Babes In Arms

MGM, 1939

Starring Judy Garland, Mickey Rooney, Charles Winninger, and Margaret Hamilton

Directed by Busby Berkeley

Music and Lyrics by various

We jump back a year to the first of the Garland-Rooney "put on a show" films. This one started out as a hit Broadway show in 1937. It proved to be even more popular on the big screen, bigger than Garland's other major film that year, The Wizard of Oz. Does it continue to delight audiences with it's talented teens and their barnyard show today, or should it be sent to the orphanage? Let's begin with the birth of a future trooper and find out...

The Story: Mickey Moran (Rooney) is literally born into show business. He dances with his parents in their vaudeville act, at least until the arrival of talking pictures, radio, and the Great Depression brings an end to variety shows. Many aging vaudevillians moved their families to a small town in Long Island, New York after their careers ended, including Joe Moran (Winninger). He encourages the other former vaudevillians in the town to go on tour and prove they're still relevant, before their homes and children are taken away.

Meanwhile, his son is equally determined to show that their children can be every bit the performers their parents are. After their parents claim they'll just be "baggage" on the road, he encourages his sister Molly (Betty Jaynes), his best friend Patsy Barton (Garland), and the local kids to help him put on a show in a barn. Patsy's upset when Mickey initially gives former child star "Baby" Rosalie Essex (Preissler) her role, to the point where she leaves...and there's the lady from the work houses (Hamilton) complaining that the kids should be going to school and studying for a trade, not show business.

The Song and Dance: Berkeley's first movie at MGM shows a lot of creativity, especially in dealing with the kids. There's a lot of energy from everyone, especially the ever-moving Rooney. What I really like is, unlike with Strike Up the Band, there's real stakes here. It's not just winning a contest or helping a friend. The kids are trying to keep their families together by doing what they love during the worst economic downturn anyone ever knew. It makes the melodrama later on a bit easier to take than it is in Strike Up the Band. 

Favorite Number: Judy Garland and Mickey Rooney really get things moving with their lively version of "Good Morning," sung on the piano before an interested song publisher. Betty Jaymes and Douglas McPhail are supposed to be singing a romantic "Where or When" on a moonlit boat ride, but Rooney doesn't think they're putting enough heart into it. He points to Garland to show them how to really pour passion into a song. Speaking of passion, she gets the hit ballad "I Cried for You" on the bus after arguing with Rooney over Rosalie taking her place in the show. The movie ends with a huge patriotic extravaganza, "God's Country," and Rooney and Garland parodying the popular conception of Franklin and Eleanor Roosevelt at the time, "My Day."

Trivia: The "My Day" Roosevelt spoof was cut after Franklin D. Roosevelt died in 1945. It was thought lost until the 1990's, when it was discovered on 16 millimeter film and restored. "God's Country" was originally introduced in a stage show called Hooray for What! MGM bought it, but never filmed it. 

This was Garland and Rooney's second film together after the drama Thoroughbreds Don't Cry. 

The original show debuted on Broadway in 1937 and did well for the time, running a little over 9 months, with music by Richard Rodgers and Lorenz Hart and choreography by George Balanchine. It was heavily re-written and sanitized in 1959; though the original does turn up from time to time, the 1959 version is the one usually seen in revival and performed by community theaters.

What I Don't Like: Too bad they couldn't have kept more of the original plot or songs. Garland and Rooney proved they were perfectly capable of handling gems like "I Wish I Were In Love Again" and "Johnny One Note" in the later Rodgers and Hart biography Words and Music. "The Lady Is a Tramp" can be heard in the background when Rooney's trying to woo Preissler, but it's not performed on-screen. There's also the big minstrel show number, with Rooney, Garland, and all of the kids in blackface and bad southern accents. It was nostalgia for an earlier era of entertainment then; nowadays, many modern audience members will likely be offended well before rain brings the number to a premature end. 

The Big Finale: This one isn't bad, but I think the Garland-Rooney movies got better as they went along. There's enough good numbers here for this to get a recommend, particularly for fans of the two young stars. 

Home Media: All of the Garland-Rooney musicals are easily found on DVD and streaming, the former from the Warner Archives. 

DVD

Amazon Prime

Strike Up the Band

MGM, 1940

Starring Mickey Rooney, Judy Garland, June Preissler, and William Tracy

Directed by Busby Berkeley

Music and Lyrics by various

This week, we return to the US to join Mickey and Judy in two of their "barnyard musicals" of the late 30's and early 40's. Truth be told, most of them didn't take place in a barn. "Teen musicals" probably would have been a more appropriate description. Judy and Mickey always played a couple of talented kids who put on a show for some worthy cause - in this case, helping a friend and playing with Paul Whiteman - and find love with each other in the process. How does this version look nowadays? Let's head to Riverwood High School, just as the orchestra is in rehearsal, and find out...

The Story: Jimmy Connors (Rooney) is tired of playing the usual classical music for the school orchestra. He wants to put his drumming talents to use as the head of his own "modern dance" (i.e swing) outfit. His gal friend Mary Holden (Garland) supports his ambition, and so does the school principal after they agree to show off their talents at a school dance. The dance is a success, but Jimmy's already off and running again. Now he wants to take the band to Chicago for a big school orchestra contest put on by Paul Whiteman (himself). The principal (Francis Pierlot) can't afford to send them all, so the kids put on a spoof melodrama at the Elks Club to earn their way to Chicago.

The show goes over well, but Willie (Larry Nunn), a friend of Jimmy's who has a crush on Mary, is hurt when he's jerked around on the wire apparatus. He desperately needs an operation on his arm. Now, Jimmy has to decide whether to help a friend, or use the money from the show and a loan by a local bank officer to attend the contest.

The Song and Dance: Garland and Rooney are the thing here, and they're a ball of energy as the drumming prodigy who refuses to let anything come between him and stardom and the smart girl who just wishes he'd put the sticks down and look at her. June Preissler isn't bad as the cute blonde who distracts Jimmy about mid-way through, and she can do some of the most amazing acrobatic bends I've ever seen (in a long gown, no less). Busby Berkeley's hand can be seen all over the place, from the fruit orchestra to the huge "Do the La Conga" number at the dance. 

Favorite Number: "Our Love Affair" starts off as a typical romantic ballad for Rooney and Garland, but ends in fairly bizarre territory. Rooney pulls fruit from a bowl to represent his imagined orchestra, and it becomes fruit playing instruments in a nifty stop-motion segment. "Do the La Conga" is the big dance number. Rooney, Garland, and the other teens really get into it, swinging and kicking at each other with abandon. The entire "Nell of New Rochelle" melodrama spoof, from the kids singing "The Gay Nineties" to Garland's "Heaven Will Protect the Working Girl" to Preissler tumbling through "Ta-Ra-Boom-De-Ay" is a hilarious delight. The big finale, a montage of the title song, "La Conga," and "Love Affair," gets into patriotic turf as it begins with the orchestras playing the title number and ends with Garland and Rooney's faces superimposed against an American flag. 

What I Don't Like: The movie is as melodramatic as the blood-and-thunder adventures the kids make fun of at times. The entire subplot with the kid needing the operation and Rooney's sacrifice can seem awfully corny nowadays. That big patriotic finale comes out of nowhere and, while stirring for audiences who were seeing more of World War II in the news, is just a little bit too much nowadays. 

The Big Finale: The imaginative numbers alone makes this a lot of fun for fans of the young stars, Berkeley, or the MGM musicals of the 40's and 50s. 

Home Media: Easily available in all formats. The DVD and Blu-Ray are from the Warner Archives.

DVD

Blu-Ray

Amazon Prime

Family Fun Saturday - Snow White (1987)

The Cannon Group, 1987

Starring Diana Rigg, Sarah Patterson, Nicola Stapleton, and Billy Barty

Directed by Michael Berz

Music by Michael Berz and Arich Rudich; Lyrics by Michael Berz and others

This was the fifth of the nine released "Cannon Movie Tales," musical versions of beloved fairy tales. This time, they dive into the famous story of the beautiful girl who flees her wicked stepmother and is cared for by seven little men. We're also honoring the late Dame Diana Rigg, who passed away earlier this month. This would be one of her few onscreen musical roles. How does the popular tale look in this low-budget retelling?  Let's start at the castle, where the Queen (Dorit Adi) is wishing for a child with skin as white as snow, and find out...

The Story: The Queen does finally bear a lovely child who is exactly as she hoped, but dies shortly afterwards. The King (Doug Sheldon) remarries, but his wife (Rigg) is cold and cruel, only caring about her beauty, fine clothes, and magic mirror who tells her how fair she is. After the mirror claims Snow White (Stapleton) is more beautiful, she orders her Huntsman (Amnon Meskin) to kill the child and cut out her heart. He can't do it and turns her out into the woods instead. 

The little girl wanders into the cottage of the Seven Dwarfs, who search for rocks and bones and other treasures in the mountains. They end up raising her into a lovely young woman (Patterson). The Queen discovers she's still alive and tries to have her killed three times. The third time seems to be the charm. The heartsick dwarfs build a glass coffin for her...but then a prince (James Ian Wright) comes along and falls instantly in love with her...

The Song and Dance: One thing I really like about this one is how straightforward it is, especially compared to other film versions like Mirror, Mirror and Snow White and the Huntsman that add way too much padding. This is about as close to the original Grimm's Fairy Tale as you're probably going to get in an adaptation intended for families. Rigg dominates as the heartless ruler who will do anything, including donning some pretty strange costumes, to stay the fairest woman in the land. She relishes the role, snapping at couriers and purring at her creepy magic mirror. 

Favorite Number: We open with "Let It Snow," as the ladies of the court revel in the chilly weather and the Queen dreams of having a child. The young Snow White shows just how much she loves her father when she and the king sing and dance on "Daddy's Knee." Rigg sings to Meskin how she doesn't want anyone to be more beautiful than her in "More Beautiful Than Me." The dwarfs have a rollicking dance routine at the house to teach Snow White their names (and introduce them to the audience) in "My Name Is Biddy."

Trivia: This was the only Cannon Movie Tale to receive a PG rating on cable.

What I Don't Like: While not as overtly cheap as some of the other Cannon Movie Tales, the dwarfs look more like oversized furballs than little men and are frankly scarier-looking than the queen. The Mirror, with its frame surrounded by grinning white faces, is pretty creepy, too. The lousy special effects don't help there, either. You barely see the prince, and when you do, he has nothing to do with saving Snow White - that literally happens on accident. (Granted, that's in the original story - kissing Snow White is strictly Disney.) The background score is still annoyingly tinny, and the songs just aren't that memorable. Also, beware of Rigg's Japanese saleswoman trying to give Snow White a poisoned comb towards the end. Many people would consider it to be a rather annoying stereotype (complete with silly accent) today.

The Big Finale: If you want to show your kids what the real story of Snow White is like, this might be an appropriate place to start if they can get past the cheap production.

Home Media: For many years, this was one of the harder-to-find Cannon Movie Tales. It's now a part of MGM's made-to-order Limited Edition Collection and is free to stream on Amazon with a Prime membership.

DVD

Amazon Prime

Pan-Americana

RKO, 1945

Starring Phillip Terry, Audrey Long, Eve Arden, and Robert Benchley

Directed by John H. Auer

Music and Lyrics by various

With the European markets cut off after war began in 1939, Hollywood looked down south for other sources of revenue. This resulted in many movies of the time set in South America or the Caribbean. Several stars south of the border became popular up here as well, notably Carmen Miranda. RKO opted to go after the stars, filming many legendary South American performers for this romantic comedy about what happens when two photographers go on a Goodwill Tour...and end up with more than just goodwill towards each other. Let's start in the office of a popular travel magazine and find out...

The Story: Dan Jordan (Terry) has just returned from the war to resume his job as a photographer at a popular travel magazine. Editor Helen "Hoppy" Hopkins (Arden) and her assistant Charlie Corker (Benchley) have the idea to film beautiful girls from all over South America and the Caribbean and feature them in a revue highlighting the beauty and talent south of the border afterwards. Hoppy insists that their best woman photographer Jo Anne Benson (Long) come with them, mainly to keep an eye on womanizing Jordan. Her attentions work too well. Now he's in love with her and thinking post-war suburban living, not knowing she already has a fiancée in Brazil.

The Song and Dance: And "song and dance" are the operative words. The whisper-thin plot is merely an excuse to showcase some of the best performing talent Mexico, Brazil, and Cuba have to offer. Arden and Benchley have a lot of fun as the sarcastic woman editor and her assistant who gets an amusing sequence describing the Samba. Isobellita appears in a cute running gag that has her pop up in each country, hoping to win the pageant title despite not being from that country. 

Favorite Number: "Babalu" is today most associated with Cuban-born Desi Arnaz, but is used here in a big dance routine, performed passionately by Cuban singer Miguelito Valdes. Dancers Antoni and Rosario get two fiery flamenco routines, one set to "Guadalajara," one seen in the finale as the pageant winners from every South American country sings along. 

Trivia: This was actress Jane Greer's first movie. She can be seen briefly in the beginning as Hoppy's secretary.

What I Don't Like: Oooh, that plot! It's about as much fun as watching paint dry. Long isn't bad, but Terry is smarmy and unlikable. Jo Anne's fiancée is of such little consequence, we don't even meet him until the last 20 minutes of the movie...and when we do meet him, he's such a decent and good-looking guy, you wonder how Jo Anne could even let her boss talk her into being bothered with Phillip. 

Not to mention, the plot makes no sense. The main characters were supposed to be filming South American beauties, yet we never see any film crews. There's no way they could have set a stage show up so fast when they got back, either, and we never do find out which one ended up being Miss Pan-American. There's also the fact that the copy seen on HBO Max and TCM is terrible, blurry and faded. Someone really, really needs to take a crack at restoring this one. 

The Big Finale: Of interest mainly to scholars of South American film, those who grew up watching the performers south of the border, or really huge fans of Arden or Benchley. Anyone else will likely be put off by the ridiculous and boring plot.

Home Media: Can currently be found streaming on HBO Max, and occasionally on TCM. 

HBO Max

Call of the Flesh

MGM, 1930

Starring Ramon Navarro, Renee Adoree, Dorothy Jordan, and Ernest Torrence

Directed by Charles Brabin

Music by Herbert Stothart and Ramon Novarro; Lyrics by Clifford Grey

Mexican-born Ramon Novarro came to prominence as a popular star of swashbucklers and dramas in the late 1920's. He turned to musicals after he recorded "Pagan Love Song" from his vehicle The Pagan and audiences discovered he had an attractive singing voice. This was the last of three operettas he made in 1929-1930 with soprano Dorothy Jordan, and the last of four films he did with exotic Renee Adoree. How does this tale of a dashing young singer who loves a convent girl look today? Let's head to that convent in Seville, Spain, as Captain Enrique Varquas (Russell Hopton) visits his sister Maria (Jordan) and find out...

The Story: Enrique wants Maria to stay within the convent walls, but she sneaks off when she hears music from the cantina across the street. Juan de Dios (Novarro) and his partner Lola (Adoree) perform a fiery number for the crowds as Juan flirts with all the girls. Lola wishes he'd pay a lot more attention to her. His music teacher Esteban (Torrence) wishes he'd pay more attention to his voice studies. He thinks he has the makings of a great opera singer and hopes to take him to Madrid for a major career.

Juan runs into Maria when she's stealing a dress from a clothes line. She so badly wanted to see him, she ran away from the convent. He takes her home, but has to hide her from Lola. He convinces Esteban to let her join them in Madrid. When they arrive, Juan auditions for an opera producer, but he claims he has no passion in his singing. Esteban pays the producer to give Juan a chance. 

Meanwhile, Juan is ready to marry Maria, but Enrique and Lola arrive and convince him that he's making her break her vow with God. He finally sends her back to the convent, but both their hearts are broken in the process. If they aren't together soon, he may not survive to sing another aria,  no matter how successful...

The Song and Dance: When this one stays away from opera melodrama and pours on the authentic Latin ardor, it's actually pretty interesting. Adoree is surprisingly good as the feisty Lola, given she was deathly ill at the time she made this movie. Novarro wakes up alongside her and does fairly well in his dance number with her. Torrence is also good as his teacher who truly believes in his pupil's abilities, if only he'd focus on them and not on destructive behavior. The elaborate sets and costumes does very well representing Spain somewhere in the early 20th century. There's even some decent camerawork for the time, particularly in the opening with the nuns and the convent.

Favorite Number: Adoree and Novarro have a lot of fun with their opening dance routine. No wonder Maria was enchanted. Their fast and fiery moves are genuinely funny and enjoyable. Novarro's big Pagliacci aria in the end is subdued for the 5 o'clock number of a big musical and a bit strained, until he suddenly collapses on its completion.

Trivia: This was Adoree's last film. She has tuberculosis during filming and was rushed into a sanitarium as soon as the film finished. She died two years later.

There were three numbers originally in Technicolor, including another Pagliacci aria, but none of them exist in the current print.

What I Don't Like: The overly melodramatic ending is ridiculous and annoying. Maybe it would go over a little better if Novarro and Jordan showed more passion, but they have all the chemistry of two tree stumps. Jordan is shrill and bland as the sweet little convent miss who is supposed to be swept away by Juan's magnificent music and his romantic life. You almost wish he'd just go back to Lola, who is a heck of a lot more interesting. 

The Big Finale: Mainly of interest to fans of Novarro, opera, or the early talkie era.

Home Media: Another rare title that currently can only be found from time to time on TCM.

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Animation Celebration Saturday - Pinocchio (1940)

Disney, 1940

Voices of Dick Jones, Cliff Edwards, Christian Rub, and Walter Catlett

Directed by Ben Sharpstein and Hamilton Luske
Music by Leigh Harline; Lyrics by Ned Washington

This was Disney's follow-up to their massive hit Snow White and the Seven Dwarfs. The story of a little puppet and his cricket friend who run up against temptation (and four of the nastiest villains in animation) wasn't a hit on first release, but is now considered to be one of the studio's most enduring classics. How does Pinocchio's story look today? Let's start with our narrator Jiminy Cricket (Edwards) as he introduces his friend's story and find out...

The Story: Pinocchio (Jones) was created by lonely toy maker Geppetto (Rub), who longed for a son of his own. The Blue Fairy (Evelyn Venable) gave him his wish and brought Pinocchio to life. To keep him on the straight and narrow, she anoints Jiminy as his conscience. 

The little cricket discovers how tough it is to be the conscience to a puppet when Pinocchio is easily swayed from attending school by con animals "Honest" John (Catlett) and Gideon. They sell him to Stromboli (Charles Judels), a puppeteer, who wants him for his show and has no desire to let him return to his father. Even after they manage to escape Stromboli, the two confidence critters sell Pinocchio on the idea of "Pleasure Island," a place where boys can do whatever they want. This works out even less well, ending with Pinocchio half-donkey and barely avoiding a frightening Coachman (Judels). Now they have to rescue Geppetto from the belly of a whale, or Pinocchio will never truly become a real little boy. 

The Animation: Gorgeous to this day. The opening and closings with the star are stunning in their detail. You could spend time just checking out all the details on the clocks and toys in Geppetto's workshop, or checking out the buildings and shenanigans on Pleasure Island. This was the first animated film with "effects" animation, and it still looks pretty good, especially Pinocchio and Jiminy underwater.

The Song and Dance: One of Disney's lushest and most beautifully drawn films. It's also one of their scariest. The villains are some of their most frightening - the Coachman in that brief "devil" shot is utterly terrifying! Gags from Jiminy and Geppetto's pets Figaro the kitten and Cleo the goldfish help balance things out. Edwards did so well as Jiminy, he would continue to voice the character for the rest of his life. The music is excellent, too. "When You Wish Upon a Star" won an Oscar and is considered to be something of a theme for the entire Walt Disney Company.

Favorite Number: In fact, the film opens and closes with Jiminy performing "When You Wish Upon a Star" over one of those lush blue backdrops. Geppetto dances with his new "Little Wooden Head" creation after he finishes him at the workshop, introducing him (and us) to his kitten Figaro and fish Cleo. Foulfellow uses the catchy "Hi Diddle Dee" to convince Pinocchio that it would be wonderful to join the theater. "I've Got No Strings" is Pinocchio's puppet act; it starts off with him doing a slightly awkward solo, but ends with him dancing - or trying to dance - with marionettes from all over Europe.

Trivia: At least six more songs intended for Jiminy Cricket, Foulfellow, the chorus, and the boys at Pleasure Island were written, but eventually dropped. Jiminy's song, "I'm a Happy-Go-Lucky Fellow," would eventually be used in Fun & Fancy Free. 

This was the second movie released on the Walt Disney Classics video label in the mid-80's after Robin Hood. 

Disney originally intended to make their own sequel in the mid-2000's, but it's one of the many John Lasseter canceled when he took over the animation studio in 2006. They seem to have more luck with a live-action version that's just about ready to film.

What I Don't Like: This is one of their few animated movies where the villains get away with everything. No one ever punishes Foulfellow, Gideon, Stromboli, or the Coachman for any of the terrible things they do, nor do we find out what happened to the other donkey-boys. Pinocchio just evades them and dashes off to the next temptation. Pinocchio himself isn't really all that interesting, either. He's another character things just happen to. 

The Big Finale: One of Disney's most charming and unusual fantasies. Watch this one with slightly older kids who can handle some of the scarier stuff with the bad guys and Monstro the Whale.

Home Media: Easily found in all formats. Your best bet for streaming would be Disney Plus if you have a subscription.

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Blu-Ray
Disney Plus

A Connecticut Yankee In King Arthur's Court (1949)

Paramount, 1949

Starring Bing Crosby, Rhonda Fleming, Sir Cedric Hardwicke, and William Bendix

Directed by Tay Garrett

Music by Jimmy Van Heusen; Lyrics by Johnny Burke

Of course, Lawrence Olivier wasn't the only star who occasionally indulged in swashbuckling fantasies. Even easy-going Bing Crosby found himself caught up in a romantic adventure or two, and not just on the road with his buddy Bob Hope. This is the third adaptation of the Mark Twain novel about a blacksmith who finds himself back in medieval times and shows the residents how modern people live. How does this version fare? Let's head to Pendragon Castle in England, just as the tour begins, and find out...

The Story: Hank Martin (Crosby) tells the castle's owner Lord Pendragon (Hardwicke) his story when he shows him a priceless pendant given to him by the lovely Lady Alisande (Fleming). Martin is a car mechanic in early 1900's Connecticut who is knocked out and wakes up in medieval times. He's found by a burly knight named Sir Sagemore (Bendix), who brings him to his bosses King Arthur (Hardwicke), Merlin (Merwyn Vye), and Morgan Le Fay (Virginia Field). The aging and ill Arthur at first agrees with Merlin that Hank should be executed as a "monster." Hank uses the light from his watch to convince Arthur and the locals he's a sorcerer. Lady Alisande was always convinced, especially after Hank flirts heavily with her.

Merlin and Morgan have their own plans. They first set Alisande's fiancee Lancelot (Henry Wilcoxon) on Hank in a jousting match, but Hank uses rope tricks to get him off his horse. When Hank convinces Arthur to dress as a peasant and see the suffering in his own kingdom, they end up in Merlin and Morgan's hands as slaves. Hank, however, still has one more trick in his little black almanac that could save them all.

The Song and Dance: For once, Crosby being out-of-place in a historical film actually works as part of the plot. He does very well as the laid-back mechanic who uses his knowledge of the future to get himself and others out of a few big jams in the past. Bendix has some funny moments as Hank's strongest and most loyal ally in Arthur's court, and Rhonda Fleming is spirited and lovely as the intelligent Alisande. The color is absolutely gorgeous, nicely illuminating the stunning costumes and shadowy sets representing a fairy-tale Camelot. 

Favorite Number: We start off with Hank explaining to the kids in his Connecticut town why you should always keep trying, even "If You Stub Your Toe On the Moon." "Once and for Always" is Alisande and Hank's big duet, performed first after the ball to introduce him to the court, and later after they've all been tossed in prison by Merlin. Hank, Arthur, and Sagemore are "Busy Doing Nothing" as they try to pass for peasants on the road through Camelot.

What I Don't Like: The plot does come a little closer to the original Mark Twain book than the 1927 Rodgers and Hart stage musical, but it's still not a 100 percent adaptation. (For one thing, Morgan Le Fay shows up here, too.) The music, while cute, isn't the most memorable. Alisande's sudden change from Hank to Lancelot and back again is a bit of a mood whiplash in the middle of the movie. While it does set up for Hank leaving the kingdom, it also makes little sense with what comes before or after. Also, note this sticks to the book's interpretation as Merlin as a lot younger and more villainous than usual.

The Big Finale: If you love stories of knights and princesses and Camelot or fish-out-of-water tales, or are a fan of Crosby, you'll want to give this glowing fantasy tale a try.

Home Media: Currently DVD only in North America as part two Bing Crosby sets (although it does show up on TCM from time to time). 

DVD - The Bing Crosby Collection Double Feature

DVD - Bing Crosby: The Silver Screen Collection, the 1940's