Paramount, 1939
Voices of Sam Parker, Pinto Colvig, Jack Mercer, and Tedd Pierce
Directed by Dave Fleischer
Music by Ralph Rainger and others; Lyrics by Leo Robin and others
Max and Dave Fleischer had wanted to make their own feature-length animated film as far back as 1934. Their home studio Paramount was restructuring after almost going into bankruptcy and just didn't have the money then. After the success of Snow White in 1938, they decided they wanted their own blockbuster animated film and pressed the Fleichers to rush this out for the 1939 holidays. On top of that, they were in the midst of moving their facilities to Miami, Florida, and they had to hire a ton more animators. Was all the fuss worth it? Let's join Gulliver as he survives a storm at sea and find out...
The Story: Gulliver (Parker) washes up in the middle of a war. King Little (Mercer) of Liliput and King Bombo (Pierce) of Blefescu argue over whether the songs "Faithful" or "Forever" should be played at the wedding of their children, Princess Glory and Prince David. Bombo is so offended by the idea of his national song not being played, he calls his country to arms over it. Jumpy night watchman Gabby (Colvig) finds Gulliver on the beach and immediately believes he's there to harm them. They take him to their capitol, where he finally reassures them that he's friendly after he helps them defeat the Blefescuians.
Bombo's not taking his loss lying down. He sends three spies to eliminate Gulliver, using his own pistol. Meanwhile, Gulliver has discovered Glory and David have continued to see each other. That gives him an idea of how to stop the war...if only those silly, stubborn kings would listen to him...
The Animation: A mixed bag. The backgrounds are lush and gorgeous, and the rotoscoping on Gulliver and the prince and princess moves well and looks quite realistic. Too realistic. The very real and romantic Gulliver, Glory, and David clash badly with the cartoonier designs of the other residents of Liliput and Blefescu. They look like they've come from a different movie entirely.
The Song and Dance: I give the Fleischers some credit for delivering even a half-way decent film on an 18-month schedule. There's some nice music here, along with a fine performance from Parker as Gulliver, who goes from amused by all these little folks to wondering why in the heck they're all fighting. Considering World War II was in the midst of starting as this movie debuted, it's also pretty interesting that there's a fairly strong anti-war message. Gulliver finally tells them in the end that war isn't the answer, though it takes a near-sacrifice to get them to listen.
Favorite Number: "Faithful Forever," the combined version of the songs that caused all the fuss, is a lovely ballad that was nominated for an Oscar. Gabby's song "All's Well" is catchy too, even if he's right that the lyrics can get a little too cutesy-cheery. An off-screen chorus joins a homesick Gulliver for his beautiful "I Have a Dream (Come Home Again)" as he longs to get back.
Trivia: Then-popular singers Jessica Dragonette and Lanny Ross were the singers for Princess Glory and Prince David.
The movie was nearly as big of a hit as Snow White, one of the top hits of 1939.
What I Don't Like: In addition to the animation complaints, there's the ridiculous plot. The idea of the two kings arguing over which song to perform at a wedding is so silly, even Gulliver calls them on it. I have no idea how Gabby and the spies got their own shorts series. Gabby and his high-pitched voice are annoying and useless, and the goofy spies are even more so.
The movie doesn't really let Gulliver do much traveling. It only uses the first part of the book Gulliver's Travels, and then it makes a ton of changes. For one thing, the rift between the two countries was originally over which side to crack an egg. For another, there was no prince and princess. Gulliver just wouldn't male Blefuscu a part of Lilliput.
The Big Finale: Might be fun for enthusiasts of 30's and 40's animation or the Fleischer brothers, or younger children who won't mind the goofy plot and characters.
Home Media: As a public domain film, it's quite easily found everywhere and in every format. The out-of-print Blu-Ray has a digitally restored print and extra Fleischers shorts.
DVD
Blu-Ray
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Saturday, September 28, 2019
Thursday, September 26, 2019
Cult Flops - A Chorus Line
Columbia Pictures, 1985
Starring Michael Douglas, Alyson Reed, Sharon Brown, and Terrance Mann
Directed by Richard Attenborough
Music by Marvin Hamlisch; Lyrics by Edward Kleban
We remain backstage, but move ahead a full half-century to a very different Broadway. The tale of dancers relating their lives at an audition was one of the biggest stage hits of the late 70's, running for over fifteen years. Is it "one singular sensation" on the big screen as well, or should it have been cut at the audition? Let's head to the Mark Hellinger Theater in New York, just as an audition for a major Broadway show is starting, to find out...
The Story: We follow a group of dancers as they audition for chorus slots in choreographer Zach's (Douglas) new show. Zach asks the group of finalists to tell them more about their lives, how they decided they wanted to become dancers. As they talk and sing about their experiences in the theater, Zach's ex-girlfriend Cassie (Reed) arrives late to the audition, but she does manage to get in. Zach's not happy to see her. She was a star dancer for a while, and she's really too good for the chorus line...but all she wants is a chance to dance, just like all the others.
The Song and Dance: And the song and dance is the primary interest here. There's some great numbers, including the glittery extended finale. Some decent performances among the chorus dancers too, especially sweet Jan Gan Boyd as ageless Connie Wong, Vicki Fredrick as veteran dancer Sheila Bryant, Gregg Burge as energetic "Surprise, Surprise" dancer Richie Walters, and Cameron English as gay dancer Paul San Marco.
Favorite Number: We begin well with a driving "I Hope I Get It" as the groups of auditioning performers are whittled down, including some passages not heard in the original show. Audrey Landers, despite not being a dancer, still has fun with "Dance: Ten, Looks: Three," on why she decided to have plastic surgery done and how it improved her life. Sheila, Bebe (Michelle Johnston), and Maggie (Pam Klinger) get the simple and touching "At the Ballet," on their difficult childhoods and how ballet became their escape.
Reed tries to show Zach how much she wants to be a part of the show with the dynamic "Let Me Dance for You." That was one of two songs written for the film; the other was the Oscar-nominated "Surprise, Surprise," as Richie and the others describe their sexual awakenings.
Trivia: The original show opened in 1975 and was one of the biggest Broadway successes of the 70's and 80's, running until 1990 and winning 9 Tonys and the Pulitzer. It closed as the longest-running show in Broadway history. (It has since been replaced by Cats, Les Miserables, and The Phantom of the Opera.) A revival in 2006 also did well, running over two years.
The movie was partially filmed at the Mark Hellinger Theater, a real-life Broadway theater that is now owned by the Times Square Church.
What I Don't Like: Switching the focus to the romance between Cassie and Zach totally loses the point of the original show - that of the stories of the dancers, their lives, and what makes them want to perform. Attenborough often cuts to flashbacks of their doomed relationship during numbers or when the dancers are talking, disrupting the flow of the film and the songs. Douglas looks bored and out-of-place as the supposedly driven and eccentric choreographer.
More than half the score is missing, including an important montage song for the dancers, "Hello Twelve, Hello Thirteen, Hello Love," along with "The Music and the Mirror" and "Sing!" The hit "What I Did For Love," originally a song for the dancers to explain their love for their craft, becomes a throwaway ballad for Cassie as she watches the dancers from the catwalks.
This is another flop musical that probably should not have been a film. The original format is really a full-on stage experience, and that shows in the film's limited cinematography and editing. Despite attempts at something more dynamic in a few of the numbers, this really feels more like a filmed stage play.
The Big Finale: People who want a taste of the show - or the mid-80's - may be interested in some of the numbers...but if you really want to hear the show, you may be better off looking up the easily-found original or Broadway revival cast albums.
Home Media: Easily found on most formats, often for under ten dollars.
DVD
Blu-Ray
Amazon Prime
Starring Michael Douglas, Alyson Reed, Sharon Brown, and Terrance Mann
Directed by Richard Attenborough
Music by Marvin Hamlisch; Lyrics by Edward Kleban
We remain backstage, but move ahead a full half-century to a very different Broadway. The tale of dancers relating their lives at an audition was one of the biggest stage hits of the late 70's, running for over fifteen years. Is it "one singular sensation" on the big screen as well, or should it have been cut at the audition? Let's head to the Mark Hellinger Theater in New York, just as an audition for a major Broadway show is starting, to find out...
The Story: We follow a group of dancers as they audition for chorus slots in choreographer Zach's (Douglas) new show. Zach asks the group of finalists to tell them more about their lives, how they decided they wanted to become dancers. As they talk and sing about their experiences in the theater, Zach's ex-girlfriend Cassie (Reed) arrives late to the audition, but she does manage to get in. Zach's not happy to see her. She was a star dancer for a while, and she's really too good for the chorus line...but all she wants is a chance to dance, just like all the others.
The Song and Dance: And the song and dance is the primary interest here. There's some great numbers, including the glittery extended finale. Some decent performances among the chorus dancers too, especially sweet Jan Gan Boyd as ageless Connie Wong, Vicki Fredrick as veteran dancer Sheila Bryant, Gregg Burge as energetic "Surprise, Surprise" dancer Richie Walters, and Cameron English as gay dancer Paul San Marco.
Favorite Number: We begin well with a driving "I Hope I Get It" as the groups of auditioning performers are whittled down, including some passages not heard in the original show. Audrey Landers, despite not being a dancer, still has fun with "Dance: Ten, Looks: Three," on why she decided to have plastic surgery done and how it improved her life. Sheila, Bebe (Michelle Johnston), and Maggie (Pam Klinger) get the simple and touching "At the Ballet," on their difficult childhoods and how ballet became their escape.
Reed tries to show Zach how much she wants to be a part of the show with the dynamic "Let Me Dance for You." That was one of two songs written for the film; the other was the Oscar-nominated "Surprise, Surprise," as Richie and the others describe their sexual awakenings.
Trivia: The original show opened in 1975 and was one of the biggest Broadway successes of the 70's and 80's, running until 1990 and winning 9 Tonys and the Pulitzer. It closed as the longest-running show in Broadway history. (It has since been replaced by Cats, Les Miserables, and The Phantom of the Opera.) A revival in 2006 also did well, running over two years.
The movie was partially filmed at the Mark Hellinger Theater, a real-life Broadway theater that is now owned by the Times Square Church.
What I Don't Like: Switching the focus to the romance between Cassie and Zach totally loses the point of the original show - that of the stories of the dancers, their lives, and what makes them want to perform. Attenborough often cuts to flashbacks of their doomed relationship during numbers or when the dancers are talking, disrupting the flow of the film and the songs. Douglas looks bored and out-of-place as the supposedly driven and eccentric choreographer.
More than half the score is missing, including an important montage song for the dancers, "Hello Twelve, Hello Thirteen, Hello Love," along with "The Music and the Mirror" and "Sing!" The hit "What I Did For Love," originally a song for the dancers to explain their love for their craft, becomes a throwaway ballad for Cassie as she watches the dancers from the catwalks.
This is another flop musical that probably should not have been a film. The original format is really a full-on stage experience, and that shows in the film's limited cinematography and editing. Despite attempts at something more dynamic in a few of the numbers, this really feels more like a filmed stage play.
The Big Finale: People who want a taste of the show - or the mid-80's - may be interested in some of the numbers...but if you really want to hear the show, you may be better off looking up the easily-found original or Broadway revival cast albums.
Home Media: Easily found on most formats, often for under ten dollars.
DVD
Blu-Ray
Amazon Prime
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
Monday, September 23, 2019
The Hollywood Revue of 1929
MGM, 1929
Starring Jack Benny, Joan Crawford, Marie Dressler, Cliff Edwards, and more
Directed by Charles Reisner and Christy Cabanne (uncredited)
Music by Arthur Freed and others; Lyrics by Nacio Herb Brown and others
We're jumping way, way back in Hollywood history for this one. After the coming of sound made musical films possible, almost every studio in town made at least one revue showcasing their most popular stars and grandest sets and costumes. MGM was no exception, and they top-loaded their Oscar-nominated variety show with everyone from up-and-coming Crawford to comedian Jack Benny to Laurel & Hardy. How does this early variety program look today? Let's head to the theater, where the show is about to begin, and find out...
The Story: There isn't one. Jack Benny introduces a series of skits, songs, and dances featuring some of the most popular stars at MGM in 1929...when said stars aren't slapping him, throwing cakes in his direction, or eating the buttons off his tuxedo.
The Song and Dance: When they say "the following galaxy of stars" in the opening credits, they're not kidding. If you love the movies of the early talkie era, you'll probably see someone you recognize. Some non-musical numbers have their own fun. Laurel and Hardy have a really cute magic act that begins with broken eggs and ends with Hardy falling into a cake. Norma Shearer and a relaxed-looking John Gilbert (just before his career tragically spiraled downwards) do a hilariously overwrought Romeo & Juliet...and then an even more ridiculous version in "modern" 20's argot, as per director Lionel Barrymore's instructions.
Favorite Number: Some of the songs here are pretty adorable, too. June Purcell and the chorus have fun with "Low Down Rhythm" early on, including another routine by the ballet-tap dancer from The Broadway Melody. Some early special effects are used on the opening chorus routine and Bessie Love's goofy acrobatic act, "I Never Knew I Could Do a Thing Like That," allowing her to emerge from Jack Benny's pocket. Marie Dressler proves why she became one of MGM's top stars in the early 30's in the hilarious royalty satire "I'm the Queen." Dressler and Love join Dressler's long-time sparring partner Polly Moran for some wild musical slapstick in enormous bloomers and hairbows, including Moran doing a terrific Al Jolson impression.
The movie is best-known today for introducing "Singin' In the Rain" to general audiences. The number is worthy of the song, with Cliff "Ukelele Ike" Edwards performing it as the chorus splashes in real rain, with the Brox Sisters jumping in later with their own pleasant harmony. It's the best number in the film, and too cute for words. The finale at Noah's Ark, with all the stars singing in raincoats (except a confused Buster Keaton, who looks like he's just wondering where the rain went), is a great way to end the show.
Trivia: While most of the film (including its color sequences) is intact, two brief bits are missing. Current prints no longer have a recitation from the showgirls in the sign in the opening credits and the appearance of Nils Asther, who helped Benny introduce the "Singin' In the Rain" finale.
Laurel and Hardy and Marion Davies shot their numbers in the wee hours of the morning (which explains their performances, especially Davies), due to them working on other projects at the time.
Cliff Edwards later became better-known as the original voice of Jiminy Cricket in Disney's Pinocchio.
Among the women who slap Jack Benny are Gwen Lee and later Warner Bros and Scarface actress Ann Dworak.
What I Don't Like: Like The Broadway Melody, this is extremely a movie of its time. Most of the performers are barely remembered to anyone but aficionados of the early talkie era nowadays. The color is scratchy, the cinematography is a matter of filming whomever happens to be standing there, and the choreography is stilted at best and clumsy at worst.
The spoof horror chorus routine "Lon Chaney's Gonna Get 'Cha If You Don't Watch Out" is cute if you know about Chaney's reputation in the genre at the time...but you probably won't get it if you don't know the era. Davies is stiff and rather desperate in her "Tommy Atkins on Parade" military dance routine. Almost every chorus number, including the military parade after "Tommy Atkins," goes on for way, way too long. Most of the songs besides "Singin' In the Rain" are dull or silly, including the often-repeated and rather bad "Your Mother and Mine." A routine with an adiago troupe comes off as strange rather than dramatic. And what was with all the women slapping Jack Benny?
The Big Finale: Cute if you love the early talkie era; not necessary for anyone else.
Home Media: Currently only available via the Warner Archives.
DVD
Starring Jack Benny, Joan Crawford, Marie Dressler, Cliff Edwards, and more
Directed by Charles Reisner and Christy Cabanne (uncredited)
Music by Arthur Freed and others; Lyrics by Nacio Herb Brown and others
We're jumping way, way back in Hollywood history for this one. After the coming of sound made musical films possible, almost every studio in town made at least one revue showcasing their most popular stars and grandest sets and costumes. MGM was no exception, and they top-loaded their Oscar-nominated variety show with everyone from up-and-coming Crawford to comedian Jack Benny to Laurel & Hardy. How does this early variety program look today? Let's head to the theater, where the show is about to begin, and find out...
The Story: There isn't one. Jack Benny introduces a series of skits, songs, and dances featuring some of the most popular stars at MGM in 1929...when said stars aren't slapping him, throwing cakes in his direction, or eating the buttons off his tuxedo.
The Song and Dance: When they say "the following galaxy of stars" in the opening credits, they're not kidding. If you love the movies of the early talkie era, you'll probably see someone you recognize. Some non-musical numbers have their own fun. Laurel and Hardy have a really cute magic act that begins with broken eggs and ends with Hardy falling into a cake. Norma Shearer and a relaxed-looking John Gilbert (just before his career tragically spiraled downwards) do a hilariously overwrought Romeo & Juliet...and then an even more ridiculous version in "modern" 20's argot, as per director Lionel Barrymore's instructions.
Favorite Number: Some of the songs here are pretty adorable, too. June Purcell and the chorus have fun with "Low Down Rhythm" early on, including another routine by the ballet-tap dancer from The Broadway Melody. Some early special effects are used on the opening chorus routine and Bessie Love's goofy acrobatic act, "I Never Knew I Could Do a Thing Like That," allowing her to emerge from Jack Benny's pocket. Marie Dressler proves why she became one of MGM's top stars in the early 30's in the hilarious royalty satire "I'm the Queen." Dressler and Love join Dressler's long-time sparring partner Polly Moran for some wild musical slapstick in enormous bloomers and hairbows, including Moran doing a terrific Al Jolson impression.
The movie is best-known today for introducing "Singin' In the Rain" to general audiences. The number is worthy of the song, with Cliff "Ukelele Ike" Edwards performing it as the chorus splashes in real rain, with the Brox Sisters jumping in later with their own pleasant harmony. It's the best number in the film, and too cute for words. The finale at Noah's Ark, with all the stars singing in raincoats (except a confused Buster Keaton, who looks like he's just wondering where the rain went), is a great way to end the show.
Trivia: While most of the film (including its color sequences) is intact, two brief bits are missing. Current prints no longer have a recitation from the showgirls in the sign in the opening credits and the appearance of Nils Asther, who helped Benny introduce the "Singin' In the Rain" finale.
Laurel and Hardy and Marion Davies shot their numbers in the wee hours of the morning (which explains their performances, especially Davies), due to them working on other projects at the time.
Cliff Edwards later became better-known as the original voice of Jiminy Cricket in Disney's Pinocchio.
Among the women who slap Jack Benny are Gwen Lee and later Warner Bros and Scarface actress Ann Dworak.
What I Don't Like: Like The Broadway Melody, this is extremely a movie of its time. Most of the performers are barely remembered to anyone but aficionados of the early talkie era nowadays. The color is scratchy, the cinematography is a matter of filming whomever happens to be standing there, and the choreography is stilted at best and clumsy at worst.
The spoof horror chorus routine "Lon Chaney's Gonna Get 'Cha If You Don't Watch Out" is cute if you know about Chaney's reputation in the genre at the time...but you probably won't get it if you don't know the era. Davies is stiff and rather desperate in her "Tommy Atkins on Parade" military dance routine. Almost every chorus number, including the military parade after "Tommy Atkins," goes on for way, way too long. Most of the songs besides "Singin' In the Rain" are dull or silly, including the often-repeated and rather bad "Your Mother and Mine." A routine with an adiago troupe comes off as strange rather than dramatic. And what was with all the women slapping Jack Benny?
The Big Finale: Cute if you love the early talkie era; not necessary for anyone else.
Home Media: Currently only available via the Warner Archives.
DVD
Saturday, September 21, 2019
Animation Celebration Saturday - The Many Adventures of Winnie the Pooh
Disney, 1977
Voices of Sterling Holloway, Paul Winchell, John Fielder, and Junius Matthews
Directed by John Lounsbery and Wolfgang Reitherman
Music by Richard M. Sherman; Lyrics by Robert B. Sherman
I'm back from my vacation hiatus with one of Disney's better efforts of the 70's. This anthology of the first three Winnie the Pooh featurettes was their first feature-length outing with the lovable residents of the 100 Acres Woods, a bucolic spot that exists in the imagination of a small British boy. How does his adventures with his beloved stuffed animal friends look today? Let's join Pooh at his home as he gets ready for his busy day and find out...
The Story: Actually, there's three stories in this film, starting with...
Winnie the Pooh and the Honey Tree: Pooh badly wants honey, and at first recruits Christopher Robin to help him distract the bees and get it from a tree. When that just lands them in the mud, Pooh turns to Rabbit and his pantry filled with honey. He overeats and, to Rabbit's horror, gets stuck in his front door. The rest of the gang helps him pass the time while he's getting thin again.
Winnie the Pooh and the Blustery Day: We're introduced to Piglet, who nearly blows away on a very windy fall day, Owl, whose tree house is blown over, and Tigger, who bounces in later in the day. While Eeyore searches for a new home for Owl, the others all deal with a huge storm...and Pooh deals with Tigger and his claims that "Heffalumps and Woozels" will steal his honey.
Winnie the Pooh and Tigger Too: Tigger is driving Rabbit crazy by bouncing inconsiderately. He first tries to get Tigger lost in a fog, but he ends up lost instead. Rabbit finally gets his wish when the springy tiger bounces too far up a tree and can't get down...but after tells Tigger he can't bounce, finally learns how much fun a little bouncing can be.
The Animation: Not the absolute best Disney ever did...and in this case, it might actually be a good thing. The sketchy artwork does look a lot like the illustrations in the books, especially Tigger and Eeyore. The "Heffalumps and Woozles" segment gets a bit more creative, with brighter colors and surreal imagery ala the infamous "Pink Elephants On Parade" from Dumbo.
The Song and Dance: Disney's sweetest and most charming film, with some of it's most delightful characters. It's also one of their best literary adaptations. Even when they don't one-hundred percent stick to the books (as in the case of Gopher, the only additional character), they at least have the right gentle spirit.
Favorite Number: The most famous song from this one is probably the opening credits number that introduces the characters and who they are. It's likely the song that comes to mind when most people think of Pooh, and it shows off every character in their own gentle way. "Up Down, Touch the Ground" and "Little Black Rain Cloud" from Honey Tree tells us just how crazy Pooh is about honey and why he loves it so. "The Rain, Rain, Rain Came Down, Down, Down" is a catchy number for an unseen chorus as they explain the havoc the storm wrecked on the 100 Acres Woods in Blustery Day.
The other famous number from this one is Tigger's signature song, "The Wonderful Thing About Tiggers." It's as bright, catchy, and bouncy as the effervescent Tigger himself. There's also Pooh's aforementioned nightmare, the spooky "Heffalumps and Woozels."
Trivia: This is the last Disney canon animated film Walt Disney had any personal involvement with. Honey Tree came out during his lifetime, and he worked on Blustery Day before he died.
A fourth short, Winnie the Pooh and a Day for Eeyore, would be released theatrically in 1983. It's included with most current DVD and Blu-Ray releases of the film as an extra.
What I Don't Like: Wish the Sherman Brothers had stuck around long enough to do music for Tigger Too and Day for Eeyore. The songs in the first two shorts are so memorable and adorable, it would be great if there were even more.
The Big Finale: If you're a fan of Pooh, want to try a lower-key Disney film, or are introducing your youngest children to the worlds of Pooh or Disney, this is a great place to start. Highly recommended.
Home Media: As one of the most popular Disney "canon" animated films, this is easily found in all major formats.
DVD
Blu-Ray
Amazon Prime
Voices of Sterling Holloway, Paul Winchell, John Fielder, and Junius Matthews
Directed by John Lounsbery and Wolfgang Reitherman
Music by Richard M. Sherman; Lyrics by Robert B. Sherman
I'm back from my vacation hiatus with one of Disney's better efforts of the 70's. This anthology of the first three Winnie the Pooh featurettes was their first feature-length outing with the lovable residents of the 100 Acres Woods, a bucolic spot that exists in the imagination of a small British boy. How does his adventures with his beloved stuffed animal friends look today? Let's join Pooh at his home as he gets ready for his busy day and find out...
The Story: Actually, there's three stories in this film, starting with...
Winnie the Pooh and the Honey Tree: Pooh badly wants honey, and at first recruits Christopher Robin to help him distract the bees and get it from a tree. When that just lands them in the mud, Pooh turns to Rabbit and his pantry filled with honey. He overeats and, to Rabbit's horror, gets stuck in his front door. The rest of the gang helps him pass the time while he's getting thin again.
Winnie the Pooh and the Blustery Day: We're introduced to Piglet, who nearly blows away on a very windy fall day, Owl, whose tree house is blown over, and Tigger, who bounces in later in the day. While Eeyore searches for a new home for Owl, the others all deal with a huge storm...and Pooh deals with Tigger and his claims that "Heffalumps and Woozels" will steal his honey.
Winnie the Pooh and Tigger Too: Tigger is driving Rabbit crazy by bouncing inconsiderately. He first tries to get Tigger lost in a fog, but he ends up lost instead. Rabbit finally gets his wish when the springy tiger bounces too far up a tree and can't get down...but after tells Tigger he can't bounce, finally learns how much fun a little bouncing can be.
The Animation: Not the absolute best Disney ever did...and in this case, it might actually be a good thing. The sketchy artwork does look a lot like the illustrations in the books, especially Tigger and Eeyore. The "Heffalumps and Woozles" segment gets a bit more creative, with brighter colors and surreal imagery ala the infamous "Pink Elephants On Parade" from Dumbo.
The Song and Dance: Disney's sweetest and most charming film, with some of it's most delightful characters. It's also one of their best literary adaptations. Even when they don't one-hundred percent stick to the books (as in the case of Gopher, the only additional character), they at least have the right gentle spirit.
Favorite Number: The most famous song from this one is probably the opening credits number that introduces the characters and who they are. It's likely the song that comes to mind when most people think of Pooh, and it shows off every character in their own gentle way. "Up Down, Touch the Ground" and "Little Black Rain Cloud" from Honey Tree tells us just how crazy Pooh is about honey and why he loves it so. "The Rain, Rain, Rain Came Down, Down, Down" is a catchy number for an unseen chorus as they explain the havoc the storm wrecked on the 100 Acres Woods in Blustery Day.
The other famous number from this one is Tigger's signature song, "The Wonderful Thing About Tiggers." It's as bright, catchy, and bouncy as the effervescent Tigger himself. There's also Pooh's aforementioned nightmare, the spooky "Heffalumps and Woozels."
Trivia: This is the last Disney canon animated film Walt Disney had any personal involvement with. Honey Tree came out during his lifetime, and he worked on Blustery Day before he died.
A fourth short, Winnie the Pooh and a Day for Eeyore, would be released theatrically in 1983. It's included with most current DVD and Blu-Ray releases of the film as an extra.
What I Don't Like: Wish the Sherman Brothers had stuck around long enough to do music for Tigger Too and Day for Eeyore. The songs in the first two shorts are so memorable and adorable, it would be great if there were even more.
The Big Finale: If you're a fan of Pooh, want to try a lower-key Disney film, or are introducing your youngest children to the worlds of Pooh or Disney, this is a great place to start. Highly recommended.
Home Media: As one of the most popular Disney "canon" animated films, this is easily found in all major formats.
DVD
Blu-Ray
Amazon Prime
Thursday, September 12, 2019
Animation Celebration Extra - Charlotte's Web (1973)
Paramount, 1973
Voices of Henry Gibson, Debbie Reynolds, Agnes Moorehead, and Paul Lynde
Directed by Charles A. Nichols and Iwoa Takamota
Music by Richard and Robert Sherman
Our last review before my vacation hiatus begins is this tale of an unusual friendship between a pig and a spider. The book by E.B White remains a beloved favorite of many - including me - to this day. Is the first film version as touching and enjoyable as the book, or does it smell of rotten eggs? Let's head to the Arable farm at the first flush of springtime and find out...
The Story: Fern Arable (Pamela Ferdyn) rescues a pig who is the runt of the litter before her father can kill it. She names it Wilbur (Gibson) and raises it as her pet. Eventually, Wilbur becomes large enough to be sold to Fern's uncle Home Zuckerman (Bob Holt). He's lonely in his new surroundings at first, and then frightened when a snooty ram (Dave Madden) tells him Zuckerman intends to turn him into bacon and ham in the fall.
Wilbur's life takes a turn for the special when he's befriended by Charlotte (Reynolds), a spider who lives in her web over his pen. With the help of Templeton, the disagreeable rat (Lynde), she weaves words into her web that make the Zuckermans and everyone in the area think that Wilbur is "Some Pig." Charlotte and Wilbur are inseparable, but Charlotte is an arachnid, and she's not going to live forever. Wilbur learns the true meaning of friendship when Charlotte makes a major sacrifice for him..and he helps carry on her legacy.
The Animation: Generally par for the course for Hanna-Barbara in this time, but it does have some nice effects. Some of the slower numbers in particular, such as Charlotte's first version of "Mother Earth and Father Time" and Fern's "There Must Be Something More to Us" have some nice effects and glowing colors. The animals are a little more realistic than usual for Hanna-Barbara while still being cartoony enough to appeal to kids.
The Song and Dance: While not a 100 percent accurate retelling of the book, this is still a very charming adaptation. I'm especially fond of the terrific cast. Reynolds is a wonderful, warm, comforting Charlotte, and Gibson is adorable as Wilbur. Lynde is perfectly obnoxious as the scheming, ever-eating Templeton. Agnes Moorehead is a hoot as the Goose with a habit of repeating her words. The score is gorgeous and atmospheric, possibly the Sherman Brothers' best from a non-Disney animated film.
Favorite Number: Gibson and Reynolds leads the farm animals through the rousing "We've Got Lots In Common," a chorus number on being friends despite our differences. "Zuckerman's Famous Pig" is the big number at the fair with a brass band saluting Wilbur and everyone marching along. Lynde and Moorehead have a great time celebrating the delights and edibles of the fair in "A Fair Is a Veritable Smorgasbord"
The film's best numbers are three gorgeous ballads, ably representing the Sherman Brothers' ability to write slow numbers for musicals without traditional girl-meets-boy plots. The dreamy title number accompanies Charlotte writing the words that will make Wilbur famous. Fern's opening song is a lovely lullaby for Wilbur when she first rescues him, "There Must Be Something More to Us." Charlotte describes the passing of time - and how wonderful life and the changing seasons are - in "Mother Earth and Father Time." She sings a touching reprise towards the end as she recalls how she helped Wilbur in a montage.
Trivia: This took a few years to make it to the big screen. It was originally announced in 1967, but it passed to a few animation studios before Hanna-Barbara took it over.
The movie itself did all right on first release, but was never a major blockbuster...until it made it to video. It was one of the best-selling videos of 1994, and was popular on cable as well. Like All Dogs Go to Heaven, it was so popular, it got a (direct to video) sequel, Charlotte's Web 2: Wilbur's Adventure.
What I Don't Like: E.B White hated this movie - he wanted more drama and fewer musical numbers. I love the music, but other things don't fare as well. As mentioned, the animation isn't great, especially compared to Disney's finest, and yes, some things were changed from the book.
The Big Finale: If you've already read the book to your young ones or are about to, this is a charming introduction with wonderful songs and some great performances.
Home Media: Easily found on DVD and streaming, often for under 5 dollars.
DVD
DVD - Charlotte's Web movie 3-pack
Amazon Prime
Voices of Henry Gibson, Debbie Reynolds, Agnes Moorehead, and Paul Lynde
Directed by Charles A. Nichols and Iwoa Takamota
Music by Richard and Robert Sherman
Our last review before my vacation hiatus begins is this tale of an unusual friendship between a pig and a spider. The book by E.B White remains a beloved favorite of many - including me - to this day. Is the first film version as touching and enjoyable as the book, or does it smell of rotten eggs? Let's head to the Arable farm at the first flush of springtime and find out...
The Story: Fern Arable (Pamela Ferdyn) rescues a pig who is the runt of the litter before her father can kill it. She names it Wilbur (Gibson) and raises it as her pet. Eventually, Wilbur becomes large enough to be sold to Fern's uncle Home Zuckerman (Bob Holt). He's lonely in his new surroundings at first, and then frightened when a snooty ram (Dave Madden) tells him Zuckerman intends to turn him into bacon and ham in the fall.
Wilbur's life takes a turn for the special when he's befriended by Charlotte (Reynolds), a spider who lives in her web over his pen. With the help of Templeton, the disagreeable rat (Lynde), she weaves words into her web that make the Zuckermans and everyone in the area think that Wilbur is "Some Pig." Charlotte and Wilbur are inseparable, but Charlotte is an arachnid, and she's not going to live forever. Wilbur learns the true meaning of friendship when Charlotte makes a major sacrifice for him..and he helps carry on her legacy.
The Animation: Generally par for the course for Hanna-Barbara in this time, but it does have some nice effects. Some of the slower numbers in particular, such as Charlotte's first version of "Mother Earth and Father Time" and Fern's "There Must Be Something More to Us" have some nice effects and glowing colors. The animals are a little more realistic than usual for Hanna-Barbara while still being cartoony enough to appeal to kids.
The Song and Dance: While not a 100 percent accurate retelling of the book, this is still a very charming adaptation. I'm especially fond of the terrific cast. Reynolds is a wonderful, warm, comforting Charlotte, and Gibson is adorable as Wilbur. Lynde is perfectly obnoxious as the scheming, ever-eating Templeton. Agnes Moorehead is a hoot as the Goose with a habit of repeating her words. The score is gorgeous and atmospheric, possibly the Sherman Brothers' best from a non-Disney animated film.
Favorite Number: Gibson and Reynolds leads the farm animals through the rousing "We've Got Lots In Common," a chorus number on being friends despite our differences. "Zuckerman's Famous Pig" is the big number at the fair with a brass band saluting Wilbur and everyone marching along. Lynde and Moorehead have a great time celebrating the delights and edibles of the fair in "A Fair Is a Veritable Smorgasbord"
The film's best numbers are three gorgeous ballads, ably representing the Sherman Brothers' ability to write slow numbers for musicals without traditional girl-meets-boy plots. The dreamy title number accompanies Charlotte writing the words that will make Wilbur famous. Fern's opening song is a lovely lullaby for Wilbur when she first rescues him, "There Must Be Something More to Us." Charlotte describes the passing of time - and how wonderful life and the changing seasons are - in "Mother Earth and Father Time." She sings a touching reprise towards the end as she recalls how she helped Wilbur in a montage.
Trivia: This took a few years to make it to the big screen. It was originally announced in 1967, but it passed to a few animation studios before Hanna-Barbara took it over.
The movie itself did all right on first release, but was never a major blockbuster...until it made it to video. It was one of the best-selling videos of 1994, and was popular on cable as well. Like All Dogs Go to Heaven, it was so popular, it got a (direct to video) sequel, Charlotte's Web 2: Wilbur's Adventure.
What I Don't Like: E.B White hated this movie - he wanted more drama and fewer musical numbers. I love the music, but other things don't fare as well. As mentioned, the animation isn't great, especially compared to Disney's finest, and yes, some things were changed from the book.
The Big Finale: If you've already read the book to your young ones or are about to, this is a charming introduction with wonderful songs and some great performances.
Home Media: Easily found on DVD and streaming, often for under 5 dollars.
DVD
DVD - Charlotte's Web movie 3-pack
Amazon Prime
Wednesday, September 11, 2019
Cult Flops - State Fair (1962)
20th Century Fox, 1962
Starring Pat Boone, Pamela Tiffin, Ann-Margaret, and Bobby Darrin
Directed by Jose Ferrer
Music by Richard Rodgers; Lyrics by Oscar Hammerstein and Richard Rodgers
If this looks familiar, I reviewed the original 1946 musical last September. Fox had been trying to get a remake off the ground since 1960, with more music by Rodgers and Hammerstein. By the time the movie came out two years later, Hammerstein had passed away, leaving Rodgers to write the new music on his own. How does this bucolic story look over fifteen years later and taking place in a different state fair? Let's head back to the Frake farm, this time in Texas, to find out...
The Story: The Frakes have high hopes that this state fair will be their best ever. Mrs. Frake (Alice Faye) is putting her money on her mincemeat. Her husband (Tom Ewell) is coddling his enormous pig, Blue Boy, in order for him to win a blue ribbon. Son Wayne (Boone) wants to win the state car racing championship. Daughter Margie (Tiffin) just wants to get away from her steady but dull boyfriend. Mr. Frake makes a bet with a gloomy neighbor (
On his first day at the track, Wayne meets Emily (Ann-Margaret) when she poses with a few drivers. He's smitten the moment he sees her. Turns out she's a dancer and model at the fair's theater who performs at various fairs throughout the US. It takes her a little longer, but she falls for him, too. Margie finds her own man in Jerry (Darrin), a fast-talking TV reporter who is covering the fair for a local station. He claims to have a girl in every city, and she's uncertain about him at first, but he finally brings her around. Wayne, however, has a girl at home, and Emily's not the type of girl you bring home to mother. Not to mention, Jerry's angling to work in a bigger market.
The Song and Dance: I have no idea why they moved this to Texas from Iowa, but it does make for some nice cinematography. There's some lovely widescreen shots of dusty Texas, especially in the beginning on the Frake farm. Location shooting at the real-life Texas and Oklahoma state fairs helps add to the southwestern feel.
Pat Boone and Ann-Margaret are by far the stand-outs here as the girl who's been around and the boy who's wild for her, no matter what kind of a woman she is. Boone comes off as surprisingly sexy and charismatic, given his squeaky-clean image, and matches red-hot Ann-Margaret better than you might think. Their chemistry lends their love scenes an unusual amount of heat for a musical.
Favorite Number: Boone gets a relaxed "That's For Me" around the car track after he first meets Emily and falls for her at first sight. Of Rodgers' solo contributions, my favorites were the adorable "More Than Just a Friend," sung by Mr. Frake to Blue Boy when he's trying to buoy his spirits at the fair, Boone and Ann-Margaret's lovely duet "Willing and Eager," and the Frakes' sweet song on the merry-go-round at the fair, "The Little Things In Texas."
Trivia: Alice Faye came out of retirement to appear in this film.
This was Ann-Margaret's second movie after Pocketful of Miracles.
This was not the last version of State Fair, though to date it's been the last on the big screen. A stage version with additional music from other Rodgers and Hammerstein shows made Broadway briefly in 1997, and a non-musical TV film debuted in 1976.
What I Don't Like: This movie has the opposite problem from the 1946 State Fair. Here, it's Margie and her suitor who are the dull ones. Bland Tiffin barely registers (and is dubbed), and Darrin is so smarmy and creepy, you wonder why Margie's interested in him. Faye and Ewell are cute together, but neither especially feel like Texas farmers with young adult children.
There's music problems, too. The remaining Rodgers solo songs aren't nearly as memorable as the originals. Darrin's ballad "This Isn't Heaven' is especially dull. "Isn't It Kind of Fun" becomes an inexplicably strange number for Ann-Margaret and the chorus. It starts with cutesy romance and ends with her and the chorus in black outfits and a sexy red background, and it just doesn't work. Jose Ferrer, who mainly worked in drama, probably wasn't the best choice to direct a rural musical, either.
The Big Finale: Like this summer's version of The Lion King, this remake simply was not necessary. Only worth checking out if you're a major fan of Boone, Faye, or Ann-Margaret. Everyone else is probably fine with the 1946 film.
Home Media: Currently, this can only be found on the out-of-print 2-disc special edition State Fair DVD set. Check used venues or look for it occasionally on TCM.
DVD
Starring Pat Boone, Pamela Tiffin, Ann-Margaret, and Bobby Darrin
Directed by Jose Ferrer
Music by Richard Rodgers; Lyrics by Oscar Hammerstein and Richard Rodgers
If this looks familiar, I reviewed the original 1946 musical last September. Fox had been trying to get a remake off the ground since 1960, with more music by Rodgers and Hammerstein. By the time the movie came out two years later, Hammerstein had passed away, leaving Rodgers to write the new music on his own. How does this bucolic story look over fifteen years later and taking place in a different state fair? Let's head back to the Frake farm, this time in Texas, to find out...
The Story: The Frakes have high hopes that this state fair will be their best ever. Mrs. Frake (Alice Faye) is putting her money on her mincemeat. Her husband (Tom Ewell) is coddling his enormous pig, Blue Boy, in order for him to win a blue ribbon. Son Wayne (Boone) wants to win the state car racing championship. Daughter Margie (Tiffin) just wants to get away from her steady but dull boyfriend. Mr. Frake makes a bet with a gloomy neighbor (
On his first day at the track, Wayne meets Emily (Ann-Margaret) when she poses with a few drivers. He's smitten the moment he sees her. Turns out she's a dancer and model at the fair's theater who performs at various fairs throughout the US. It takes her a little longer, but she falls for him, too. Margie finds her own man in Jerry (Darrin), a fast-talking TV reporter who is covering the fair for a local station. He claims to have a girl in every city, and she's uncertain about him at first, but he finally brings her around. Wayne, however, has a girl at home, and Emily's not the type of girl you bring home to mother. Not to mention, Jerry's angling to work in a bigger market.
The Song and Dance: I have no idea why they moved this to Texas from Iowa, but it does make for some nice cinematography. There's some lovely widescreen shots of dusty Texas, especially in the beginning on the Frake farm. Location shooting at the real-life Texas and Oklahoma state fairs helps add to the southwestern feel.
Pat Boone and Ann-Margaret are by far the stand-outs here as the girl who's been around and the boy who's wild for her, no matter what kind of a woman she is. Boone comes off as surprisingly sexy and charismatic, given his squeaky-clean image, and matches red-hot Ann-Margaret better than you might think. Their chemistry lends their love scenes an unusual amount of heat for a musical.
Favorite Number: Boone gets a relaxed "That's For Me" around the car track after he first meets Emily and falls for her at first sight. Of Rodgers' solo contributions, my favorites were the adorable "More Than Just a Friend," sung by Mr. Frake to Blue Boy when he's trying to buoy his spirits at the fair, Boone and Ann-Margaret's lovely duet "Willing and Eager," and the Frakes' sweet song on the merry-go-round at the fair, "The Little Things In Texas."
Trivia: Alice Faye came out of retirement to appear in this film.
This was Ann-Margaret's second movie after Pocketful of Miracles.
This was not the last version of State Fair, though to date it's been the last on the big screen. A stage version with additional music from other Rodgers and Hammerstein shows made Broadway briefly in 1997, and a non-musical TV film debuted in 1976.
What I Don't Like: This movie has the opposite problem from the 1946 State Fair. Here, it's Margie and her suitor who are the dull ones. Bland Tiffin barely registers (and is dubbed), and Darrin is so smarmy and creepy, you wonder why Margie's interested in him. Faye and Ewell are cute together, but neither especially feel like Texas farmers with young adult children.
There's music problems, too. The remaining Rodgers solo songs aren't nearly as memorable as the originals. Darrin's ballad "This Isn't Heaven' is especially dull. "Isn't It Kind of Fun" becomes an inexplicably strange number for Ann-Margaret and the chorus. It starts with cutesy romance and ends with her and the chorus in black outfits and a sexy red background, and it just doesn't work. Jose Ferrer, who mainly worked in drama, probably wasn't the best choice to direct a rural musical, either.
The Big Finale: Like this summer's version of The Lion King, this remake simply was not necessary. Only worth checking out if you're a major fan of Boone, Faye, or Ann-Margaret. Everyone else is probably fine with the 1946 film.
Home Media: Currently, this can only be found on the out-of-print 2-disc special edition State Fair DVD set. Check used venues or look for it occasionally on TCM.
DVD
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