MGM, 1942
Starring Judy Garland, Gene Kelly, George Murphy, and Ben Blue
Directed by Busby Berkeley
Music and Lyrics by various
After making a splash on Broadway in Pal Joey, MGM signed Gene Kelly as their latest dancing star. Judy Garland was more than happy to encourage Arthur Freed to take a chance on him. It would become the first of three times the two starred together. How does this tribute to vaudeville, the variety showcase of the early 20th century, look now? Let's head to a small-town train station where several actors are about to disembark and find out...
The Story: Harry Palmer (Kelly) is an ambitious hoofer in 1917 who desperately wants to make the big-time. He hooks up with talented singer and dancer Jo Hayden (Garland), despite her already being part of girls-and-singer act with Jimmy Metcalf (Murphy). She breaks with Metcalf when she realizes how much chemistry they have and how well they dance together. Despite their talent and dedication, the act doesn't seem to make it very far. At one point, Harry even gets an offer from a beautiful French singer (Martha Eggerth) and Jimmy asks Jo to come back, but they both decide to stick it out when they realize they're in love with each other.
Jo tells Harry she'll marry him after they get a booking at the top theater in vaudeville, the Palace in New York. They do finally make the Palace, just as the US enters World War I. Harry is drafted, but he wants so badly to play the Palace and get Jo to that wedding, he breaks his hand in his trunk. He couldn't have picked a worse time to do it. Jo's beloved brother Danny (Richard Quine) died in battle, and now she thinks he's a coward. Harry enlists in the ambulance corps to prove to one and all that he can be courageous about something besides dancing.
The Song and Dance: I can fully understand why Garland wanted Kelly for the role. Their chemistry was off the charts from the get-go. Kelly may be abrasive and egotistical, but he's also a charmer who realizes right away how well he and Jo fit together. The two of them really elevate the nostalgic melodrama. I also like the sets, costumes, and authentic-looking routines that really take you back to the vaudeville of baggy-pants clowns and beautiful singers that the opening paragraphs mention.
Favorite Number: The movie's at it's best when it showcases Garland and Kelly's dancing talents. Their version of the title song is a delight, graceful and energetic. "Ballin' the Jack" later gets as sexy as an MGM musical was allowed to at this time, with their swaying hips and briefer costumes. "When You Wore a Tulip and I Wore a Red Rose" is a brief satire of early 20th century courtship that's too adorable for words. The closest thing to a big number is the opening "Oh You Beautiful Doll" routine, with Garland posing as a life-sized doll who badly wants Murphy to buy her. In other hands, it would probably be a little creepy, but Garland's intense charm makes it seem almost oddly sweet.
Trivia: This was Garland's first adult role.
There really was a Harry Palmer who had a double act with a Jo Hayden in early 20th century vaudeville. He did, indeed, break his hand to stay out of World War I, play the Palace, and marry her, and she dropped him briefly after a friend died in the war. He did serve with distinction in the ambulance corps, and they were married after he came back. Jo's friend was separated into her brother and Jimmy Metcalf.
Evidently, the film's ending was reshot after test audiences found Kelly to be too unsympathetic and thought Jo should end up with Jimmy Metcalf. Murphy was originally supposed to play Harry Palmer before MGM bought Kelly's contract from David O. Selznick. Busby Berkeley didn't want him, but Garland liked him and asked for him.
What I Don't Like: This is mostly Garland and Kelly's show. Anyone else barely registers, including Murphy and Keenan Wynn as a theatrical agent. It's also not for anyone expecting the kaleidoscopic routines associated with Berkeley. The numbers are subdued for him with no playing with the camera. I'm also a bit surprised this is in black and white. The vaudeville era practically screams for Technicolor.
The Big Finale: The numbers alone make this a must-see if you're a fan of Garland, Kelly, Berkeley's later career, or the MGM musicals of the 1940's and 50's.
Home Media: The solo DVD is out of print, but it can be found on streaming and bundled with three other Garland movies in the Silver Screen Icons set.
DVD - Silver Screen Icons: Judy Garland
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Showing posts with label Busby Berkley. Show all posts
Showing posts with label Busby Berkley. Show all posts
Tuesday, January 28, 2020
Tuesday, September 24, 2019
Gold Diggers of 1933
Warner Bros, 1933
Starring Ruby Keeler, Dick Powell, Joan Blondell, and Aline MacMahon
Directed by Mervyn LeRoy
Music by Harry Warren; Lyrics by Al Dubin
This was Warners' second major musical after the tremendous success of 42nd Street and is a remake of their huge (and now mostly lost) blockbuster Gold Diggers of Broadway. It proved to be just as big of a hit as 42nd Street, with an even zestier cast and a more Depression-soaked story. How does the tale of three showgirls who pose as gold diggers to help their friend look now? Let's head to a theater in New York, just as one of the most famous songs from this score, "We're In the Money," is in progress...
The Story: Polly (Keeler), Trixie (MacMahon), and Carol (Blondell) are roommates and chorus girls who just lost a job after the producer, Barney Hopkins (Ned Sparks), couldn't pay his bills. Fellow chorus girl Fay Fortune (Ginger Rogers) announces that Hopkins has gotten his show back together. He has...everything but the money. Turns out the guy across the way that Polly's been flirting with, Brad Roberts (Powell), is not only a great songwriter, but is able to cough up the money in cash to finance the show. Despite being a good singer, he won't appear onstage, at least until the male juvenile can't move and he has to take his place.
That's when we learn that he's really the son of a rich Boston family that threatens to cut him off without a penny. His brother J. Lawrence Bradford (Warren William) and family lawyer Fanuel "Fanny" Peabody (Guy Kibbee) mistake Carol for Polly and try to get her away from Brad. In an attempt to help their friend and teach the snobbish duo a lesson, Trixie and Carol make them think Carol is Polly and vamp them for all they're worth...but their plans backfire when they actually fall in love with them.
The Song and Dance: It's Powell and the ladies who shine here. Powell and Keeler have almost switched roles from 42nd Street; this time, she's the slightly more wordly one, and he's the one who'll come back a star. Powell in particular comes off as a bit less stiff than he did in the earlier movie. Blondell and MacMahon hav a blast as the wisecracking dancers, and Ginger Rogers is a lot of fun as the only real gold-digger to be found. There's also a lot of references to the early Depression era - including "Forgotten Man" - that helps ground it in the era now.
Favorite Number: We kick off the movie in high style with my favorite song from this score, "We're In the Money." Ginger Rogers and the chorus girls romp in costumes made of coins, and Rogers even gets a solo in Pig Latin...until the creditors arrive and take it all away. "Pettin' In the Park" is a catchy little romp that shows girls and their beaus (and randy baby Billy Barty) chasing each other through three seasons. Check out the segment where Barty lifts the screen, revealing their tin costumes! "Shadow Waltz" is more romantic, with its girls in hoop skirts and neon violins forming violin shapes.
"Remember My Forgotten Man" is one of the most dramatic numbers in Busby Berkley's career. The "forgotten men" are the World War I veterans who marched on Washington the year before, trying to get their bonus pay. The gritty sets were inspired by German Expressionism, and they give an almost frighteningly surreal feel to the scenes of poverty and determination. The number was so moving, when studio head Jack L. Warner saw it, he ordered it be swapped to the end in place of "Petting In the Park."
Trivia: There was originally supposed to be a fifth big number performed by Blondell, "I've Got to Sing a Torch Song," but it was cut before release. The song is only heard performed briefly by Powell in the beginning.
An earthquake hit while they filmed "Shadow Waltz" and nearly electrocuted the dancers.
What I Don't Like: While MacMahon is having fun flirting with Kibbee, Blondell is completely mismatched with the erudite William. You'd never believe he'd change his mind about her so quickly, especially after being fooled like that. I also wish they'd focused more on that "putting on the show" in the second half and less on the rather convoluted and silly gold-digging plot.
The Big Finale: I don't like it as much as 42nd Street, but it does have its own charms, including some classic numbers. If you love the musicals of the 30's in general or the Busby Berkley musicals in particular, you'll want to look for this one.
Home Media: DVD is currently released by the Warner Archives. It's available with several streaming companies as well.
DVD
Amazon Prime
Starring Ruby Keeler, Dick Powell, Joan Blondell, and Aline MacMahon
Directed by Mervyn LeRoy
Music by Harry Warren; Lyrics by Al Dubin
This was Warners' second major musical after the tremendous success of 42nd Street and is a remake of their huge (and now mostly lost) blockbuster Gold Diggers of Broadway. It proved to be just as big of a hit as 42nd Street, with an even zestier cast and a more Depression-soaked story. How does the tale of three showgirls who pose as gold diggers to help their friend look now? Let's head to a theater in New York, just as one of the most famous songs from this score, "We're In the Money," is in progress...
The Story: Polly (Keeler), Trixie (MacMahon), and Carol (Blondell) are roommates and chorus girls who just lost a job after the producer, Barney Hopkins (Ned Sparks), couldn't pay his bills. Fellow chorus girl Fay Fortune (Ginger Rogers) announces that Hopkins has gotten his show back together. He has...everything but the money. Turns out the guy across the way that Polly's been flirting with, Brad Roberts (Powell), is not only a great songwriter, but is able to cough up the money in cash to finance the show. Despite being a good singer, he won't appear onstage, at least until the male juvenile can't move and he has to take his place.
That's when we learn that he's really the son of a rich Boston family that threatens to cut him off without a penny. His brother J. Lawrence Bradford (Warren William) and family lawyer Fanuel "Fanny" Peabody (Guy Kibbee) mistake Carol for Polly and try to get her away from Brad. In an attempt to help their friend and teach the snobbish duo a lesson, Trixie and Carol make them think Carol is Polly and vamp them for all they're worth...but their plans backfire when they actually fall in love with them.
The Song and Dance: It's Powell and the ladies who shine here. Powell and Keeler have almost switched roles from 42nd Street; this time, she's the slightly more wordly one, and he's the one who'll come back a star. Powell in particular comes off as a bit less stiff than he did in the earlier movie. Blondell and MacMahon hav a blast as the wisecracking dancers, and Ginger Rogers is a lot of fun as the only real gold-digger to be found. There's also a lot of references to the early Depression era - including "Forgotten Man" - that helps ground it in the era now.
Favorite Number: We kick off the movie in high style with my favorite song from this score, "We're In the Money." Ginger Rogers and the chorus girls romp in costumes made of coins, and Rogers even gets a solo in Pig Latin...until the creditors arrive and take it all away. "Pettin' In the Park" is a catchy little romp that shows girls and their beaus (and randy baby Billy Barty) chasing each other through three seasons. Check out the segment where Barty lifts the screen, revealing their tin costumes! "Shadow Waltz" is more romantic, with its girls in hoop skirts and neon violins forming violin shapes.
"Remember My Forgotten Man" is one of the most dramatic numbers in Busby Berkley's career. The "forgotten men" are the World War I veterans who marched on Washington the year before, trying to get their bonus pay. The gritty sets were inspired by German Expressionism, and they give an almost frighteningly surreal feel to the scenes of poverty and determination. The number was so moving, when studio head Jack L. Warner saw it, he ordered it be swapped to the end in place of "Petting In the Park."
Trivia: There was originally supposed to be a fifth big number performed by Blondell, "I've Got to Sing a Torch Song," but it was cut before release. The song is only heard performed briefly by Powell in the beginning.
An earthquake hit while they filmed "Shadow Waltz" and nearly electrocuted the dancers.
What I Don't Like: While MacMahon is having fun flirting with Kibbee, Blondell is completely mismatched with the erudite William. You'd never believe he'd change his mind about her so quickly, especially after being fooled like that. I also wish they'd focused more on that "putting on the show" in the second half and less on the rather convoluted and silly gold-digging plot.
The Big Finale: I don't like it as much as 42nd Street, but it does have its own charms, including some classic numbers. If you love the musicals of the 30's in general or the Busby Berkley musicals in particular, you'll want to look for this one.
Home Media: DVD is currently released by the Warner Archives. It's available with several streaming companies as well.
DVD
Amazon Prime
Thursday, January 24, 2019
42nd Street
Warner Bros, 1933
Starring Ruby Keeler, Warner Baxter, Dick Powell, and Ginger Rogers
Directed by Lloyd Bacon; Musical Numbers Directed by Busby Berkeley
Music by Harry Warren; Lyrics by Al Dubin
We're going way back tonight to what is not only considered to be the archetypal backstage musical, but the movie that helped revive the genre on the big screen. Musicals - especially backstage musicals - were huge when sound came in, but the studios tossed out too many frivolous pieces of nonsense. Warners got around this by giving 42nd Street a slightly darker story that was more in line with the tastes of Depression audiences and employing an all-star cast. Let's head to a theater in New York to see if it really "goes out there a nobody and comes back a star!"
The Story: In the depths of the Great Depression, almost everyone on Broadway is thrilled when popular producers Jones (Robert McWade) and Barry (Ned Sparks) announce that they're putting on a new musical, Pretty Baby, with popular star Dorothy Brock (Bebe Daniels). Brock is stringing along a backer, kiddie car magnate Abner Diller (Guy Kibbe) while seeing her former vaudeville partner Pat Denning (George Brent) on the side. They hire notoriously tough Julian Marsh (Baxter) as the director. Marsh has to make this a hit in order to recoup his losses from the Stock Market Crash and have enough to retire on.
Among the ladies who make it through the audition are ditzy Lorraine Fleming (Una Merkel), brassy Ann "Anytime Annie" Lowell (Rogers), and sweet newcomer Peggy Saywer (Keeler). Singer Billy Lawler (Powell) has taken a shine to Peggy...but so has Pat. Marsh continues to berate and push and shove the entire cast through rehearsals and right up through the day before the out-of-town opening in Philadelphia. Brock finally learns about Pat's interest in Peggy during the cast party, where she throws a fit that ends with her breaking her ankle.
The show is about to close when Annie suggests that Peggy, while not the best singer, can certainly dance rings around Brock. Now inexperienced Peggy has to carry an entire show on her poofy-sleeved shoulders. She's not so sure she can do it, but Marsh reminds her that she has to do her best in one of the most famous lines in any musical, "You're going out there a youngster, but you're coming back a star!"
The Song and Dance: Keeler and Powell may have been the ones who became stars, but honestly, my favorite thing about this along with the famous Busby Berkley dance routines are the supporting cast and the snappy script. Merkel and Rogers get some of the movie's funniest lines as New York's sassiest chorus girls, with dour Ned Sparks getting a few good lines in as the more pessimistic of the two producers. Baxter, on the other hand, puts in one of his best dramatic performances as the director desperate to make one last stand on Broadway.
Favorite Number: Although "You're Getting to Be a Habit With Me" for Bebe Daniels and the chorus boys early on is pretty fun, most of the movie's most famous numbers turn up in the finale. Merkel and Rogers' wisecracks liven the slightly cutesy "Shuffle Off to Buffalo," while "Young and Healthy" shows off Powell's light tenor and some of Berkley's most famous camera and dance formations (not to mention the "under the legs" shot that has turned up in many other Berkley homages).
They save the best for last here. Keeler may not be a great singer, but her dancing in the title number is pretty darn good, enough to understand why this movie really did make her a star. We also get an attempt at drama far above the norm for a 30's musical, including glimpses of abuse and a murder, along with more Berkley camera-driven formations.
Trivia: This was one of the earliest movie musicals transferred to the stage. The Broadway version debuted in 1980, with Jerry Orbach as Julian Marsh and Tammy Grimes as Dorothy Brock. It was a huge hit, both in its original cast and in a 2001 revival. In fact, an equally popular revival just wound down a few weeks ago on London's West End.
The movie got two Oscar nods for Best Picture and Best Sound.
Warren and Dubin themselves can briefly be seen as the show's songwriters.
What I Don't Like: Keeler's only passable as the nice girl among the wolves when she's not dancing, while Powell comes off as way too coy. I almost kind of wish the film had gone the route of the Broadway version and had her end up with Marsh instead of Billy. (In the original book, Billy actually ended up with Marsh, which definitely wasn't going to happen in the movies in 1933.) Some of the Depression references may fly over the heads of those who don't understand the era.
The Big Finale: A funny, fast-paced, and fairly gritty script, Berkeley's oft-imitated kaleidoscope musical numbers, and some nice performances from the supporting cast make this a landmark musical and a must-see for anyone who loves the genre or wants to check out what made Berkeley and his movies famous.
Home Media: The solo DVD is out of print, but the Warner Archives Blu-Ray is available, and it can be found on several collections of Busby Berkeley musicals of the 1930's. (And I highly recommend both the original and 2001 revival Broadway casts on CD as well - they're both fun.)
DVD
Blu-Ray
DVD - Busby Berkeley Collection: The 10 Pack
Starring Ruby Keeler, Warner Baxter, Dick Powell, and Ginger Rogers
Directed by Lloyd Bacon; Musical Numbers Directed by Busby Berkeley
Music by Harry Warren; Lyrics by Al Dubin
We're going way back tonight to what is not only considered to be the archetypal backstage musical, but the movie that helped revive the genre on the big screen. Musicals - especially backstage musicals - were huge when sound came in, but the studios tossed out too many frivolous pieces of nonsense. Warners got around this by giving 42nd Street a slightly darker story that was more in line with the tastes of Depression audiences and employing an all-star cast. Let's head to a theater in New York to see if it really "goes out there a nobody and comes back a star!"
The Story: In the depths of the Great Depression, almost everyone on Broadway is thrilled when popular producers Jones (Robert McWade) and Barry (Ned Sparks) announce that they're putting on a new musical, Pretty Baby, with popular star Dorothy Brock (Bebe Daniels). Brock is stringing along a backer, kiddie car magnate Abner Diller (Guy Kibbe) while seeing her former vaudeville partner Pat Denning (George Brent) on the side. They hire notoriously tough Julian Marsh (Baxter) as the director. Marsh has to make this a hit in order to recoup his losses from the Stock Market Crash and have enough to retire on.
Among the ladies who make it through the audition are ditzy Lorraine Fleming (Una Merkel), brassy Ann "Anytime Annie" Lowell (Rogers), and sweet newcomer Peggy Saywer (Keeler). Singer Billy Lawler (Powell) has taken a shine to Peggy...but so has Pat. Marsh continues to berate and push and shove the entire cast through rehearsals and right up through the day before the out-of-town opening in Philadelphia. Brock finally learns about Pat's interest in Peggy during the cast party, where she throws a fit that ends with her breaking her ankle.
The show is about to close when Annie suggests that Peggy, while not the best singer, can certainly dance rings around Brock. Now inexperienced Peggy has to carry an entire show on her poofy-sleeved shoulders. She's not so sure she can do it, but Marsh reminds her that she has to do her best in one of the most famous lines in any musical, "You're going out there a youngster, but you're coming back a star!"
The Song and Dance: Keeler and Powell may have been the ones who became stars, but honestly, my favorite thing about this along with the famous Busby Berkley dance routines are the supporting cast and the snappy script. Merkel and Rogers get some of the movie's funniest lines as New York's sassiest chorus girls, with dour Ned Sparks getting a few good lines in as the more pessimistic of the two producers. Baxter, on the other hand, puts in one of his best dramatic performances as the director desperate to make one last stand on Broadway.
Favorite Number: Although "You're Getting to Be a Habit With Me" for Bebe Daniels and the chorus boys early on is pretty fun, most of the movie's most famous numbers turn up in the finale. Merkel and Rogers' wisecracks liven the slightly cutesy "Shuffle Off to Buffalo," while "Young and Healthy" shows off Powell's light tenor and some of Berkley's most famous camera and dance formations (not to mention the "under the legs" shot that has turned up in many other Berkley homages).
They save the best for last here. Keeler may not be a great singer, but her dancing in the title number is pretty darn good, enough to understand why this movie really did make her a star. We also get an attempt at drama far above the norm for a 30's musical, including glimpses of abuse and a murder, along with more Berkley camera-driven formations.
Trivia: This was one of the earliest movie musicals transferred to the stage. The Broadway version debuted in 1980, with Jerry Orbach as Julian Marsh and Tammy Grimes as Dorothy Brock. It was a huge hit, both in its original cast and in a 2001 revival. In fact, an equally popular revival just wound down a few weeks ago on London's West End.
The movie got two Oscar nods for Best Picture and Best Sound.
Warren and Dubin themselves can briefly be seen as the show's songwriters.
What I Don't Like: Keeler's only passable as the nice girl among the wolves when she's not dancing, while Powell comes off as way too coy. I almost kind of wish the film had gone the route of the Broadway version and had her end up with Marsh instead of Billy. (In the original book, Billy actually ended up with Marsh, which definitely wasn't going to happen in the movies in 1933.) Some of the Depression references may fly over the heads of those who don't understand the era.
The Big Finale: A funny, fast-paced, and fairly gritty script, Berkeley's oft-imitated kaleidoscope musical numbers, and some nice performances from the supporting cast make this a landmark musical and a must-see for anyone who loves the genre or wants to check out what made Berkeley and his movies famous.
Home Media: The solo DVD is out of print, but the Warner Archives Blu-Ray is available, and it can be found on several collections of Busby Berkeley musicals of the 1930's. (And I highly recommend both the original and 2001 revival Broadway casts on CD as well - they're both fun.)
DVD
Blu-Ray
DVD - Busby Berkeley Collection: The 10 Pack
Thursday, August 16, 2018
The Boy Friend
MGM, 1971
Directed by Ken Russell
Starring Twiggy, Tommy Tune, and Christopher Gable
Music and Lyrics by Sandy Wilson
The Story: Sweet little Polly (Twiggy) is the assistant stage manager for a struggling musical in a small English town in the late 1920's. She's almost literally thrust into the spotlight when the real star (Glenda Jackson) breaks her ankle. The poor girl really has no idea what she's doing. The only cast members who seem at all eager to help her are the handsome leading man (Christopher Gable) whom she as a crush on, and her eternally tap-dancing guy friend Tommy (Tommy Tune), who has a rather melodramatic backstory for such a cheerful fellow.
It turns out that Polly's sudden promotion isn't the only excitement going on behind the scenes. The Hollywood director DeThrill (Vladek Sheybal) is in town and has stopped to watch the show. Everyone in the cast tries to outdo each other in the hope of going to Hollywood to become a star. The director, Max Manville (Max Adrian), wishes they had a bigger budget to do more elaborate blockbusters like what the US was churning out during the early talkie era...and his dreams and the cast's become the basis for some truly weird Busby Berkley homages.
The Song and Dance: While the Busby Berkley pastiche numbers can be fun, the movie is at it's best when it concentrates on the talented cast. Twiggy made her debut in this film after leaving modeling, and it's no wonder she and Tune would go on to do another 20's spoof in 1983 on Broadway, My One and Only. They have a charming chemistry together that contrasts well with the eccentricities and hamminess from everyone else, especially Adrian as the starry-eyed director and Antonia Ellis as gold-digging Maisie.
Favorite Number: "I Could Be Happy With You" is a lovely Busby Berkley homage, and probably the film's single best number, just Gable and Twiggy and chorus girls. The first half of their "Room In Bloomsbury" duet is also adorable. Adrian also gets to have fun with one of the chorus girls in "It's Never Too Late to Fall In Love." He's expecting her to be a demure nun while he sings, but she eventually shucks her habit for something a tad racier...and more appealing to DeThrill.
What I Didn't Like: Like many musicals from the late 60's and early 70's, this one gets way too big for it's britches and for both the stories it's telling. It was originally cut down to 109 minutes when it was released in the US, but was restored to the original two hours in the 90's. Some of the numbers go on for way too long; the second half of "Room In Bloomsbury," with dancing gnomes and elves and flowers, is just weird and totally unnecessary. "Won't You Charelston With Me?" is marred by frantic editing that makes it look more like a recent "found footage" movie and barely lets you see the actual dancing. A ballet mid-way through the film that takes everyone outside and dresses them as gods and satrys comes totally out of nowhere, is never spoken of again, and stops the film cold.
The Big Finale: For all this movie's problems, I have to admit that it's grown on me since I originally found the video of the restored film in 2011. I've since picked up the Warner Archives DVD release, and I think it's now on Blu-Ray as well. If you're a fan of Busby Berkley or Ken Russel's work or Twiggy and Tune, you could be very happy giving this neglected charmer a look.
The Boy Friend On DVD
On Blu-Ray
Directed by Ken Russell
Starring Twiggy, Tommy Tune, and Christopher Gable
Music and Lyrics by Sandy Wilson
The Story: Sweet little Polly (Twiggy) is the assistant stage manager for a struggling musical in a small English town in the late 1920's. She's almost literally thrust into the spotlight when the real star (Glenda Jackson) breaks her ankle. The poor girl really has no idea what she's doing. The only cast members who seem at all eager to help her are the handsome leading man (Christopher Gable) whom she as a crush on, and her eternally tap-dancing guy friend Tommy (Tommy Tune), who has a rather melodramatic backstory for such a cheerful fellow.
It turns out that Polly's sudden promotion isn't the only excitement going on behind the scenes. The Hollywood director DeThrill (Vladek Sheybal) is in town and has stopped to watch the show. Everyone in the cast tries to outdo each other in the hope of going to Hollywood to become a star. The director, Max Manville (Max Adrian), wishes they had a bigger budget to do more elaborate blockbusters like what the US was churning out during the early talkie era...and his dreams and the cast's become the basis for some truly weird Busby Berkley homages.
The Song and Dance: While the Busby Berkley pastiche numbers can be fun, the movie is at it's best when it concentrates on the talented cast. Twiggy made her debut in this film after leaving modeling, and it's no wonder she and Tune would go on to do another 20's spoof in 1983 on Broadway, My One and Only. They have a charming chemistry together that contrasts well with the eccentricities and hamminess from everyone else, especially Adrian as the starry-eyed director and Antonia Ellis as gold-digging Maisie.
Favorite Number: "I Could Be Happy With You" is a lovely Busby Berkley homage, and probably the film's single best number, just Gable and Twiggy and chorus girls. The first half of their "Room In Bloomsbury" duet is also adorable. Adrian also gets to have fun with one of the chorus girls in "It's Never Too Late to Fall In Love." He's expecting her to be a demure nun while he sings, but she eventually shucks her habit for something a tad racier...and more appealing to DeThrill.
What I Didn't Like: Like many musicals from the late 60's and early 70's, this one gets way too big for it's britches and for both the stories it's telling. It was originally cut down to 109 minutes when it was released in the US, but was restored to the original two hours in the 90's. Some of the numbers go on for way too long; the second half of "Room In Bloomsbury," with dancing gnomes and elves and flowers, is just weird and totally unnecessary. "Won't You Charelston With Me?" is marred by frantic editing that makes it look more like a recent "found footage" movie and barely lets you see the actual dancing. A ballet mid-way through the film that takes everyone outside and dresses them as gods and satrys comes totally out of nowhere, is never spoken of again, and stops the film cold.
The Big Finale: For all this movie's problems, I have to admit that it's grown on me since I originally found the video of the restored film in 2011. I've since picked up the Warner Archives DVD release, and I think it's now on Blu-Ray as well. If you're a fan of Busby Berkley or Ken Russel's work or Twiggy and Tune, you could be very happy giving this neglected charmer a look.
The Boy Friend On DVD
On Blu-Ray
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