palace's minarets. He has no idea that the balls are there to keep the terrible One-Eye monsters from invading Baghdad. After he steals them, they fall into the hands of ZigZag and his minions, who turn them over to the One-Eyes. King Nod (Clive Revill), Yum Yum's sleepy father, is horrified that his dream of the destruction of the city may now come true. Yum Yum, Tack, and her aging nurse (Toni Collette) head to the home of a witch (Collette) who may be able to help them. She tells them of the prophecy that tells of the smallest item being able to do the most damage...something as small as a tack...
The Animation: As you can guess from the lengthy and varied production, it's all over the map. The black and white 3-D sequences of characters running across halls or sliding down staircases are truly dazzling and dizzying...even more so for being made by hand, without the use of a computer. The color sequences directed by Fred Calvert and his team may be brighter, but they also show far less fluidity and imagination.
The Song and Dance: It's too bad Williams was never able to finish this one the way he intended. What exists now is a charming fairy tale with a few minutes of truly amazing artwork. I like Princess Yum Yum's spunk - she's the one who takes charge of the expedition to the witch and who recruits a group of layabout guards on the borders as her bodyguards. Vincent Price has a blast as nasty ZigZag, too, and Winters occasionally gets a few funny lines and some nifty gags as the thief who is determined to steal anything and everything, including golden balls on the top of a tower.
Favorite Number: Yum Yum wonders why she can't do more for her people in her "I want" song in the palace, "She Is More." "Bom Bom Beem Bom (That's What Happens When You Don't Go to School)" is a catchy chorus ditty that explains who the guards are and why they're working all the way out in the middle of nowhere.
Trivia: The story of this film's production and how Williams lost his magnum opus is far more complicated than I can relate here. I recommend the Wikipedia page on Thief and the Cobbler or the documentary Persistence of Vision if you want to learn more about the movie's complicated and troubled creation.
What I Don't Like: First of all, as funny as Winters can be at times, neither his dialogue nor Broderick's narration are necessary. The Thief was originally intended to be a silent character, and I suspect it would have worked better to let his gags speak for themselves. The songs aren't terribly memorable, especially the two love duets for Yum Yum and Tack. (The big romantic ballad "Am I Feeling Love" is so dull, the pop version is cut off by a reprise of "Bom Bom Beem Bom" before the credits end.)
Second, I really wish they'd let Williams finish, even if he did go over budget. Not only would the animation have been better, but the story might have made less sense. Miramax chopped a ton out of this to make it more family-friendly, including the death of One-Eye, the sequences with his slave girls, and a lot of the visit to the witch and the climatic battle. There was also supposed to be more of the thief, including a subplot involving him stealing an emerald.
It's entirely too easy to tell how long this was in production. The animation reminds me of the scratchy lines and geometric shapes and bright colors of cartoons in the 60's, but the music, sound effects, and voice acting are strictly 90's.
The Big Finale: Slightly better than I thought it would be, given it's reputation. From the comments on YouTube, this version seems to have a lot of fans who grew up watching the video in the late 90's. It's still only recommended for major fans of those viewings, the stars, or Williams and his work.
Home Media: The Miramax version is out of print and astronomically expensive on DVD. YouTube is currently your best bet for this and for "The Recobbled Cut" that fans made to get closer to Williams' original vision.
DVD
YouTube
YouTube - The Recobbled Cut
Voices of Matthew Broderick, Jennifer Beals, Vincent Price, and Johnathan Winters
Directed by Richard Williams and others
Music by Robert Folk; Lyrics by Norman Gimbel
Richard Williams had one overwhelming desire - to create an independent animated film that had all the elegance and artistry of the big studios. He threw his heart into this movie for 30 years, taking other jobs like Raggedy Ann & Andy: A Musical Adventure and the animated portions of Who Framed Roger Rabbit to support its production, until it was finally taken out of his hands in 1992 and handed to others. How does the version of this much-maligned film that Miramax released to theaters in 1995 hold up today? Let's begin in old Baghdad as Tack the Cobbler (Broderick) tells us his story and find out...
The Story: Tack is a poor but kind cobbler who lives in the city, along with a nameless thief (Winters) who will take anything that's not nailed down (and probably a few things that are). One day, after getting tangled with the Thief, he accidentally drops a tack just as the Grand Vizier ZigZag (Price) is walking to the palace. ZigZag angrily arrests Tack and brings him to the castle to be imprisoned. Lovely and spirited Princess Yum Yum (Beals) takes a liking to Tack and lets him fix her shoe to keep him out of jail. ZigZag tosses him there anyway once the shoe is repaired.
Meanwhile, the Thief has his eyes on the golden balls on top of the palace's minarets. He has no idea that the balls are there to keep the terrible One-Eye monsters from invading Baghdad. After he steals them, they fall into the hands of ZigZag and his minions, who turn them over to the One-Eyes. King Nod (Clive Revill), Yum Yum's sleepy father, is horrified that his dream of the destruction of the city may now come true. Yum Yum, Tack, and her aging nurse (Toni Collette) head to the home of a witch (Collette) who may be able to help them. She tells them of the prophecy that tells of the smallest item being able to do the most damage...something as small as a tack...
The Animation: As you can guess from the lengthy and varied production, it's all over the map. The black and white 3-D sequences of characters running across halls or sliding down staircases are truly dazzling and dizzying...even more so for being made by hand, without the use of a computer. The color sequences directed by Fred Calvert and his team may be brighter, but they also show far less fluidity and imagination.
The Song and Dance: It's too bad Williams was never able to finish this one the way he intended. What exists now is a charming fairy tale with a few minutes of truly amazing artwork. I like Princess Yum Yum's spunk - she's the one who takes charge of the expedition to the witch and who recruits a group of layabout guards on the borders as her bodyguards. Vincent Price has a blast as nasty ZigZag, too, and Winters occasionally gets a few funny lines and some nifty gags as the thief who is determined to steal anything and everything, including golden balls on the top of a tower.
Favorite Number: Yum Yum wonders why she can't do more for her people in her "I want" song in the palace, "She Is More." "Bom Bom Beem Bom (That's What Happens When You Don't Go to School)" is a catchy chorus ditty that explains who the guards are and why they're working all the way out in the middle of nowhere.
Trivia: The story of this film's production and how Williams lost his magnum opus is far more complicated than I can relate here. I recommend the Wikipedia page on Thief and the Cobbler or the documentary Persistence of Vision if you want to learn more about the movie's complicated and troubled creation.
What I Don't Like: First of all, as funny as Winters can be at times, neither his dialogue nor Broderick's narration are necessary. The Thief was originally intended to be a silent character, and I suspect it would have worked better to let his gags speak for themselves. The songs aren't terribly memorable, especially the two love duets for Yum Yum and Tack. (The big romantic ballad "Am I Feeling Love" is so dull, the pop version is cut off by a reprise of "Bom Bom Beem Bom" before the credits end.)
Second, I really wish they'd let Williams finish, even if he did go over budget. Not only would the animation have been better, but the story might have made less sense. Miramax chopped a ton out of this to make it more family-friendly, including the death of One-Eye, the sequences with his slave girls, and a lot of the visit to the witch and the climatic battle. There was also supposed to be more of the thief, including a subplot involving him stealing an emerald.
It's entirely too easy to tell how long this was in production. The animation reminds me of the scratchy lines and geometric shapes and bright colors of cartoons in the 60's, but the music, sound effects, and voice acting are strictly 90's.
The Big Finale: Slightly better than I thought it would be, given it's reputation. From the comments on YouTube, this version seems to have a lot of fans who grew up watching the video in the late 90's. It's still only recommended for major fans of those viewings, the stars, or Williams and his work.
Home Media: The Miramax version is out of print and astronomically expensive on DVD. YouTube is currently your best bet for this and for "The Recobbled Cut" that fans made to get closer to Williams' original vision.
DVD
YouTube
YouTube - The Recobbled Cut
Thursday, August 13, 2020
Cult Flops - Carefree
RKO, 1938
Starring Fred Astaire, Ginger Rogers, Ralph Bellamy, and Luella Gear
Directed by Mark Sandrich
Music and Lyrics by Irving Berlin
By the late 30's, Rogers had become one of the biggest stars in Hollywood, as adept with drama as she was with comedy. This began to seep into her vehicles with Astaire in this screwball comedy about a psychiatrist who tries to convince a woman she isn't in love with him, then changes her mind back when he realizes that he loves her. How does this screwball comedy work out? Let's begin just outside of the office of psychoanalyst Dr. Tony Flagg (Astaire) as he's talking to one of his patients and find out...
The Story: Stephan Arden (Bellamy) has been drinking because his singer girlfriend Amanda Cooper (Rogers) keeps breaking their engagement. He enlists his psychiatrist Tony to try to get her to agree to marry him. Tony finally gets her to eat a huge meal and dream...but her dream is about dancing with Tony. Horrified when she realizes she's fallen in love with him, she makes up a wild dream instead that makes Tony and his colleague Dr. Powers (Walter Kingston) believe she got enough psychiatric problems to fill a mental institution. Tony gives her drugs to make her act on her impulses...which leads to her breaking windows, kicking cops, and insulting her sponsor on the air.
At a party the next evening, Amanda gets Tony to dance with her, but she can't get him to see her as more than a patient. When he does realize she's fallen for him, he hypnotizes her to believe she loves Stephan and hates him. Trouble is, now he's in love with her. Tony and his nurse Tom (Jack Carson) have to figure out how to stop Amanda and Stephan's wedding, before she marries the wrong man.
The Song and Dance: Rogers has a great deal of fun as the seeming sensible young woman who is really looking for someone a lot more elegant than her overbearing fiancee. She's especially fun after she's been drugged and has let go of her inhibitions. The look on her face when she kicks the cop is priceless. Luella Gear and Clarence Kolb have their own fun as Amanda's sassy aunt who helps pair Tony with her niece and the judge flummoxed by all the lunacy.
Favorite Number: Fred and Ginger get their first on-screen kiss in Amanda's dream world, dancing through their fantasies in "I Used to Be Color Blind." Tony does some fancy golf moves to show off in front of Amanda in "Since They Turned Loch Lomond to Swing." "The Yam" is the big Fred-Ginger dance number with the chorus as Amanda tries to get together with Fred at the party. Tony brings Amanda out to hypnotize her again and get her to "Change Partners" in a duet the night before the wedding.
Trivia: Fred filmed the "Loch Lomond" number three weeks before the rest of the movie began shooting.
"Change Partners" was nominated for an Oscar.
The film was a minor flop at the box office in 1938 and became the first Astaire-Rogers film to lose money.
What I Don't Like: "Change Partners" aside, the score isn't one of Irving Berlin's better ones. Even Fred Astaire thought "The Yam" was silly, which is why Ginger Rogers sings it. I wish RKO filmed "Color Blind" in color, like they'd originally planned. It would have added to the number being "just a dream" and went along with the lyrics.
Psychoanalysis has long been controversial, leaving Tony's theories and claims about Amanda's behavior sounding like so much gobblety-gook today. Neither Tony nor Stephan particularly treat Amanda that well. Tony claiming he's in love with her seems a little sudden, considering he's spent the movie ignoring her other than as a test subject.
The Big Finale: Despite some good numbers, this is mainly for big Astaire/Rogers fans and fans of 30's comedy or musicals.
Home Media: Easily found on DVD from the Warner Archives and as part of several Astaire and Rogers sets.
DVD
DVD - Silver Screen Icons: Astaire & Rogers Vol. 1
Starring Fred Astaire, Ginger Rogers, Ralph Bellamy, and Luella Gear
Directed by Mark Sandrich
Music and Lyrics by Irving Berlin
By the late 30's, Rogers had become one of the biggest stars in Hollywood, as adept with drama as she was with comedy. This began to seep into her vehicles with Astaire in this screwball comedy about a psychiatrist who tries to convince a woman she isn't in love with him, then changes her mind back when he realizes that he loves her. How does this screwball comedy work out? Let's begin just outside of the office of psychoanalyst Dr. Tony Flagg (Astaire) as he's talking to one of his patients and find out...
The Story: Stephan Arden (Bellamy) has been drinking because his singer girlfriend Amanda Cooper (Rogers) keeps breaking their engagement. He enlists his psychiatrist Tony to try to get her to agree to marry him. Tony finally gets her to eat a huge meal and dream...but her dream is about dancing with Tony. Horrified when she realizes she's fallen in love with him, she makes up a wild dream instead that makes Tony and his colleague Dr. Powers (Walter Kingston) believe she got enough psychiatric problems to fill a mental institution. Tony gives her drugs to make her act on her impulses...which leads to her breaking windows, kicking cops, and insulting her sponsor on the air.
At a party the next evening, Amanda gets Tony to dance with her, but she can't get him to see her as more than a patient. When he does realize she's fallen for him, he hypnotizes her to believe she loves Stephan and hates him. Trouble is, now he's in love with her. Tony and his nurse Tom (Jack Carson) have to figure out how to stop Amanda and Stephan's wedding, before she marries the wrong man.
The Song and Dance: Rogers has a great deal of fun as the seeming sensible young woman who is really looking for someone a lot more elegant than her overbearing fiancee. She's especially fun after she's been drugged and has let go of her inhibitions. The look on her face when she kicks the cop is priceless. Luella Gear and Clarence Kolb have their own fun as Amanda's sassy aunt who helps pair Tony with her niece and the judge flummoxed by all the lunacy.
Favorite Number: Fred and Ginger get their first on-screen kiss in Amanda's dream world, dancing through their fantasies in "I Used to Be Color Blind." Tony does some fancy golf moves to show off in front of Amanda in "Since They Turned Loch Lomond to Swing." "The Yam" is the big Fred-Ginger dance number with the chorus as Amanda tries to get together with Fred at the party. Tony brings Amanda out to hypnotize her again and get her to "Change Partners" in a duet the night before the wedding.
Trivia: Fred filmed the "Loch Lomond" number three weeks before the rest of the movie began shooting.
"Change Partners" was nominated for an Oscar.
The film was a minor flop at the box office in 1938 and became the first Astaire-Rogers film to lose money.
What I Don't Like: "Change Partners" aside, the score isn't one of Irving Berlin's better ones. Even Fred Astaire thought "The Yam" was silly, which is why Ginger Rogers sings it. I wish RKO filmed "Color Blind" in color, like they'd originally planned. It would have added to the number being "just a dream" and went along with the lyrics.
Psychoanalysis has long been controversial, leaving Tony's theories and claims about Amanda's behavior sounding like so much gobblety-gook today. Neither Tony nor Stephan particularly treat Amanda that well. Tony claiming he's in love with her seems a little sudden, considering he's spent the movie ignoring her other than as a test subject.
The Big Finale: Despite some good numbers, this is mainly for big Astaire/Rogers fans and fans of 30's comedy or musicals.
Home Media: Easily found on DVD from the Warner Archives and as part of several Astaire and Rogers sets.
DVD
DVD - Silver Screen Icons: Astaire & Rogers Vol. 1
Tuesday, August 11, 2020
In Person
RKO, 1935
Starring Ginger Rogers, George Brent, Alan Mowbray, and Grant Mitchell
Directed by William A. Seiter and James Anderson
Music by Oscar Levant; Lyrics by Dorothy Fields
By 1935, Ginger Rogers was popular enough to appear in musicals without Fred Astaire or the Busby Berkeley-Warners crew. This romantic comedy with music tested the waters with non-singing George Brent playing alongside Rogers as a neurotic movie star to see if she could, indeed, carry a film. How well doe she do? Let's head to a hotel in San Francisco, where bird enthusiast Emery Muir (Brent) is getting on a crowded elevator with a mysterious veiled woman, and find out...
The Story: The mystery woman is Carol Corliss (Rogers), a movie star who is hiding from her fans after a mob nearly trampled her. Emery saves her from another crowd after she faints and accompanies her to her hotel. He convinces her psychiatrist Dr. Sylvester (Samuel S. Hinds) and Sylvester's friend Judge Parks (Mitchell) to let him take her out to a remote cabin in the mountains to work her fears out there. He makes her clean and cook for him as he goes out and fishes. She resents him at first, until she begins to realize that she likes the simple life. Trouble is, her fussy costar Jay Holmes (Mowbray) wants her back on the set, and the local hillbillies are convinced that there's salacious things going on between those unmarried folks in that cabin!
The Song and Dance: Sweet and simple romance gives Rogers a chance to really shine. She gets to play (mild) drama when she's overwhelmed by the crowds in the beginning and getting between her two beaus towards the end. She shows herself to be an adept comedienne during the scene when she's trying to make the ancient stove at the cabin work, and even does two great tap routines. Brent ably abets her as the tough guy who isn't going to put up with either her glamour-girl image or her hiding forever.
Favorite Number: We don't get our first actual number until more than half-way in, but it's the peppy "Got a New Lease On Life." Carol sings and dances along with her recording on the radio to convince Emery she's the real star. The sole large-scale production number is "Out of Sight, Out of Mind" near end. Carol's filming her next big movie in a bizarre number where she taps while literally holding strings around the male chorus.
What I Don't Like: The whole movie is pretty cliched. If you've seen other romantic comedies (then and now), you probably have some idea of how it'll all work out. This is also a pretty low-key movie, and barely a musical. It's not the place for people looking for big Astaire-Rogers dance routines or elaborate Berkeley spectacles.
The Big Finale: If you love Rogers or small-scale romantic comedies, you may want to check this one out "in person" as well.
Home Media: The Warner Archives finally released it on DVD in late July.
DVD
Starring Ginger Rogers, George Brent, Alan Mowbray, and Grant Mitchell
Directed by William A. Seiter and James Anderson
Music by Oscar Levant; Lyrics by Dorothy Fields
By 1935, Ginger Rogers was popular enough to appear in musicals without Fred Astaire or the Busby Berkeley-Warners crew. This romantic comedy with music tested the waters with non-singing George Brent playing alongside Rogers as a neurotic movie star to see if she could, indeed, carry a film. How well doe she do? Let's head to a hotel in San Francisco, where bird enthusiast Emery Muir (Brent) is getting on a crowded elevator with a mysterious veiled woman, and find out...
The Story: The mystery woman is Carol Corliss (Rogers), a movie star who is hiding from her fans after a mob nearly trampled her. Emery saves her from another crowd after she faints and accompanies her to her hotel. He convinces her psychiatrist Dr. Sylvester (Samuel S. Hinds) and Sylvester's friend Judge Parks (Mitchell) to let him take her out to a remote cabin in the mountains to work her fears out there. He makes her clean and cook for him as he goes out and fishes. She resents him at first, until she begins to realize that she likes the simple life. Trouble is, her fussy costar Jay Holmes (Mowbray) wants her back on the set, and the local hillbillies are convinced that there's salacious things going on between those unmarried folks in that cabin!
The Song and Dance: Sweet and simple romance gives Rogers a chance to really shine. She gets to play (mild) drama when she's overwhelmed by the crowds in the beginning and getting between her two beaus towards the end. She shows herself to be an adept comedienne during the scene when she's trying to make the ancient stove at the cabin work, and even does two great tap routines. Brent ably abets her as the tough guy who isn't going to put up with either her glamour-girl image or her hiding forever.
Favorite Number: We don't get our first actual number until more than half-way in, but it's the peppy "Got a New Lease On Life." Carol sings and dances along with her recording on the radio to convince Emery she's the real star. The sole large-scale production number is "Out of Sight, Out of Mind" near end. Carol's filming her next big movie in a bizarre number where she taps while literally holding strings around the male chorus.
What I Don't Like: The whole movie is pretty cliched. If you've seen other romantic comedies (then and now), you probably have some idea of how it'll all work out. This is also a pretty low-key movie, and barely a musical. It's not the place for people looking for big Astaire-Rogers dance routines or elaborate Berkeley spectacles.
The Big Finale: If you love Rogers or small-scale romantic comedies, you may want to check this one out "in person" as well.
Home Media: The Warner Archives finally released it on DVD in late July.
DVD
Saturday, August 8, 2020
Animation Celebration Saturday - Raggedy Ann & Andy: A Musical Adventure
20th Century Fox, 1977
Voices of Didi Conn, Mark Baker, George S. Irving, and Fred Stuthman
Directed by Richard Williams
Music and Lyrics by Joe Raposo
Richard Williams was an animator with a major ambition - to complete his own magnum opus away from studio interference, The Thief and the Cobbler. In order to fund his constant and complicated work on this project, he did other cartoons and movies on the side like this one. The beloved doll and book character Raggedy Ann appeared in a few Paramount cartoons in the 1940's, but this would be the first time she and her brother Andy headlined a feature film. How does this early musical toy story look today? Let's start as the dolls' owner Marcella (Claire Williams) gets off the school bus with her favorite rag doll and find out...
The Story: Ann (Conn) is happy to live in the nursery with the other dolls and her pugnacious brother Andy (Baker), and she adores Marcella. On her seventh birthday, Marcella opens a beautiful new French doll named Babette (Niki Flacks). Spoiled Babette not only doesn't believe she's a toy, but she desperately wants to return to Paris. Snow globe resident Captain Contagious (Irving) is smitten and kidnaps her after he convinces Ann and the others to let him and his boat out of the ball. Ann and Andy venture into the Deep Dark Woods to find them and run into the Camel With the Wrinkled Knees (Stuthman), who is looking for a home. Even with his help, they have to make their way past some pretty bizarre characters to track the pirate and the French doll down.
The Animation: Pretty darn good for the time. The second half, when the characters are trying to out-run the Greedy, the Loonies, and the pirates, look downright amazing at times. The sequence in Loonieland with Ann, Andy, and the Camel sliding down an endless staircase is well-done enough to make people who are prone to motion sickness feel queasy.
The Song and Dance: "Song" is the operative word. Raposo's tunes and the quality animation carry the day, even when the story and characters go off the rails. There's always something neat to look at, from the unique designs of Ann's friends in the nursery to the Greedy's flowing, sticky home, to the wild geometric aesthetic in Loonieland. Some of the music is quite lovely, too. "Blue" turned up on The Muppet Show in 1978, and Didi Conn reprised "Home" in Shining Time Station in the 90's.
Favorite Number: Ann tells the other dolls about her adventures outside with Marcella in the sunshiny "I Look, and What Do I See?" Andy, tired of being squashed and tossed around, defiantly insists that he's "No Girl's Toy" in his acrobatic routine. The catchy "Rag Dolly" has Ann and the other nursery residents explaining their home and who they are to an unimpressed Babette. Ann and Andy declare their affectionate feelings for each other (maybe a tad too affectionate for a brother and sister) in the sweet ballad "Candy Hearts and Paper Flowers." The Camel With the Wrinkled Knees laments about his homeless status in the country-flavored "Blue." The Greedy eats himself and everything around him, even as he tells the doll trio that "I Can Never Get Enough."
Trivia: This appeared twice on the stage in the early 80's. The first version has never made Broadway, but can occasionally be seen on community stages. The second was much darker (it apparently involved the dolls trying to help a dying Marcella) and barely lasted five performances on Broadway in 1986. Neither used much of the original story or songs.
What I Don't Like: I remember seeing this on The Disney Channel in the late 80's and thinking it was pretty darn weird, especially for something involving rag dolls and wrinkled stuffed camels. I still think it's one of the strangest animated musicals out there. The characters are either dull (the Raggedys), obnoxious (Babette, the Loonies), or too bizarre for words (the Greedy, those creepy twin dolls with the squeaky voices in the nursery). The first half of the film has some charm, but as soon as the Raggedys head into the woods, it feels like they're barely in their own vehicle. They're more reacting to the weirdness than actively doing anything. They don't even save everyone in the end - that honor goes to the Captain's parrot. The ending is less an ending and more "we're running out of time, let's just throw the dolls back into live action and wrap this up quickly."
The Big Finale: It's too strange to be for everyone, but those who love Raggedy Ann or Williams or Raposo's work may want to check it out.
Home Media: For some reason, it was never released on DVD. The only place you can currently see it is VHS and on YouTube.
YouTube
Voices of Didi Conn, Mark Baker, George S. Irving, and Fred Stuthman
Directed by Richard Williams
Music and Lyrics by Joe Raposo
Richard Williams was an animator with a major ambition - to complete his own magnum opus away from studio interference, The Thief and the Cobbler. In order to fund his constant and complicated work on this project, he did other cartoons and movies on the side like this one. The beloved doll and book character Raggedy Ann appeared in a few Paramount cartoons in the 1940's, but this would be the first time she and her brother Andy headlined a feature film. How does this early musical toy story look today? Let's start as the dolls' owner Marcella (Claire Williams) gets off the school bus with her favorite rag doll and find out...
The Story: Ann (Conn) is happy to live in the nursery with the other dolls and her pugnacious brother Andy (Baker), and she adores Marcella. On her seventh birthday, Marcella opens a beautiful new French doll named Babette (Niki Flacks). Spoiled Babette not only doesn't believe she's a toy, but she desperately wants to return to Paris. Snow globe resident Captain Contagious (Irving) is smitten and kidnaps her after he convinces Ann and the others to let him and his boat out of the ball. Ann and Andy venture into the Deep Dark Woods to find them and run into the Camel With the Wrinkled Knees (Stuthman), who is looking for a home. Even with his help, they have to make their way past some pretty bizarre characters to track the pirate and the French doll down.
The Animation: Pretty darn good for the time. The second half, when the characters are trying to out-run the Greedy, the Loonies, and the pirates, look downright amazing at times. The sequence in Loonieland with Ann, Andy, and the Camel sliding down an endless staircase is well-done enough to make people who are prone to motion sickness feel queasy.
The Song and Dance: "Song" is the operative word. Raposo's tunes and the quality animation carry the day, even when the story and characters go off the rails. There's always something neat to look at, from the unique designs of Ann's friends in the nursery to the Greedy's flowing, sticky home, to the wild geometric aesthetic in Loonieland. Some of the music is quite lovely, too. "Blue" turned up on The Muppet Show in 1978, and Didi Conn reprised "Home" in Shining Time Station in the 90's.
Favorite Number: Ann tells the other dolls about her adventures outside with Marcella in the sunshiny "I Look, and What Do I See?" Andy, tired of being squashed and tossed around, defiantly insists that he's "No Girl's Toy" in his acrobatic routine. The catchy "Rag Dolly" has Ann and the other nursery residents explaining their home and who they are to an unimpressed Babette. Ann and Andy declare their affectionate feelings for each other (maybe a tad too affectionate for a brother and sister) in the sweet ballad "Candy Hearts and Paper Flowers." The Camel With the Wrinkled Knees laments about his homeless status in the country-flavored "Blue." The Greedy eats himself and everything around him, even as he tells the doll trio that "I Can Never Get Enough."
Trivia: This appeared twice on the stage in the early 80's. The first version has never made Broadway, but can occasionally be seen on community stages. The second was much darker (it apparently involved the dolls trying to help a dying Marcella) and barely lasted five performances on Broadway in 1986. Neither used much of the original story or songs.
What I Don't Like: I remember seeing this on The Disney Channel in the late 80's and thinking it was pretty darn weird, especially for something involving rag dolls and wrinkled stuffed camels. I still think it's one of the strangest animated musicals out there. The characters are either dull (the Raggedys), obnoxious (Babette, the Loonies), or too bizarre for words (the Greedy, those creepy twin dolls with the squeaky voices in the nursery). The first half of the film has some charm, but as soon as the Raggedys head into the woods, it feels like they're barely in their own vehicle. They're more reacting to the weirdness than actively doing anything. They don't even save everyone in the end - that honor goes to the Captain's parrot. The ending is less an ending and more "we're running out of time, let's just throw the dolls back into live action and wrap this up quickly."
The Big Finale: It's too strange to be for everyone, but those who love Raggedy Ann or Williams or Raposo's work may want to check it out.
Home Media: For some reason, it was never released on DVD. The only place you can currently see it is VHS and on YouTube.
YouTube
Thursday, August 6, 2020
Cult Flops - Small Town Girl
MGM, 1953
Starring Jane Powell, Farley Granger, Ann Miller, and Bobby Van
Directed by Laszlo Kardos
Music by Nicholas Brodszky; Lyrics by Leo Robin
Summer Stock wasn't the only small-town, country-fied musical MGM made in the 1950's. This one takes us off the farm and onto Main Street, where wealthy New Yorker cynicism clashes with old-fashioned country values. How does this fish-out-of-water story look today? Let's start with Cindy Kimbell (Powell) and her family as they head off to church and find out...
The Story: Church services are disrupted by a car speeding through the tiny town of Duck Creek. Playboy Rick Livingston (Granger) was trying to get back to New York in time for his Broadway star girlfriend Lisa's (Miller) birthday. The town judge (Robert Keith) sentences him to 28 days in jail and community service. He's disdainful of the tiny hamlet and its straightforward residents, until he meets the judge's pretty and talented daughter Cindy. He persuades her to let him go for a night to celebrate his "dear mother's" (Billie Burke) birthday." In the course of the evening, they end up falling for each other. Not only does that scandalize the small town, but it sends local department store owner Mr. Schlemmer (S.K Sakall) into a panic. He wants to push his son Ludwig (Van) into marrying Cindy, but Ludwig has an eye on a career on the stage, not marriage.
The Song and Dance: It's all about the classic numbers here. Van and Miller are having the most fun as the talented kid with stars in his eyes and the me-first star who sees Rick as her ticket to easy street. Powell makes a funny and charming small-town sweetheart, almost making us believe she can be both smart and naive enough to let a jailed man out on a whim, and SK Sakall has a great time as Ludvig's pushy father.
Favorite Number: Powell sings the opening number in church "The Lullaby of the Lord" that's disrupted by Rick's speeding. "My Flaming Heart," the lovely ballad performed by Nat King Cole at a club in New York, was nominated for an Oscar. Ludwig, Cindy, and the girls' chorus spoof old-fashioned small-town courtship in "Fine, Fine, Fine" at the box social. Van dances in a tuxedo for passers-by at his father's store, hoping that Rick will "Take Me to Broadway."
The movie is best-known today for two genuinely nifty numbers. Busby Berkeley created the very original "I've Got to Hear That Beat" for Ann Miller, who taps her way around hands in the floor playing instruments. Listen to the song; every time Miller dances around an instrument, it takes the lead. Van's "Jumping Song" has him so happy he doesn't have to marry Cindy, he hops all over everything and everyone in town.
Trivia: Country star Hank Williams was originally going to play the sheriff, but died before filming began.
What I Don't Like: The country mouse-city mouse story is as old as the hills. The small-town setting feels less real and more like a Hollywood idea of a small country town, with the box socials and local department stores that were just starting to go out of fashion in the suburban 50's. Powell's solo "Small Towns are Smile Towns," sung to show Rick why she loves her home, is corny to the point of being ridiculous. Granger's less charming than smarmy; you almost wish Cindy had just let him rot in jail, no matter who's birthday it is.
The Big Finale: Cliched plot aside, it still deserved a lot better than it got at the box office in 1953. If' you're a fan of Powell, Van, Miller, or the MGM musicals of the 1940's and 50's, you're going to want to slow down for this one.
Home Media: On streaming and DVD, the latter from the Warner Archives.
DVD
Amazon Prime
Starring Jane Powell, Farley Granger, Ann Miller, and Bobby Van
Directed by Laszlo Kardos
Music by Nicholas Brodszky; Lyrics by Leo Robin
Summer Stock wasn't the only small-town, country-fied musical MGM made in the 1950's. This one takes us off the farm and onto Main Street, where wealthy New Yorker cynicism clashes with old-fashioned country values. How does this fish-out-of-water story look today? Let's start with Cindy Kimbell (Powell) and her family as they head off to church and find out...
The Story: Church services are disrupted by a car speeding through the tiny town of Duck Creek. Playboy Rick Livingston (Granger) was trying to get back to New York in time for his Broadway star girlfriend Lisa's (Miller) birthday. The town judge (Robert Keith) sentences him to 28 days in jail and community service. He's disdainful of the tiny hamlet and its straightforward residents, until he meets the judge's pretty and talented daughter Cindy. He persuades her to let him go for a night to celebrate his "dear mother's" (Billie Burke) birthday." In the course of the evening, they end up falling for each other. Not only does that scandalize the small town, but it sends local department store owner Mr. Schlemmer (S.K Sakall) into a panic. He wants to push his son Ludwig (Van) into marrying Cindy, but Ludwig has an eye on a career on the stage, not marriage.
The Song and Dance: It's all about the classic numbers here. Van and Miller are having the most fun as the talented kid with stars in his eyes and the me-first star who sees Rick as her ticket to easy street. Powell makes a funny and charming small-town sweetheart, almost making us believe she can be both smart and naive enough to let a jailed man out on a whim, and SK Sakall has a great time as Ludvig's pushy father.
Favorite Number: Powell sings the opening number in church "The Lullaby of the Lord" that's disrupted by Rick's speeding. "My Flaming Heart," the lovely ballad performed by Nat King Cole at a club in New York, was nominated for an Oscar. Ludwig, Cindy, and the girls' chorus spoof old-fashioned small-town courtship in "Fine, Fine, Fine" at the box social. Van dances in a tuxedo for passers-by at his father's store, hoping that Rick will "Take Me to Broadway."
The movie is best-known today for two genuinely nifty numbers. Busby Berkeley created the very original "I've Got to Hear That Beat" for Ann Miller, who taps her way around hands in the floor playing instruments. Listen to the song; every time Miller dances around an instrument, it takes the lead. Van's "Jumping Song" has him so happy he doesn't have to marry Cindy, he hops all over everything and everyone in town.
Trivia: Country star Hank Williams was originally going to play the sheriff, but died before filming began.
What I Don't Like: The country mouse-city mouse story is as old as the hills. The small-town setting feels less real and more like a Hollywood idea of a small country town, with the box socials and local department stores that were just starting to go out of fashion in the suburban 50's. Powell's solo "Small Towns are Smile Towns," sung to show Rick why she loves her home, is corny to the point of being ridiculous. Granger's less charming than smarmy; you almost wish Cindy had just let him rot in jail, no matter who's birthday it is.
The Big Finale: Cliched plot aside, it still deserved a lot better than it got at the box office in 1953. If' you're a fan of Powell, Van, Miller, or the MGM musicals of the 1940's and 50's, you're going to want to slow down for this one.
Home Media: On streaming and DVD, the latter from the Warner Archives.
DVD
Amazon Prime
Tuesday, August 4, 2020
Summer Stock
MGM, 1950
Starring Judy Garland, Gene Kelly, Eddie Bracken, and Gloria DeHaven
Directed by Charles Walters
Music by various
In the late 30's and early 40's, Judy Garland made four movies with her friend Mickey Rooney that had them as teenagers putting on shows in their backyards, barns, or old local theater. Hoping to recreate some of that magic, MGM wanted to put Judy and Mickey back together in a film that had them as a farmer who has to deal with a director who wants his theater troupe to perform in her barn. By 1950, Rooney was no longer a major star, and he was replaced with the far more popular Kelly. How do they work in their last film together? Let's head to Farraday Farm, as proprietor Jane Farraday (Garland) starts her work day, and find out...
The Story: Jane is in dire straits. The farm hasn't produced a good crop in three years, and it's facing foreclosure. She implores banker Jasper Wingnail (Ray Collins) and his son Orville (Bracken) to give her a tractor so she can get her work done faster. Even as she brings it home, she finds that her flighty sister Abigail (DeHaven) has returned with her acting troupe and their musical. In exchange for letting them use the barn to put on their show, Jane has them do chores around the farm. They aren't very good, and everyone in the community, including the Wingnails, is leery of them.
Jane, however, eventually realizes she enjoys singing and dancing and is fascinated by watching them work. Joe not only falls for her, but he's tired of spoiled Abigail who insists on prima donna treatment. Jane's tired of put-upon Orville, but marrying him may be the only way she can save her farm...
The Song and Dance: For all the trouble they had getting it together, they came up with a charming tale that has some terrific numbers. Kelly and Garland show all the off-the-charts chemistry that made For Me and My Gal and The Pirate so special. Bracken also has a few good gags as Jane's meek suitor who is totally dominated by his blustery father, as does Marjorie Main as Garland's devoted housekeeper. I like that the farm setting is fairly novel as well. Most of those "barnyard" musicals weren't set on actual farms.
Favorite Number: Garland opens the film by showing us her daily morning routine, from showering to putting on her shoes (and shows Jane's independent nature), in "If You Feel Like Singing, Sing." She greets passer-by with the first version of "Howdy Neighbor" as she drives along in that coveted tractor. Kelly and Phil Silvers as the second-in-command of the troupe convince the actors to "Dig Dig Dig for Your Dinner" in the kitchen and help Jane out. "Portland Fancy" is the real New England folk dance performed by the locals at a town dance; Kelly, Garland, and the performing troupe barge in to jazz up the proceedings. Kelly gets a classic solo dancing on a squeaky floor and part of an old newspaper that really shows off his amazing dexterity.
By far the most famous number from this one is "Get Happy." Garland performs it in the top half of a tuxedo, with the male chorus in tuxes and a pale pink sunset backdrop. It's pretty obvious this one was filmed long after shooting ended. She's not only noticeably thinner than in the rest of the film, but has three times more vitality and energy, too.
Trivia: This would be Garland's last movie with Kelly and for MGM. She and MGM parted by mutual consent after she was fired from Royal Wedding.
What I Don't Like: For all her chemistry with Kelly, Garland is obviously tired elsewhere, especially the non-musical scenes. DeHaven is a bit bland as the sister who supposedly has enough ambition and spunk to run off and join a theatrical troupe. And yeah, the story is pretty cliche when you get past the unusual farm setting, and not always kind to country residents.
The Big Finale: A lovely end to Garland and Kelly's partnership. If you're a fan of them or the big Technicolor MGM musicals of the 40's and 50's, you'll really enjoy this one.
Home Media: Easy to find in all formats. The DVD and Blu-Ray were released by the Warner Archives.
DVD
Blu-Ray
Amazon Prime
Starring Judy Garland, Gene Kelly, Eddie Bracken, and Gloria DeHaven
Directed by Charles Walters
Music by various
In the late 30's and early 40's, Judy Garland made four movies with her friend Mickey Rooney that had them as teenagers putting on shows in their backyards, barns, or old local theater. Hoping to recreate some of that magic, MGM wanted to put Judy and Mickey back together in a film that had them as a farmer who has to deal with a director who wants his theater troupe to perform in her barn. By 1950, Rooney was no longer a major star, and he was replaced with the far more popular Kelly. How do they work in their last film together? Let's head to Farraday Farm, as proprietor Jane Farraday (Garland) starts her work day, and find out...
The Story: Jane is in dire straits. The farm hasn't produced a good crop in three years, and it's facing foreclosure. She implores banker Jasper Wingnail (Ray Collins) and his son Orville (Bracken) to give her a tractor so she can get her work done faster. Even as she brings it home, she finds that her flighty sister Abigail (DeHaven) has returned with her acting troupe and their musical. In exchange for letting them use the barn to put on their show, Jane has them do chores around the farm. They aren't very good, and everyone in the community, including the Wingnails, is leery of them.
Jane, however, eventually realizes she enjoys singing and dancing and is fascinated by watching them work. Joe not only falls for her, but he's tired of spoiled Abigail who insists on prima donna treatment. Jane's tired of put-upon Orville, but marrying him may be the only way she can save her farm...
The Song and Dance: For all the trouble they had getting it together, they came up with a charming tale that has some terrific numbers. Kelly and Garland show all the off-the-charts chemistry that made For Me and My Gal and The Pirate so special. Bracken also has a few good gags as Jane's meek suitor who is totally dominated by his blustery father, as does Marjorie Main as Garland's devoted housekeeper. I like that the farm setting is fairly novel as well. Most of those "barnyard" musicals weren't set on actual farms.
Favorite Number: Garland opens the film by showing us her daily morning routine, from showering to putting on her shoes (and shows Jane's independent nature), in "If You Feel Like Singing, Sing." She greets passer-by with the first version of "Howdy Neighbor" as she drives along in that coveted tractor. Kelly and Phil Silvers as the second-in-command of the troupe convince the actors to "Dig Dig Dig for Your Dinner" in the kitchen and help Jane out. "Portland Fancy" is the real New England folk dance performed by the locals at a town dance; Kelly, Garland, and the performing troupe barge in to jazz up the proceedings. Kelly gets a classic solo dancing on a squeaky floor and part of an old newspaper that really shows off his amazing dexterity.
By far the most famous number from this one is "Get Happy." Garland performs it in the top half of a tuxedo, with the male chorus in tuxes and a pale pink sunset backdrop. It's pretty obvious this one was filmed long after shooting ended. She's not only noticeably thinner than in the rest of the film, but has three times more vitality and energy, too.
Trivia: This would be Garland's last movie with Kelly and for MGM. She and MGM parted by mutual consent after she was fired from Royal Wedding.
What I Don't Like: For all her chemistry with Kelly, Garland is obviously tired elsewhere, especially the non-musical scenes. DeHaven is a bit bland as the sister who supposedly has enough ambition and spunk to run off and join a theatrical troupe. And yeah, the story is pretty cliche when you get past the unusual farm setting, and not always kind to country residents.
The Big Finale: A lovely end to Garland and Kelly's partnership. If you're a fan of them or the big Technicolor MGM musicals of the 40's and 50's, you'll really enjoy this one.
Home Media: Easy to find in all formats. The DVD and Blu-Ray were released by the Warner Archives.
DVD
Blu-Ray
Amazon Prime
Saturday, August 1, 2020
Musicals On TV - Teen Beach 2
Disney, 2015
Starring Maia Mitchell, Ross Lynch, Grace Phipps, and Garrett Clayton
Directed by Jeffrey Hornaday
Music by various
The phenomenal success of Teen Beach Movie practically guaranteed it a sequel. This one did even better with audiences, winding up as the biggest hit Disney Channel Original Film since the first one. Were critics right that this one loses at lot of that peppy Beach Party charm, or is it still all fun and waves for this franchise? Let's head to the beach on the last day of summer with Mack (Mitchell) and Brady (Lynch) and find out...
The Story: Mack and Brady are excited to be starting school, but they have a difficult time continuing their relationship when Mack throws herself into extracurricular activities and Brady can't bring himself to tell Mack about his hobby building surfboards. To their shock, Lela (Phipps) and Tanner (Clayton) from Wet Side Story appear on the beach after having followed them back. The duo absolutely adore the real world, especially Lela, who feels like she's finally discovering her true potential. Things aren't going as well in Wet Side Story. The characters have no reason to exist without Lela and Tanner bringing them together and are disappearing. Mack and Brady have to convince Lela and Tanner to return to their own world, before the movie and both of their romances vanish all together.
The Song and Dance: The plot here is a bit more convoluted, but Mitchell and Lynch do just as well as the two kids whose summer romance may end up evaporating with the change in the calendar. Phipps gets top honors as the biker chick who comes into her own and discovers that her feelings and abilities matter just as much as the guys'.
Favorite Number: The big opening number is "Best Summer Ever," as the kids at school and in Wet Side Story perform some high stepping moves to announce the end of summer and beginning of the school year. Lela and Tanner think that 2015 is "Right Where I Want to Be" as they reveal how much they love the modern world, despite it being clear that they don't fit in. They even encourage the grumpy kids in the cafeteria to "Twist Your Frown Upside Down." Brady, Mack, and their friends use wacky props and backdrops to convince Lela and Tanner that they belong on the "Silver Screen." It ends with "That's How We Do It," as Mack and Brady and Lela and Tanner reunite and everyone celebrates the newly-revamped beach party movie.
What I Don't Like: Despite some decent numbers, watching Lela try to bring out her feminist side and Mack and Brady's relationship woes isn't quite as fun or as charming as them ending up in the world of Wet Side Story. Frankly, the story gets a little too complicated for its own good, especially towards the end, when they try to send the movie kids back a second time. It also loses a lot of the spoofing of musical cliches that made the first movie so darn funny.
There's a few continuity bobbles, too. In the credits for Teen Beach Movie, we clearly see the entire Wet Side Story cast walk out of the surf and squeal over a local kid's cell phone. Here, though, Tanner and Lela come first, and we don't see the others in the modern world until almost half-way through.
The Big Finale: These may be my favorite Disney Channel original musicals to date. It's not as much fun as the first film, but it's still recommended for fans of beach party movies, musicals, or families with kids in the appropriate 8 to 14 target range.
Home Media: As with the first film, easy to find on DVD and streaming.
DVD
Amazon Prime
Starring Maia Mitchell, Ross Lynch, Grace Phipps, and Garrett Clayton
Directed by Jeffrey Hornaday
Music by various
The phenomenal success of Teen Beach Movie practically guaranteed it a sequel. This one did even better with audiences, winding up as the biggest hit Disney Channel Original Film since the first one. Were critics right that this one loses at lot of that peppy Beach Party charm, or is it still all fun and waves for this franchise? Let's head to the beach on the last day of summer with Mack (Mitchell) and Brady (Lynch) and find out...
The Story: Mack and Brady are excited to be starting school, but they have a difficult time continuing their relationship when Mack throws herself into extracurricular activities and Brady can't bring himself to tell Mack about his hobby building surfboards. To their shock, Lela (Phipps) and Tanner (Clayton) from Wet Side Story appear on the beach after having followed them back. The duo absolutely adore the real world, especially Lela, who feels like she's finally discovering her true potential. Things aren't going as well in Wet Side Story. The characters have no reason to exist without Lela and Tanner bringing them together and are disappearing. Mack and Brady have to convince Lela and Tanner to return to their own world, before the movie and both of their romances vanish all together.
The Song and Dance: The plot here is a bit more convoluted, but Mitchell and Lynch do just as well as the two kids whose summer romance may end up evaporating with the change in the calendar. Phipps gets top honors as the biker chick who comes into her own and discovers that her feelings and abilities matter just as much as the guys'.
Favorite Number: The big opening number is "Best Summer Ever," as the kids at school and in Wet Side Story perform some high stepping moves to announce the end of summer and beginning of the school year. Lela and Tanner think that 2015 is "Right Where I Want to Be" as they reveal how much they love the modern world, despite it being clear that they don't fit in. They even encourage the grumpy kids in the cafeteria to "Twist Your Frown Upside Down." Brady, Mack, and their friends use wacky props and backdrops to convince Lela and Tanner that they belong on the "Silver Screen." It ends with "That's How We Do It," as Mack and Brady and Lela and Tanner reunite and everyone celebrates the newly-revamped beach party movie.
What I Don't Like: Despite some decent numbers, watching Lela try to bring out her feminist side and Mack and Brady's relationship woes isn't quite as fun or as charming as them ending up in the world of Wet Side Story. Frankly, the story gets a little too complicated for its own good, especially towards the end, when they try to send the movie kids back a second time. It also loses a lot of the spoofing of musical cliches that made the first movie so darn funny.
There's a few continuity bobbles, too. In the credits for Teen Beach Movie, we clearly see the entire Wet Side Story cast walk out of the surf and squeal over a local kid's cell phone. Here, though, Tanner and Lela come first, and we don't see the others in the modern world until almost half-way through.
The Big Finale: These may be my favorite Disney Channel original musicals to date. It's not as much fun as the first film, but it's still recommended for fans of beach party movies, musicals, or families with kids in the appropriate 8 to 14 target range.
Home Media: As with the first film, easy to find on DVD and streaming.
DVD
Amazon Prime
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