Think hiring bankable actors to star in musicals and teaching them to sing and dance started with Baz Luhrmann and Rob Marshall? Think again. At the beginning of the 1930s, when motion pictures started to talk, dance, and sing with a vengeance, Hollywood studios scrambled to hire Broadway singers and dancers to meet popular demand for musicals like the ground-breaking The Jazz Singer (1927). The Fox Film Corporation, however, made the decidedly modern move of taking their most popular team, Janet Gaynor and Charles Farrell, and training them to be musical comedy stars. Their maiden voyage as a musical duo was 1929’s Sunny Side Up, and the great success of that picture almost guaranteed a repeat performance.
Delicious reteamed Gaynor and Farrell with David Butler, a director who has not been rediscovered by the cinephile community despite having a solid career that included helming several Shirley Temple pictures in the 1930s, the stellar Hope/Crosby/Lamour vehicle Road to Morocco in 1942, and a number of Doris Day films in the 1950s. Butler’s way with musicals offered audiences diversion, but he also brought an edge to Delicious that makes it of a piece with light entertainment of that decade that offered slices of reality from the Great Depression along with crowd-pleasing spectacle. Interestingly, Delicious is a film that must have had a direct influence on the ballet sequence in the classic Vincente Minnelli musical An American in Paris (1951) 20 years later. And why not—both films offer a magnificent suite by George Gershwin; indeed, Delicious boasts an entire score by George and his brother Ira, their first done especially for the movies.
The social issue discussed in Delicious is immigration. As economies collapsed around the world, hopeful immigrants set sail for the rumored gold-paved streets of the United States of America. Of course, with Americans falling out of work and into poverty in record numbers, too, immigrants had to prove they would not be a drain on the economy before they would be allowed through the gates of Ellis Island. Our heroine, Heather Gordon (Gaynor), is a Scottish lass who expects to live with her uncle in Idaho, which she imagines is close enough to visit her newfound friends in steerage, a musical troupe from Russia set to work at a nightclub in New York City. The composer of the troupe, Sascha (Raul Roulien), is in love with Heather, but once she meets Larry Beaumont (Farrell) in the onboard stable that holds his horse Poncho, there’s no doubt about who will be in the final clinch.
The film’s comedy is a little flaccid, relying heavily on the dubious skills of Swedish impersonator El Brendel, as Beaumont’s servant Chris Jansen, to bridge the complex plot. A little of El Brendel’s mugging goes a long way, and it is a small crime that he was allowed to introduce the wonderful Gershwin tune “Blah Blah Blah” to the world. He even gets an encore. The direction and editing are often sluggish. A scene of Detective O’Flynn (Lawrence O’Sullivan), an Irish immigration officer, chasing an escaped Heather around the ship after she is denied entry into the country, is interminable, neither funny nor suspenseful. O’Flynn pops up more often than Inspector Javert in Les Misérables to dog poor little Heather as she tries to prove she can pull her own weight in America as a member of the Russian troupe. Fortunately, as a consequence, we get treated to the delightful “Katinkitsha” at the Russian nightclub, which plays on the Gershwins’ own heritage as the children of Russian Jews and gives Gaynor a chance to show off her dancing skills while made up to look like a Russian nesting doll.
It’s interesting to see Virginia Cherrill, the sweet, blind girl in Chaplin’s miraculous City Lights (1931), as insincere socialite Diana Van Bergh. She toys with Larry’s affections, schemes with her granite-minded mother (Olive Tell) to keep Heather away from him, and even calls the cops on the lassie while pretending to help her, making her one of the more hissworthy villains I’ve seen in recent times. Hollywood always tended to side with virginal innocents, and despite the fact that Diana looks more Larry’s type and Gaynor plays Heather like a 12-year-old Kewpie doll with the worst Scottish accent I’ve ever heard (that is, when she even tries to put the accent on), there is no denying how magnetic Gaynor and Farrell are together.
The immigrant experience is treated both realistically and somewhat offensively. On the boat, each ethnic group gets a short vignette singing and dancing in their native garb, a caricature that telegraphs the setting to the audience with ease, but also one that reinforces stereotypes. The humorous, hopeful dream Heather has early in the film, “Welcome to the Melting Pot,” offers an equally unrealistic image held of America, as a cohort of Uncle Sams shake her hand, an imagined Mr. Ellis steps into the ocean from Ellis Island and emerges dripping wet to welcome her, and the Statue of Liberty boogies on her pedestal and rains money on her.
However, the chain blocking the stairs between steerage and the higher classes brings it home that the divisions in American society are not easily breached, and that guardians of the ruling order like O’Flynn, though they be immigrants themselves, are always available. The spacious, luxurious Beaumont estate and the one-room flat that houses the Russians contrast realistically, and the furtiveness of being an illegal immigrant is more than well documented. The best scene in the film, which clearly presages Gene Kelly’s dance through Paris, comes near the end, when Heather is on the run in the streets of New York, facing the rush of the crowds from the subway and seeing the skyscrapers loom and turn into the long-nailed hands of ghouls swallowing her up while Gershwin’s “New York Rhapsody” scores her journey. The special effects may be a little old-fashioned even for 1931, but the expressionistic horror remains shocking nonetheless.
Delicious isn’t the greatest musical to come out of the 1930s, but it’s a fascinating look at how marketing mechanisms Hollywood still employs today meshed with the social consciousness of the time. Further, it shows how the Gershwins told their own story on the silver screen through song. Although it is not any more fleshed than the Gershwin film biographies that came later, it does offer their unfiltered wit and vision in a vehicle that was truly a part of their own time.
The night after Election Day 2012, the Northwest Chicago Film Society came up with a topical screening that was the perfect way to end a brutal election season—the campaign-centered musical confection Thanks a Million. Written with exceeding wit by Nunnally Johnson and starring Dick Powell at his most adorable, Thanks a Million was exactly the balm this classic movie fan needed to shake off the anxiety of recent weeks.
The plot for Thanks a Million is simplicity itself. A traveling troupe of unemployed performers alights from a bus in “New Town,” where they are faced with a two-hour layover before they can catch their connecting bus to New York. Some of the troupe head into the town hall to get out of a torrential rain and witness the “Commonwealth” candidate for governor, Judge A. Darius Culliman (Raymond Walburn), lull the audience to sleep with his uninspired rhetoric. Troupe leader Ned Lyman (Fred Allen) meets with the party chiefs and offers his performers as the paid entertainment at Culliman’s election rallies to encourage voters to attend. The scheme is successful, but when Eric Land (Powell) wows the first audience with his singing, he is fired for pulling focus from Candidate Culliman. But when he saves the day by speaking in place of the drunk candidate at what was to be Land’s last rally, the election committee persuades Land to run for governor instead. The rest of the film chronicles his candidacy.
Like many a musical comedy whose first purpose is to entertain, Thanks a Million offers huge helpings of gags, songs, and dance. Powell, of course, made his mark in the fairly plotless extravaganzas produced by Warner Bros. earlier in the decade. As Eric Land, he outgrows his male ingénue type and takes on a more mature and far more sexy persona as he carries on a romance with dancer Sally Mason (Ann Dvorak) and simultaneously plays along with the amorous Mrs. Kruger (Margaret Irving), the wife of the party chairman (Alan Dinehart). The suggestion that he and Sally share a bed at the end of the evening and that Mrs. Kruger has arranged an adulterous liaison with him don’t seem to have bothered the post-Code Hays Office. Powell doesn’t forget to romance the movie audience either, as his sparkling close-ups are dotted with suggestive winks that must have thrilled his adoring fans, and boy, does he look good in a double-breasted suit!
Musical interludes include the singing/dancing sister act of Sally and Phoebe (Patsy Kelly), who don’t get much time to show either their terpsichore or acting skills. But they are a lot of fun to watch, and their blousy 30s clothing is a hoot. The Yacht Club Boys (James V. Kern, Charles Adler, George Kelly, and Billy Mann) get a couple of chances to harmonize, again with director Del Ruth favoring inviting close-ups. A gag involving Paul Whiteman and his band in which the “New Town” bus driver (Herbert Ashley) tries to drown out Lyman reading aloud (“I can’t hear myself read!”) using the radio broadcast of their music is broadened to a live concert of Whiteman, his orchestra, and featured singer Ramona playing for the opposition party. In this case, fighting musical fire with fire does the incumbent governor (Charles Richman) no good, but it’s fun to listen to Ramona’s 30s jazz phrasing of “New O’leans.” Violinist Rubinoff must have had a very good agent, because he gets a lot of screen time, including a gag performance where he pokes the bus driver with his bow repeatedly as he plays; far from amusing me, he had me frantic about the bus crashing in the driving rain.
The revelation of the film is radio star Fred Allen in his first movie role. I have heard his various shows many times on a local nostalgia radio show, but this was the first time I got a chance to see him in action. An early gag about his initial skepticism about the future of radio, which would have had a 1935 audience splitting their sides in laughter, was lost on our audience, but nothing else about his genius comic timing or acting abilities could escape notice. He delivers a fully realized character, making the most of the clever dialogue Johnson provided. For example, he signals his character’s relative poverty by referring to his cheap suit: “The last time I got this suit wet, the vest disappeared.” His confidence in the deal he struck—tearing up the bus tickets to New York—seems somehow justified by his bearing and rock-steady relationship with wisecracking Phoebe. I was more than thrilled to see him hold this loose cavalcade together and but for Powell and a very funny supporting turn by Walburn, Allen would have walked off with the picture.
In the only overt political statement in the film, Land eventually reveals the patronage appointments he was directed to make after the election and asks voters to choose Gov. Wildman. After a crazy car chase that sees Land try to outrun more than 100 motorcycle cops in a dizzying process shot, the now governor-elect is delivered to a rousing victory celebration for him and his party, which has morphed into the Square Deal Party (an allusion to the Democrats) despite the original candidate looking all the world like the wealthy banker in the game “Monopoly.” It would be churlish to complain about the confused politics, however, as no real-life political horse race would ever be as painlessly entertaining as Thanks a Million. If you’ve not been as lucky as we were to see what appeared to be a virgin print from the Twentieth Century-Fox vault, talk to your local art house about booking it. This film is just too enjoyable to stay locked in the dark.
Pity poor Alice White. With a face, a body, and a vivacious manner that make comparisons with Clara Bow easy and accurate, she was the ideal silent-film star. Sound destroyed all that. Suddenly, studios looking to duplicate the sensation generated by The Jazz Singer were filling their screens with musicals. White couldn’t sing and couldn’t dance. Even worse for her long-term prospects, she couldn’t act. She even took two years off to take acting lessons, but the ship had already sailed by the time she came back. Reduced by an industry that waits for no one and tarred by a sex scandal, White saw her screen credit sink to the bottom of the line and finally disappear altogether. So, while A Show Girl in Hollywood, White’s second talkie, predicts a happy ending for former silent stars, the more interesting and true story is watching White and company flail to the new demands of sound.
The film opens backstage at a New York theatre where the cast and crew of “Rainbow Girl” are lamenting the show’s closing after only two weeks. Jimmy Doyle (Jack Mulhall), the writer and producer of the show, comforts his girlfriend Dixie Dugan (White) by saying the show would have been a hit if she had been playing the lead. The pair goes to a nightclub where Dixie used to sing and dance to party their blues away. The nightclub owner prevails upon Dixie to sing, and she catches the eye of Hollywood director Frank Buelow (John Miljan). He offers her the lead in his next picture and lures her to Hollywood with promises of a studio contract.
Not only is there no contract waiting for her, but producer Sam Otis (Ford Sterling), tired of Buelow’s trips to New York to scavenge starlets (and, as it turns out, steal scripts), fires Buelow. A crestfallen Dixie sends a telegram to Jimmy to wire her money so she can return home, but Otis, feeling sorry for her, decides to cast her in the film Buelow was going to make: Rainbow Girl. When Otis learns that Doyle actually wrote the script, he buys the rights and brings Jimmy out to Hollywood to supervise the production. Jimmy and Dixie reunite, but a little more trouble with Buelow ensues—he gets Dixie to “go Hollywood” with script demands, thus fulfilling Buelow’s ulterior motive of having the film shut down, costing Otis a bundle of money. Dixie comes to her senses, the picture gets made, and she and Jimmy are destined for Hollywood success and matrimonial bliss.
It’s hard to get around the big lump of awful that is Alice White—the endless close-ups of her Kewpie-doll face in her odd cloche hats start to cloy as much as the very odd turns of phrase she uses—but there is actually quite a lot of great in A Show Girl in Hollywood. For starters, the rest of the cast is wonderful. For example, Ford Sterling makes the most of the snappy script, the delights of which I can barely scrape at here, and delivers large doses of perfectly timed comedy with a dash of realism. When Dixie storms Otis’s office to tell him she has come all the way from New York, he merely walks to a door and opens it, revealing a waiting room full of young women who have done exactly the same thing. When provoked, he very understatedly pulls out a piece of paper and pen to write the note informing Buelow, and then Dixie, that their services are no longer required (“it is as if you never existed”). Shortly thereafter, the only man (Billy Bletcher) whose job is assured at the studio—the man who paints on and removes employees’ names from their doors—comes by and makes the characteristic and humorous scraping noises that signal a change in the air.
The best performance by far is by Blanche Sweet as former movie star Donny Harris. Even as Buelow, an enormous heel who is revealed to be Donny’s husband, tells his assistant director (Herman Bing) to have her thrown out and kept out of the studio, Donny befriends Dixie, his latest object of desire. Dixie is a big fan of Donny’s and can’t fathom that the beautiful star has been tossed on the ash heap. Donny reveals the ugly side of Hollywood—she’s a has-been at the ripe old age of 32 and refuses to sell a mansion whose furniture she has sold bit by bit to pay her bills because that would really mean throwing in the towel. She sings “There’s a Tear for Every Smile in Hollywood” rather well and with a meaningful pathos, winning not only Dixie’s loyalty and friendship, but also ours.
Where this film is of particular interest to those with an interest in film history is in its depiction of the mechanics of filmmaking at the dawn of sound. A Show Girl in Hollywood was made using a Western Electric imbedded sound track, but it depicts the making of a film using the Vitaphone record-synching system (see the interview conducted by the Northwest Chicago Film Society, which arranged the screening of A Show Girl in Hollywood I attended), and since Vitaphone was a coproducer of this film, their product is advertised prominently. In one scene, Dixie stands in front of an early soundstage door that warns people not to go in when the red lights are on because they indicate that “Vitaphoning” is taking place. The Vitaphone process is further advertised on the theatre marquee at the premiere of Rainbow Girl with a shortened version of the famous “All Talking! All Singing! All Dancing!” line that heralded MGM’s 1929 talkie The Broadway Melody to the world, and it is mentioned by the radio announcer interviewing the stars making their way into the theatre. (Fun cameos of Loretta Young, Al Jolson, Ruby Keeler, and Noah Beery Sr. and Jr. walking the red carpet are a bonus feature; also marvel at the sight of a very young Walter Pidgeon introducing Dixie for a curtain speech after the film.)
We also go inside the recording and filming booths during the filming of the wacky “I’ve Got My Eye on You” production number of Rainbow Girl and see the protective booths used on set to muffle the sound of the cameras and an operator watching the recording disks to ensure there are no skips. It seems fairly clear to me that tap dancing got a boost because it was needed to further drown out the sound of the multiple cameras used in these early musicals. The musical number itself is pretty interesting, as some dance characteristics that seem patented by Busby Berkeley, such as formation dancing and the use of three half-moon walkways seen to best effect in the “Remember My Forgotten Man” number in Gold Diggers of 1933, were commonly used by other choreographers, in this case, Jack Haskell. And while White’s difficulties can be seen on her unsmiling, concentrated face as she blunders her way through the choreography, her jazzy singing is rather enjoyable.
Sadly, the big splash LeRoy and company planned for the final reel—two-strip Technicolor for the “Hang onto a Rainbow” production number—is lost, though it’s not hard to imagine the impact it must have had on audiences of the time. Just think about the change from black and white to color in The Wizard of Oz, and the flowering of the new age of sound married with color, nicely mirrored by Dixie’s announcement of her impending marriage and two-week honeymoon (“Make it one week!” bellows Otis), becomes a wonder to behold.
Dancing isn’t considered a very manly thing to do among a lot of regular guys. So when I beat the drum to get more cinephiles—of whom the majority are male—interested in dance in movies, not many respond. Well, if you won’t listen to me, will you listen to Mr. Badass Yakusa himself, Takeshi Kitano, aka, Beat Takeshi? He’s not fooling around here.
It’s time for Ferdy on Films to send a meme out into the world and watch it grow! Everyone knows how much I love dance. I’m here to tell you who my top 15 dancers in the movies are. And I’d like to know yours as well. Simply come up with a list, put your link in the comments, and link back to this post on your blog. I’ll link up everyone who participates. And don’t forget to tag four (4) more blogs. (I tag Pat at Doodad Kind of Town, Greg at Cinema Styles, Rick at Coosa Creek Cinema, and Nathaniel R at The Film Experience.)
In no particular order:
1-2. Cristina Hoyos/Antonio Gades
This smoldering couple from Spain mesmerize movie audiences, most significantly in the dance films of Carlos Saura. Each dances individually to great effect, but together they put the flame in flamenco:
3. Cyd Charisse
This tall drink of dynamite from Texas brings a ballerina’s grace to every type of dance style she’s called upon to perform. I like this clip because it shows how beautifully she adds an extra-long train on her costume to her performance. It looks easy, but it ain’t.
4. Fred Astaire and Ginger Rogers
This legendary duo is really a single entity. Fred had a great career as a dancer with other partners and when dancing alone, but he and Ginger formed that perfect union on film everyone remembers best. Here’s a favorite dance from my favorite Astaire-Rogers film, Swing Time.
5-6. Gene Kelly/Donald O’Connor
Both of these dancers have energy and personality cubed. I give just a slight edge to Kelly for technique, and a small lead to O’Connor for being more fun to watch. Together, they can’t be beat.
7. Moira Shearer
This lovely prima ballerina was enticed into pictures when Michael Powell and Emeric Pressburger hinted that they really wanted someone else to play the lead in The Red Shoes. She liked it so much, she came back for more. Here she is in their The Tales of Hoffman in a simply charming role that shows she was a great actress through her dancing.
8-9. George Chakiris/Rita Moreno
George Chakiris is one of the most technically accomplished dancers in musical theatre and movies, as well as being a handsome and compelling presence. Rita Moreno is life itself on a stage. Together, they make West Side Story’s “America” the most electrifying number in a film full of them.
10. Eleanor Powell
A whirling dervish with the fastest feet I’ve ever seen, Powell “laid ‘em down like a man,” according to the dancer she most compares with, Fred Astaire. This ego-free dance shows she’d even dance with a dog; in fact, she trained him and is performing in her own living room.
11. James Cagney
There was nothing James Cagney couldn’t do, and that includes dancing. He didn’t get many chances to do it, but when he did, sparks flew off his feet just as strongly as they came out of the barrel of his gun. His eccentric dancing style is quite a bit more controlled than Bob Hope in the duet at the end of this clip.
Hines always invests his tap dancing with a lot of emotion. In this scene from The Cotton Club, we feel the intensity of Hines’ thoughts as he performs a tricky dance sequence that is intercut with his own memories.
13. Leslie Caron
Leslie Caron was a lovely ballerina whose greatest gift was the feeling she put into her dance. I chose this clip to show that dance can be great without all the pyrotechnics we’ve become conditioned to expect. The final minute-thirty of this dance is gut-wrenching.
She of the tiny waist, Vera-Ellen has a lightness to her dancing that makes tap dancing on her toes seem a logical extension of her comfort in the air. Every move she makes is finished, the mark of a flawlessly trained and dedicated dancer.
15. Bob Fosse
Fosse’s film career saw him move from an accomplished dancer, to a budding choreographer evolving his style, to this: Fosse fully formed in The Little Prince.
See Ryan Kelly’s list of favorite dances here at Medfly Quarantine.
Doug Bonner from Postmodern Joan is a new visitor here, and I have a feeling he and I are going to be hanging out at each other’s blogs from now on. Here is his inspired list of dancers/choreographers. Thanks, Doug.
When Greg at Cinema Styles decided to throw a Spirit of Ed Wood blogathon, I had to do a lot of thinking. I tried to distill the essence of Wood in my mind to try to find a kindred spirit out there who displays those characteristics that make Ed Wood Ed Wood, who might even have been an inspiration to the indomitable Eddie. You know what I’m talking about—production values that are so dazzlingly bad they’re good, a script only a mother could love, and a dogged determination to look at the whole sow’s ear and proclaim it the finest, pearl-beaded silk purse ever to have been Made in Japan. And, although I admit that he doesn’t spring immediately to mind, I finally resolved that were Ed Wood alive today, he’d have evolved his movie-making to emulate perhaps the greatest purveyor of fantasmagoria ever to haunt a sound stage, Busby Berkeley.
Berkeley is best known today for his kaleidoscopic dance numbers of gargantuan proportions, true mutants that push the movie musical into the scifi country where Ed Wood hung his hat. When Berkeley worked his impossible-dream magic, his penchant for cheesy-looking floating heads, bubble-blowing mermaids, and deconstructed musical instruments swelled to accommodate a recital by King Kong made for a bit of hair-raising suspense. Was the Big Monkey going to show up and pull a few bananas out of Carmen Miranda’s 40-foot-wide fruit tiara?
The Berkeley film that screams Ed Wood to me is Babes in Arms, a 1939 Mickey Rooney-Judy Garland musical that captures all the enthusiasm of those crazy kids—Berkeley and Wood—who just wanted to make good in show business. I think Henry Hill as a Broadway producer named Maddox and Rooney as Mickey Moran, a young ham suffocating in greasepaint, said it best:
Moran: We’re going to make good for him, too. Maddox: Yes, and you’re going to make good for a lot of other people. Moran: Who? Maddox: For the millions of kids who never had a chance. For the millions of kids without a wiseacre who’s telling them there’s no such thing as an American dream. Well, those kids have got their eyes on you because you’re being given your chance. And, by the Bones of Bacchus, you’d better make good. Moran: Gee, it’s bigger than just a show. Say, it’s everybody in the country.
And everybody in the country was looking forward to beating up Hitler and Mussolini for destroying the economy, which “God’s Country,” the closing number of this musical, reveals to be Berkeley’s purpose all along.
At first, the film looks like the usual younger vs. older generation story, pitting established vaudevillians against the swinging new guard who just happen to be their children. Mickey and Patsy Barton (Garland) are sweethearts who are trying to break into show biz to help their parents, whose prosperity in vaudeville has vanished with the defection of their audiences to talking pictures. While the old timers, led by Mickey’s pop Joe Moran (Charles Winninger), try to revive vaudeville with a tour, Mickey decides to write and produce his kind of show. He fires up all the other vaudeville kids who live in his town—a haven for show people thanks to Judge Black (Guy Kibbee), who fends off Elmira Gulch, I mean, Martha Steele (Margaret Hamilton) from placing the kids in a home—and they march around the crummy-looking set to the rocket-launching “Babes in Arms,” gather wood, and build a bonfire.
Rehearsals hit a snag when Don Brice (Douglas McPhail) and Moran’s sister Molly (Betty Jaynes, McPhail’s wife) don’t put enough feeling into their love duet “Where or When.” Brice blames the suspended canoe Mickey’s put them in, but when they get out of it, it’s plain that this operatic duo can’t loosen up. It’s actually painful to watch Jaynes form her tones with a mouth so tight she looks about ready to pop. Berkeley, in his wisdom, sees no reason to do anything but shoot her close-up, full face—no flattering angles for him, no sir. A pint-sized orchestra provides scratchy-toned comedy for this touching scene.
Patsy and Mickey’s love is tested when an angel for the show comes to the rescue—on condition she gets to play the lead reserved for Patsy. Baby Rosalie Essex (June Preisser) is looking for a comeback project and thinks this is it. Preisser is really quite funny as a Shirley Temple knockoff, pampered but not spoiled the way the script seems to suggest she should be. Mickey’s all business, but a stage kiss he gives Baby sends Patsy packing to see her mother on the road; at least, we get to hear Garland sing the beautiful “I Cried for You” in compensation for this lame lover’s quarrel.
Mickey’s show goes on as scheduled (with an adult orchestra; I guess the munchkins had a shooting conflict on The Wizard of Oz set) and a Broadway producer shows up to see what the young turks of entertainment have to offer. He gets a minstrel show. I simply have no comment about that, but then, I don’t need one. The script offers up a hurricane to stop the show. I can see Berkeley putting on his angora sweater and spinning the over-the-top opera La Gioconda in his trailer right about now.
After his reverie, Berkeley remembers he has to tie up the loose ends. Of course, the Broadway producer wants to put the show on, and Patsy gets to play the lead after all. The vaudevillians give up the ghost to the future and everyone feels good about America. The end.
I think Berkeley was watching Oz being filmed while he tinkered with the script. Garland has that same scream of concern (“oOH! oOH!”) when Mickey faints that she has numerous times when her companions on the Yellow Brick Road run into difficulties. She picks flowers just like Dorothy Gale picked poppies. There are munchkins, a wicked “witch” played by Margaret Hamilton, and a hurricane in place of a twister. And all the money that was poured into Oz meant there was nothing left for Berkeley. This is the cheapest-looking MGM musical I’ve ever seen, making it impossible for Berkeley to fully realize his dreams, which I’m sure included making the bonfire outshine the burning of Atlanta and a minstrel show that would have had 1,000 pickaninnies in a vast field of cotton and Judy Garland singing atop a cotton gin.
But in the true spirit of Ed Wood, Berkeley works with what he has (including deadly lyrics by Arthur Freed) and creates something so offensively bad, it’s compulsively watchable. Hi dee ho!
My mother thanks you, my father thanks you, my sister thanks you, and I thank you.
So ended the popular vaudeville act of The Four Cohans, who entertained audiences across the country with their singing, dancing, and clowning around in the late 1800s. So, too, did those words burn into my impressionable adolescent brain and remain with me to this day as perhaps the most memorable line of that traditional 4th of July movie, Yankee Doodle Dandy. It’s not Independence Day yet, and Yankee Doodle Dandy is now only a traditional offering on Turner Classic Movies, but I’d like to put this movie out there for consideration by a new generation of film buffs, particularly those who might like to get a handle on films of the 40s, a rich and often misunderstood era.
James Cagney won his only Best Actor Oscar for his portrayal of showbiz phenomenon George M. Cohan. Did he deserve it? Compared with the other nominees (Ronald Colman in Random Harvest, Gary Cooper in Pride of the Yankees, Walter Pidgeon in Mrs. Miniver, and Monty Woolley in The Pied Piper), I’d say that he probably did. Cornball and boisterous he was indeed, but that is exactly how Cohan was always described. Cagney was also charged with that special something he always got when he had the rare opportunity to perform in his favorite kind of film—a musical. Here was the intensity he brought to his gangsters—Tom Powers, Cody Garrett, Martin Snyder—in service of a tour de force performance of pure joy. His singing (not so hot, but expressive), his dancing (eccentric and strange to modern eyes, but masterfully entertaining and done in Cohan’s style), and, of course, his acting, which could turn from bravado to playful to soulful in just the right measure, all came together like a force of nature to tell perhaps the ultimate showbiz story.
The film opens in 1940, recounting the historic awarding of the Congressional Medal of Honor to Cohan for writing the patriotic song “Over There,” an unofficial fight song for military men who fought in World War I and then in World War II. Cohan, the ultimate flag waver, is intimidated as he follows the Negro footman (the frequently working but often uncredited Clinton Rosemund) up a winding staircase to meet President Roosevelt (voice of Art Gilmore). In broad tones, with his back to the camera, Roosevelt reminisces about The Four Cohans, and Cohan launches into a full-blown flashback, with voiceovers from time to time to connect the scenes.
We go all the way back to George’s father, Jerry (Walter Huston), on stage and waiting to hear word about his wife Nellie (Rosemary DeCamp), who is in labor. When the baby who would grow up to be George M. arrives, Jerry rushes through a 4th of July parade to Nellie’s bedside. Jerry suggests they name him George Washington, but must settle for George Michael. An unironic shot of baby George shows him with an American flag in his tiny fist.
We move swiftly through the birth of George’s sister Josie, who, grown-up, is played by Cagney’s real sister, Jeanne Cagney; stints on the vaudeville stage; and on to a production of “Peck’s Bad Boy,” with young George (Henry Blair) as star. George’s ego gets the better of him backstage when the Cohans get word that an important scout for a top vaudeville circuit wants to speak with them. He offers them a contract, but George fouls up the deal. He receives a spanking (“here’s a part without any talent”) after Nellie warns Jerry not to hit him in the mouth (“he has to sing”) or the hands (“he has to play the violin”).
The Cohans appear in a regional play, with George in white beard and wig playing his mother’s father. An 18-year-old girl named Mary (Joan Leslie) comes backstage to ask the advice of the wizened professional. She thinks she has talent and demonstrates her dancing abilities to George, who playfully gives her contradictory advice about her dancing style and then assures a beautiful chorine who sticks her head into his dressing room that their date for the evening is on. Mary, confused, asks if she’s his granddaughter. George replies, “Well, I do have to make up older than I really am,” and starts peeling off his whiskers and erasing his greasepaint wrinkles. When he pulls off his wig, Mary screams. He drops the wig to the floor, stomps on it, and says, “Got it.” Mary becomes part of the Cohan troupe.
George has begun writing plays. Our introduction to Cohan’s long-time partner Sam Harris (Richard Whorf) is a humorous meeting in the offices of theatrical agents Dietz & Goff (George Tobias and Chester Chute). Harris is trying to sell them a melodrama with Indians and flames and stampeding horses. George is pitching “Fifty Miles from Boston,” with Mary along to sing “Harrigan.” Dietz & Goff don’t like either of them. Both budding playwrights go separately to a tavern to drown their sorrows. Harris tries another pitch to German theatre angel Schwab (S.Z. Sakall). Schwab says he wants pretty dancing girls. George, overhearing their conversation, pretends that Harris is his partner and tells him Dietz & Goff may be interested in his musical. Schwab, disconcerted that Harris has been sitting on a musical, asks, “Why is Dietz’s wife’s money better than my wife’s money?” With a covert introduction and a handshake, Cohan & Harris is born, with one hit after another backed by the creative team. This scene is pure hokum and very far from the truth about the formation of the team, but it is extremely well-written and performed with the razor-sharp comic timing Cagney perfected with Pat O’Brien in Boy Meets Girl and Joan Blondell in Footlight Parade.
Cohan moves on to court Broadway star Fay Templeton (the marvelous Irene Manning) to headline his new musical. Templeton’s agent is urging her to hitch her wagon to the hottest thing on Broadway, but Templeton finds Cohan too vulgar for her refined image. When Cohan comes to call on her, she openly scorns him, but is won over by a song he wrote while she was on stage, “Forty-Five Minutes from Broadway,” which becomes the name of the show. She debuts the song “Mary, It’s a Grand Old Name,” in the show, while the real Mary, now Cohan’s wife and for whom the song supposedly was written, watches adoringly from her theatre box.
In 1904, Cohan opens the musical “Little Johnny Jones.” I think it’s interesting what a critic of the time says of this musical:
At the Providence Opera House last evening George M. Cohan, one of “the Four,” with a good-sized company, began a week’s engagement in his latest musical offense, “Little Johnny Jones.” The production still has “four Cohans,” although Josephine has deserted the fold. Father and mother are still with the show and so is Ethel Levey, who is Mrs. George M. in private life. The combination shows its familiar styles of varied talents neither better or worse than when last seen in this city and the entertainment is about of the usual Cohan standard, although there are features in this offering that have never been seen on any stage before. The extremely large audience present left no doubt as to its hearty approval of the whole affair. The applause was frequent and there were curtain calls and a speech by the “author actor.” All of which was in sad contrast to the comparatively slim and indifferent greeting extended to Miss Eleanor Robson, week before last, as well as to many of the previous attractions of marked artistic merit.
Now take a look at the Warner Bros version of this musical offense.
Certainly, we can see the cornball to which the reviewer objected, but this is a magnificent entertainment made even moreso by Cagney’s cocksure charisma.
The dramatic moments in the film are generally fine, though Leslie and Cagney generate the fire of a wet match. Even a wholesome musical ought to make marriage look like a pleasure, not something you retire to. Some moments, however, are quite poignant. For example, Josie and George talk at the family farm, and Josie tells him she is getting married and retiring. This scene actually took place between Jeanne and James, who were a vaudeville team, and thus, there is a personal note that I find moving. In another scene, George, walking alongside some soldiers getting ready to ship out during World War II, is chided for not singing their marching song: “Don’t you remember it?” “Seems to me I do,” he answers, and joins in singing “Over There.” Most moving of all is when George rushes to his father’s death bed. His father is delirious, talking about the early days of the act, and George plays along. When Jerry finally expires, George tries to say the act’s closing line, “My mother thanks you…” but breaks down into tears. He’s the only one of the Four Cohans left.
The flag waving goes into overdrive for the final musical number that ends the film, “You’re a Grand Old Flag,” from “George Washington, Jr.,” ensuring the kind of show-stopping pleasure Cohan always loved to give the crowds. I’m a pretty well-developed cynic when it comes to patriotism, but the dedicated craft of all of those involved in creating Yankee Doodle Dandy never fails to put a smile on my face. I’m sure that in an America embroiled in war, this film, like so many others made at this time, helped ease the pain of parted loved ones, wartime rationing, and social uncertainty. James Cagney holds nothing back in portraying an American patriot who wasn’t afraid to wear his heart on his sleeve. Give it a try. You just might feel a little bit better about America afterward.
Life in the United States is getting pretty squirrely right now. The election season is in full bloom, and partisans for the various presidential candidates still in the race are getting more wild-eyed, offensive, and addle-brained by the minute. I fully expect to hear claims of miracles or evidential documents showing that a candidate’s soul belongs to Satan. Compared with the fool’s circus going on around me, Happiness of the Katakuris, a domestic comedy/musical/horror flick that dabbles heavily in claymation and natural disaster, seems almost mundane.
Takashi Miike has a reputation as a director of ultraviolent films, but in fact, he has made many different types of films within the studio-like system of the Japanese film industry. Interestingly, Happiness of the Katakuris is a remake of the dark Korean comedy called The Quiet Family (Choyonghan kajok, 1998), and from reading the synopsis of The Quiet Family, it appears to be a faithful one.
Household head Masao Katakuri (singing star Kenji Sawada) and his job in shoe sales part company. Rather than feel miserable, Masao feels freed to pursue his dream of family togetherness. He hears about plans to build a major road near a volcano in a remote part of Japan. Masao thinks it’s time to get in on the ground floor of the tourist industry that is sure to explode, and moves his wife Terue (Keiko Matsuzaka), his delinquent teenage son Masayuki (Shinji Takeda), his divorced daughter Shizue (Naomi Nishida) and her daughter Yurie (Tamiki Miyazaki), and grandfather Ojîsan Jinpei Katakuri (Tesuro Tamba) to the area to live in and run a bed and breakfast called the White Lover’s Inn.
Unfortunately, work on the road is delayed, and the venture seems doomed. One evening, however, the Katakuris greet their first guest, a deranged-looking man who stumbles in and asks for a room. The entire family moves in well-rehearsed unison to register him and tend to his every need. The next day, they find he has paid back their hospitality by stabbing himself in the neck and dying on their clean floor.
Worried that guests will shun the inn if they hear it was the site of a suicide, the family decides to bury the body themselves. After a time, a new pair of guests, a sumo wrestler and his underage girlfriend, check in for some extremely vigorous and loud sex—Miike signals what’s on the Katakuris’ mind in a shot of the full moon with craters shaped like two bunnies humping. The next morning, the wrestler is face down on the bed—dead—and his girl nowhere to be found, that is, until they lift the heart-attack victim and find her smothered below him. Out come the shovels again.
There is one more death and hurried plans to dig up the corpses and move them when the road construction starts with the bodies in its path. Eventually, the family, brought together through adversity and shown to be better than they thought they could be dance in a Sound of Music style meadow and sing about the true meaning of happiness.
In between, absurdity reigns supreme. A woman tries to drink soup. Her spoon keeps hitting something and then pulls up a claymation figure that looks like a sea monkey. She turns into a claymation figure and screams. The sea monkey grabs her uvula and tears off the end, which looks like a heart. We are then spun into a love song of sorts in a claymation world. Other wonderful moments include Grandpa’s skill knocking crows out of the sky by flinging pieces of wood at them, a glamorous nightclub duet in which Masao and Terue sing of their love, a song-and-dance number by the Katakuris and the corpses, and the family weeping over the bloody body of Masayuki, stabbed by a crazed wife murderer, and then discovering he has suffered only a flesh wound.
The funniest part for me is when Shizue goes into town and meets a very scruffy looking man who claims he is Richard Sagawa (Kiyoshiro Imawano), an American naval pilot and also a captain in the Royal Navy of Great Britain. Shizue falls for his cheap flattery and imagines a rainbows-and- daffodils wedding. When Miike returns us to reality, Shizue is writhing on the floor in happy delirium, while onlookers back away from her. Richard shakes her from her reverie, but the two are parted. He later turns up at the inn, much to Shizue’s delight, claiming that he would like to marry Shizue, but that he needs permission from his aunt Queen Elizabeth. They walk though a dump near the property, where Richard speak bitterly about the royal family and how they were unfair to Princess Diana, and then tries to hit Shizue up for plane fare back to England. Grandpa moves into action, and claymation Richard ends up going over a cliff and splashing into the river far below.
The story has brief moments of narration by an older Yurie. The fantasies of the tale remind me of when I was six and turning a Chinese restaurant I ate at with my family into a mandarin’s palace for my playmates. It’s fitting that the last, heroic act Yurie remembers is of claymation Grandpa rescuing Yurie’s dog Pochi, who is floating on a river of lava from the just-exploded volcano in the distance. Hanging by his knees from a tree limb, Grandpa yells to Pochi to reach up his paws and whisks the mutt to safety. In the end, the lava flow covers all the land around the inn, but leaves the structure standing—a real tribute to the durability of the family.
It’s an odd combination of horror, comedy, fantasy, and romantic musical Miike juggles. If you can go with the absurd tone, you’ll find that this film really has a heart. There are many kinds of loving families in the movies including, I suppose, the vomit-inducing, murdering Fireflys of Rob Zombie’s The Devil’s Rejects. One might have supposed that violence-prone Miike would have turned to this film as a model for the Katakuris. But he’s more interested in how people are brought together and stick by each other through disaster, death, and disappointment. The Happiness of the Katakuris is the kind of circus I love. l
It’s not often that a director like Tim Burton can shop for a script on the ready-to-wear rack. It’s kind of a shame that Sweeney Todd, a 1979 Broadway hit that won eight Tony awards, seemed to have anticipated Burton’s career to the letter. I saw this audacious musical when it first hit the boards in New York—more Metropolitan Opera than Tin Pan Alley—and remember what a shocking sensation it was. If this campfire horror story hadn’t been such a natural fit for Burton to bring to the big screen, he might have tried harder to differentiate it from his other works, not that any Burton/Depp/Harry Potter fanboys will mind. For musical theatre fans and most of the rest of the moviegoing population, Burton and his alter ego, Johnny Depp, get in their own way far too often to make this film anything near the diabolical happening the stage version was. Nonetheless, the glorious music of Stephen Sondheim on the glorious sound systems most theatres have these days manage to create, all on their own, an emotionally satisfying journey to the heart of hell.
Horror films do opening credits exceptionally well, and Sweeney Todd weaves us through them with a luscious stream of blood, like Jackson Pollock dripping a trail of crimson red across a canvas of words. Todd was an artist of sorts in the art of murder, drawing a straight line with impeccably sharpened razors across the lumpy landscape of his victims’ throats, so I was very intrigued by this opening.
In the preamble, we meet Sweeney Todd (Depp) on a ship closing in on its last port of call, London. He thanks a young seaman, Anthony Hope (Jamie Campbell Bower), who spotted him floating on the open ocean and secured his rescue. The boat-docking scene is a beautiful composition, almost like a JMW Turner painting. When Anthony asks Sweeney if he may look the older man up after they are both settled, Todd says he is likely to be found in the vicinity of Fleet Street. At this point, a dizzying animation ripped off from Baz Luhrmann’s Moulin Rouge and giving the impression that we’re about to watch The Corpse Bride speeds us through the dingy back alleys of London to a haunted house of a shop on a corner. Lovett’s meat pies are advertised on the sign below a slope-roofed second story, the scene of many future crimes to come.
Todd cringes in Mrs. Lovett’s (Helena Bonham Carter) filthy shop as she nonchalantly sings of her talents in making “The Worst Pies in London” and smashes gigantic cockroaches in 3/4 time. It is then that Todd inquires about the availability of the space above her shop. “It’s available,” she says. Nobody wants to rent it. “They says it’s haunted.” She takes him up the outside staircase and shows him a threadbare room. In “Poor Thing,” she tells of the misfortunes of the Barker family—poor Benjamin, a simple barber, convicted on trumped-up charges and transported to Australia by Judge Turpin (Alan Rickman), his beautiful wife Lucy (Laura Michelle Kelly) raped by the judge and driven to swallow arsenic, and their baby girl Johanna adopted by the judge. Lovett catches a look in Todd’s eye and exclaims, “It’s you! Benjamin Barker!” “No,” he says, “that man is dead. The name is Sweeney Todd.” He removes some floorboards and lifts out a fancy box. In it are several beautifully crafted razors. He intends to open his shop again where he will give one future customer—Judge Turpin—the closest shave of his life.
Mrs. Lovett helps Todd gain recognition as a barber of excellence by taking him to the square where the current barber of choice, Signor Adolfo Pirelli (Sacha Baron Cohen), holds forth. Pirelli’s young assistant, Toby (Ed Sanders), sings “Pirelli’s Miracle Elixir,” to hawk Pirelli’s bogus hair-growth tonic. Todd accuses Pirelli of selling the rubes piss and challenges him to a shave-off. Judge Turpin’s slimy partner in crime, Beadle Bamford (Timothy Spall), will judge who gives the fastest, closest shave. While Pirelli preens and sings “The Contest,” Todd easily bests him with lightning speed. Bamford, having seen his skills, talks Todd up to Turpin, who has decided to marry Johanna (Jayne Wisener) to prevent someone younger from taking her away. He has already had Bamford thrash young Anthony, who has fallen in love with Johanna after watching and listening to her sing “Green Finch and Linnet Bird” from the second-story window of Turpin’s home. Anthony has learned her name from a beggar woman in the street and sings the beautifully haunting “Johanna,” vowing to make her his.
In the meantime, Pirelli arrives at Todd’s shop, revealing himself to be a phony through and through. He’s a native Londoner who used to work in Todd’s shop and, realizing that Todd must be an escaped convict, threatens to go to the authorities if Todd doesn’t give him half his earnings. Enraged, Todd beats Pirelli senseless with a tea kettle and stuffs his body in a trunk. Toby comes up to look for his master, whose twitching hand is sticking out of the trunk. Todd persuades him to go down to Mrs. Lovett; he then finishes the job with his razor. Right after this “rehearsal,” Todd is gleeful as he spies Turpin coming up the stairs.
Johanna motivates Turpin’s entry to Todd’s shop, where Sweeney is poised to carry out his revenge. The pair sing “Pretty Women,” a song so beautiful that it manages to triumph over Rickman’s croakings. Johanna also motivates Anthony to burst in on Todd at his crucial moment of revenge, declaring he is set to take Johanna away that very night. Turpin vows never to return to the shop and to make sure Anthony never sees Johanna again. The shock of losing his chance to kill Turpin and see his daughter again sends Todd off an edge to which he was always very, very close. He sings “Epiphany,” announcing the arrival of the demon inside him set to wreck vengeance on all humanity: “There’s a hole in the world like a great black pit/And it’s filled with people who are filled with shit/And the vermin of the world inhabit it./But not for long…”
In a macabre act of economy, Mrs. Lovett decides not to “waste” Pirelli; she and Todd sing the hilarious “A Little Priest” to illustrate the various virtues of different types of men as meat pie fillings. The film bounds through one gruesome, random murder after another in Todd’s chair, now rigged to flip up and deposit corpses down a shaft to Mrs. Lovett’s oven room for butchering and grinding. Predictably, the shop thrives. Suspicions are aroused in Toby (now Mrs. Lovett’s helper), an apparently crazed street person, and eventually, the authorities. Events move swiftly to a just and murderous end for many of the major players.
Despite an extremely lurid plot, marvelous music, and cleverly descriptive lyrics, Tim Burton’s Sweeney Todd often plays flat and lifeless. Compare “A Little Priest” by Depp/Bonham Carter with the Broadway version by Angela Lansbury and George Hearn. The movie version is a good deal shorter—not necessarily a flaw in my mind—but Bonham Carter puts absolutely no personality into her interpretation. Burton puts the humor into the song visually by turning his camera on a priest, a poet, and other characters mentioned in the lyrics. Ironically, Bonham Carter gives the most emotionally connected performance in the cast, but in a sung-through piece like Sweeney Todd, not being able to emote lyrically puts a real strain on visual interpretation for the bulk of the movie and highlights the limitations of casting stars who aren’t trained singers or dancers to boost box office.
In another bit of irony, Johnny Depp is very good at interpreting lyrics—perhaps because he is a musician as well as an actor—but has a catalog of three facial expressions for Todd: diabolically polite, distractedly brooding, and angrily brooding. The sequence in which Mrs. Lovett imagines a quaint, middle-class life with an unfailingly morose Todd in “By the Sea” would have been funnier if we hadn’t already seen Depp locked in a brood of epic proportions for two-thirds of the film.
The look of this film is very inconsistent. We’re all familiar by now with Burton’s blue/gray palette, but Sweeney Todd stretches this to very close to monochrome in several scenes. It’s most glaring in the scene where Todd challenges Pirelli, whose flamboyant blue satin creates a staggering visual contrast that the plot does not yet warrant; Todd isn’t in full demonic mode, and Mrs. Lovett is very much alive, with a passion for Todd that leads her far astray. It’s rather a relief for the eyes when geysers of blessedly red blood flow from the necks of Todd’s victims in the second half of the film. I was starting to think Burton had to ration his color film stock for the couple of fantasy/flashback sequences that are supposed to let us know that happiness is always in color. Honestly, Tim, we’re not that dumb.
Sweeney Todd is a musical for grown-ups, but I could never escape the fact that this film was really made for fanboys, particularly with the casting of Harry Potter alumni Timothy Spall and the unfortunate Alan Rickman, who used to have an interesting career before he started playing villainous characters. I had a few moments respite when the superb voice and melancholy air of Jayne Wisener, in her screen debut, reminded me of why I went to see the picture in the first place. Jamie Campbell Bower had an oddly right period look to him and projected a decent singing voice as well. Ed Sanders also was excellent as Toby. It’s a shame Wisener and Campbell Bower had so little screen time.
I am a fan of Tim Burton and Johnny Depp—quite a big fan, actually. But they bit off more than they could chew in tackling Stephen Sondheim’s macabre masterpiece. l
Before Jeanette MacDonald paired up with Nelson Eddy to define boring, sexless romance on the big screen, she made several films with that prototype of French bon vivants Maurice Chevalier. Most of these films were made with the fabled touch of director Ernst Lubitsch; the final mating of this threesome, capped by the great operetta compositions of Franz Lehar, is the most sublime of them all—The Merry Widow (1934). Somewhere in the middle, Rouben Mamoulian, whose knockout debut as a director was the melodrama Applause (1929), was given his chance with these appealing stars and fashioned one of their stock stories of an aristocratic woman and her common courter. While Mamoulian falls short of the waltzlike grace and romantic sensuality of Lubitsch, his comedic moments more than make up for it.
The famous opening scene gives a panoramic view of the Paris skyline and then moves in to listen to the rhythms by which the city wakes up—a woman beating a rug, some men cobbling shoes together, smoke stacks churning, and so forth. Finally, the camera moves to Maurice Courtelin (Chevalier), a Parisian tailor readying for his day while singing of the noise of Paris in “That’s the Song of Paree,” the first of several delightful—and some memorable—songs by Lorenz Hart and Richard Rodgers.
Maurice reaches his shop as his fellow shopkeeper Pierre (George Davis) comes by to pick up the tuxedo Maurice has made for his wedding. Pierre forces a 2,000-franc fee on the reluctant Maurice, who prefers to give him the suit as a wedding gift. As Pierre goes off to try it on, Maurice welcomes the Viscount Gilbert de Varèze (Charlie Ruggles), for whom he has created an entire wardrobe. The Viscount, dressed in his underwear after escaping the arms of a woman whose husband had unexpectedly appeared, needs a suit—fast. Maurice quickly shoos another underwear-clad man—Pierre—out of the dressing room to make way for the Viscount, on whom Maurice is pinning the hopes for his fledgling shop. The Viscount emerges, pleased with the fit. Maurice asks him about the bill. The Viscount, a freeloader notorious throughout Paris, promises to pay him—he is headed to his uncle the Duke’s chateau that very evening for financial refreshment. On the way out, the Viscount touches Maurice for 500 francs. Maurice offers 1,000, pulling out the two 1,000-franc notes Pierre gave him. “Let’s just call it 2,000,” says the Viscount, snatching the bills before Maurice can figure it out. It’s an old gag, but Ruggles is such a master of timing that it works.
All is forgotten when Pierre emerges looking like a king himself. His and Maurice’s delight spins into the classic tune “Isn’t It Romantic,” which carries from the shop to the people along the street, through the countryside by train and horse-drawn wagon. Each singer tailors the lyrics to his or her individual circumstances in a symphony of clever, particular rhymes. Finally, it reaches Princess Jeanette in her country chateau, who sings the standard lyrics while lounging sensuously in her satin-sheeted bed. In this way, Mamoulian brings the lovers together, letting the audiences know they can expect exactly what they hoped for.
Maurice, spurred on by the other clothiers to whom he referred the Viscount, heads off to the chateau to demand his money. On the way, he hears a woman singing (“Lover”). It is the princess. When she stops he declares his love for her in song, the impertinent and naughty tune “Mimi” (“I’d like to have a little son of a Mimi by and by!”). We watch her full face assume an insulted but gauzily romantic look in the camera of Victor Milner, who shot several films for Lubitsch and knew how to get just the right touch. A small flash of humor crosses Jeanette’s face, but she’s soon slapping Maurice and running back to the chateau—where she passes out cold. The diagnosis? Dr. Armand de Fontinac (Joseph Cawthorn) says, “You’re not wasting away, you’re just wasted.”
We spend the rest of the film getting to the inevitable clutch in most entertaining fashion. Maurice is passed off as a baron by the Viscount to prevent his uncle Duke d’Artelines (C. Aubrey Smith, whose chipper rendition of “Mimi” in one of the film’s pass-around song sequences is wonderful) from learning of his debts. The Viscount’s sister, the man-hungry Countess Valentine (Myrna Loy) (“Do you ever think of anything but men?” “Yes, schoolboys.”), chases Maurice at every opportunity. Count de Savignac (Charles Butterworth), Jeanette’s nebbishy suitor, spends hours pouring over geneology books, suspecting there is no noble family named Courtelin. He also arranges to trip up Maurice on the stag hunt by choosing a challenging steed named Thunderbolt for him. Jeanette, appalled to find Maurice at the chateau as her cousin’s guest, says that she has chosen one instead—Solitude. Maurice, encouraged by the name, gladly agrees to it over the deadly sounding Thunderbolt. Unfortunately he learns that Solitude is so named because he always comes home alone. The gag showing the stall where Solitude is kept—danger signs, loud whinnying, and cowering stable hands—is corny, but funny, particularly when we get Maurice’s reaction shot. Another funny sight gag is when the princess, 22 years old and a widow for three years, shows Maurice a photo of her late husband, a comically posed elderly man (Tom Ricketts). The timing of the edit is perfect, and drew a big laugh out of me.
For a pre-Code film, this one’s attempts at suggestiveness are pretty tame. Maurice insults Jeanette’s seamstress for building her a dowdy riding habit. He makes a bet that he can do it better. Then we get to see him remove Jeanette’s unfinished riding jacket and take a tape measure to her every body part. It could have been sexy, but Mamoulian plays it safe. Maurice is all efficiency, and Jeanette doesn’t melt even a little at his ministrations. In fact, Jeanette is pretty stiff throughout this film—including her singing—a portent of what was to come with Nelson Eddy. Seeing her flirty, womanly performance in The Merry Widow was, for me, like seeing an entirely different actress, and again, with Chevalier. Thus, I blame Mamoulian for the tepid romance.
Nonetheless, there’s not too much wrong with this romantic comedy that’s sure to put a smile on your face. The Kino DVD also includes among its extras Chevalier singing his signature song “Louise” with all his cabaret charm. l
When the hubby and I came out after seeing Once, he insisted we go to the ticket taker and surrender the half of the ticket the theatre needed; we had taken in a double feature (Away from Her, more on that in the next review) and theatre-hopped at the multiplex. The ticket taker offered to dispose of the entire ticket, but we said we like to keep the stubs. “Movie geeks, huh?” “Yes. She’s a film critic,” the hubby offered. “What did you think of it?” the young man asked. “Loved it!” “You going to review it? I guess it doesn’t need another good review. It’s got lots of those,” he offered.
Well, I’m sorry to say, this film needs all the great reviews it can get. Here it was, opening weekend for the film, Saturday of a holiday weekend, and the movie was not sold out, not even close. WAKE UP, PEOPLE! Change your plans, get off your couches, go see Once. Then buy the DVD.
I can’t remember the last time I felt so thoroughly touched, entertained, and surprised by a film, and at the same time enjoyed a theatre filled with wonderfully memorable music from the opening to the closing credits. As has been said by other reviewers of this film, this is a musical for people who don’t like musicals. It is a musical that takes the creating and performing of songs out of the realm of fantasy and makes it a real endeavor by real people who love what they are doing. That is the central love affair of this film, made completely believable by pairing The Frames’ lead singer/guitarist Glen Hansard with classically trained Czech pianist Markéta Irglová and putting it all under the direction of former Frames member John Carney.
Our two main characters are a young man (Hansard) and woman (Irglová), both unnamed, who live in Dublin, Ireland. The opening scene shows the man playing a beat-up guitar on the street for change. He catches a young punk (Darren Healy) out of the corner of his eye standing near the alley. He’s sure the punk means to rip him off. This scene plays out in such a humorous and realistic way that the film grabs you instantaneously. You say to yourself, “I recognize these people.” At the end of the scene, the man says to the punk that he didn’t have to steal the money; if he’d asked, the man would have given it to him. In a less honest film, this conversation would have made the punk regretful and behave better. In this film, the punk asks him for the money and, backed into a corner, the man gives it to him.
The young man meets the young woman one night when he’s out playing to a mainly empty street. She stops, listens, and tells him how much she likes the song he just sang. “Did you write it?” “Yes,” is his answer. “I see you every day on the street, and you never sing songs like this.” People don’t pay for original material, he says, and then complains that she only gave him ten cents for it. “People pay for songs they know.” She asks him if he has a regular job. Yes, he fixes Hoovers—vacuum cleaners—at his father’s shop. Great, she cries. “I have a broken vacuum. If I bring it tomorrow, will you fix it?” Yes, he says, and they say good night.
In the morning, the woman shows up at his spot on the street with her vacuum cleaner. Begging off repairs for lack of tools, the man agrees to accompany the financially struggling woman to a music store where she is allowed to play their pianos. So, vacuum cleaner in tow like a small, blue dog, they’re about to start their adventure. She plays a fragment for the man. He humorously asks if she wrote it. She laughs. “No, Mendelssohn.” Almost apologetically, he offers, “It’s good.” With slightly sarcastic good humor, she says, “Oh yes, it’s good.” She asks him to play with her. Reluctant at first, he pulls out his notebook of lyrics, gives her musical cues for the song, and they feel their way through the magnificent “Falling Slowly.” The title signals the ties that are being forged between the pair.
After a rocky start, prompted by the man’s invitation to the woman to spend the night with him, the relationship progresses. The woman invites the man to her home in a rundown section of Dublin. He is greeted by a little girl and an older woman—the woman’s daughter and mother (Danuse Kretstova). He’s plunged into a world of another language and bare-bones living that an Irish lad like himself might have endured 20 years ago but that is now foreign territory in an Ireland with a robust economy. He stays for dinner, hears a polite “No, thank you” from the mother to her daughter’s plea that she try to speak English, and watches as three Czech men walk in the unlocked front door to watch the only TV set in the building.
The dramatic elements complement the musical scenes in which the growth of the collaboration between the man and the woman is beautifully realized. For example, the man gives the woman a CD of his songs, including one for which he can’t seem to write lyrics, and asks her to write them. She listens on a portable CD player he gives her that quickly runs out of juice. Breaking into her toddler’s piggy bank with a promise (“I’ll pay you back.”), she goes to the nearest store, reloads with fresh batteries, and writes the lyrics in her head as she walks back home as we are treated to the lovely musical interlude, “If You Want Me.” This is such a brilliantly orchestrated scene, true to real life, true to the creative process, and cinematically coherent.
A conventional musical would have the man and woman fall in love by the final frame. This film doesn’t exactly break that convention, but it puts it in its proper place. The man is still in love with a woman he broke up with when he caught her cheating on him. The woman is married—a marriage resulting from her pregnancy—but her husband is back in the Czech Republic. Nonetheless, the perfect harmony of the creative partnership the pair have forged leads to a kind of love affair, one in which they share their lives, private thoughts, and well of their creativity. One scene in which the woman plays a song she wrote for her husband is a genuinely gut-wrenching experience that left me breathless. The pair helps each other break through the blocks that have put their lives in a holding pattern and gives them a chance to pursue what is really important to them.
Most of the songs in the film were written by Irglová and Hansard, who collaborated previously on Hansard’s solo album “The Swell Season,” from which some of the songs on the soundtrack are taken. Many people consider The Frames—not U2—the great Irish band. I don’t know much about music, but I do know that I love these songs in a way I have never loved the music of U2. The fact that they are paired with a wonderfully realized film by a relative rookie director who clearly always loved movies (one of The Frames’ albums in named “Fitzcarraldo,” after the demented masterpiece about opera by Werner Herzog) makes for a perfect experience.
This film would be a fine double-feature with the wonderful Alan Parker film The Commitments, in which Hansard also plays a street musician. Both give rich views of life in Dublin, with Once updating the scene to include immigrants to Ireland. There is so much to recommend this celebration of music and community that you’ll want to watch Once again and again. l
When the yellow moon begins to bloom / Every night I dream a little dream / And of course Prince Charming is the theme for me / Although I realize as well as you / It is seldom that a dream comes true / To me it’s clear that he’ll appear / Some day he’ll come along / The man I love / And he’ll be big and strong / The man I love / And when he comes my way / I’ll do my best to make him stay… – “The Man I Love,” George and Ira Gershwin
Taxi Driver’s surprise success gave Scorsese heft and fame. He was at this time tagged, along with the other young directors taking American cinema by storm—Steven Spielberg, Francis Ford Coppola, George Lucas, John Carpenter, John Milius, Michael Cimino, John Landis, Peter Bogdanovich, and others—as a “Movie Brat,” an epithet that, like the label “Impressionist” about a century earlier, became a rallying cry. If there was a common feature of these directors, it was their argot of total cinema. Their first and almost last point of reference was earlier movies. They reinvigorated Hollywood as a commercial entity, largely due to their willingness, even love, of making genre cinema, in recreating the dream films of their youths. All of them worshipped Fellini and Godard, but Scorsese was just about the only one damn fool enough to want to be them.
Coppola had given the generation its big breakthrough with his canny melding of the cool, studious effects of European art cinema with epic American narrative in the Godfather films. For all these filmmakers, there were differing layers of irony in their attempts to meld auteurism, art cinema, and classic Hollywood. Many of them wanted to take a shot at the total stylisation of the musical. Bogdanovich’s At Long Last Love, Scorsese’s New York, New York, Coppola’s One From The Heart, Landis’ The Blues Brothers, even Spielberg’s 1941 (which he made for the opportunity to stage a 1940s musical number), were all troubled productions, most of which flopped and dented the Brats’ domination.
Scorsese went to Hollywood to make New York, New York, but remained a New Yorker. For his fellow Movie Brat directors, melding old and new, hip and square, lush and spare was a necessary and entertaining act of cultural synthesis. Scorsese, however, dedicated his new film to examining precisely the gap between life and art, old and new style, façade and critique, spectacle and honesty. New York, New York sets out to be, as Marty called it, a film noir musical inspired in form by such showbiz tales as The Man I Love and A Star Is Born, with a screenplay by Earl Mac Rauch and Mardik Martin. It tells, in livid, often bruising detail, of a marriage between two professional narcissists, Jimmy Doyle (Robert De Niro) and Francine Evans (Liza Minnelli). Scorsese set out to create the texture of a personal, realistic film in the Cassavetes mould—virtually all dialogue improvised, which made editing the film hellish. The film’s exchanges make up in vivacity what they lack in the arch, contoured crackle of screwball style.
The first half-hour of New York, New York is a virtuoso, near-continual scene. It’s VJ Day in New York, and the streets have erupted in confetti and abandon. Jimmy strips off his uniform, casts it out the window, and hits the town in a gaudy Hawaiian shirt looking for just one thing: to get laid. The jam-packed Rainbow Room, where Benny Goodman and Orchestra are playing, represented the peak of the sweet glamour of the Big Band era as well as the emotional apogee of four years of war. Jimmy tries his pick-up lines on every bird in sight. He is especially drawn to Francine, seated by herself waiting for friends, splendid in her USO uniform. When his every attempt has failed on the hostile, evasive woman, he announces a new plan: “I want to stay here and annoy you!” He does just this for the rest of the film.
Eventually, when Francine’s fellow USO performer Ellen ( Kathie McGinnis) arrives, her date is Jimmy’s friend Eddie di Muzzio (Frank Sivero, soon a Scorsese regular), who has arranged for the four of them to hook up. Jimmy makes sure to cook Francine good before dropping her home. The next day, Francine is trying to find Jimmy to contact Ellen, who’s on the run from killers and shacked up with Eddie. She watches in amusement as Jimmy bluffs the hotel’s concierge, posing as a wounded war veteran (“Anzio!” he hollers, “I was at Anzio!”) and skipping out as always without paying his bill after being manhandled. Jimmy’s in the not-so-fine tradition of Scorsese’s keenly observed Noo Yawk flakes; indeed, New York’s riskiest, most original idea is to make such a flake the hero. For Jimmy is, we learn, talented. He contrives to drag Francine to his audition with a Brooklyn club manager (Dick Miller), and shows he’s a mean tenor sax player, but too edgy and modern for the cleaned-up tastes of the time. Francine reveals she’s just as talented; when the manager expresses a desire for something like Maurice Chevalier, Francine launches into a sweet, swinging rendition of “You Brought a New Kind Of Love,” which Jimmy accompanies with contrapuntal elegance. They are fused instantly into a double act.
Romance, or something like it, blossoms. After a gig, Jimmy won’t let Francine get out of the taxi they share to her hotel by kissing her. Francine skitters, slips, and flops about, half in the pouring rain, trying to escape his voracious mouth. Francine finds she’s been offered a gig with the touring big band of Frankie Harte (Georgie Auld), and Jimmy is also offered a slot. Unfortunately, he’s gone before she can tell him, so she packs up and goes to join the band whilst sending her agent (the great Lionel Stander) to inform Jimmy. Jimmy promptly skips town and catches up with the band. He almost gets himself assaulted by Hart when he sits in the audience, draws Francine off stage, and won’t let her return. Jimmy is simultaneously declaring his “not love. I like you very much” whilst ranting at being left behind: “You do not leave me! I leave you!”
De Niro gives the greatest portrait of the artist as major-league irritant since Kirk Douglas’s Vincent Van Gogh. Jimmy’s alternately (and often concurrently) charming, funny, annoying, foolish, dishonest, angry, sullen, violent, and prone to larceny, but always propelled by a volcanic creativity and contempt for a world of schmucks, squares, and sycophants. He dances up steps in joy, throws tables in rage, play-acts, fakes out, schmoozes, assaults, and plays some mean jazz. (De Niro learnt sax technique, but the music he makes is by Auld.) He tries to sweep the world and Francine off their feet with the purity of his energy, and it sometimes works.
The tour continues, endless wheeling between towns in the band bus; Harte’s crusty and boozy, but he keeps the band disciplined. He won’t give Jimmy any opportunity to play his arrangements or his bop style, but he often relies on Jimmy to lead the band. Jimmy dabbles in composition, tracing out the bare notes that will become the title tune, whilst Francine writes poetry. After eading one of her poems about him, Jimmy says, “That was it! That was you proposal, get your coat on, put your shoes on, let’s go, let’s go, let’s go,” and drags her to a justice of the peace. When Frankie decides he’s fed up, he concedes to Francine that Jimmy “blows a barrelful of tenor, oh, but he’s some kind of pain in the ass!” Jimmy takes over the orchestra, but appears set for a flop until Francine saves their bacon at an audition with a soulful rendition of “The Man I Love.” With Francine headlining, the orchestra enjoys major popularity, but Jimmy is quietly furious she’s getting the attention, and he jealously guards his command. One evening Francine dashes off stage and reveals she’s pregnant. She returns to New York to have the child, and the band, saddled with a far less talented singer, Bernice Bennett (Mary Kay Place), whom Jimmy beds in Francine’s absence, soon faces disaster.
Jimmy signs over the band to another leader, and returns to New York to find Francine riding on a wave of good publicity, her agent having secured her recording dates; Jimmy, the arch, proud individualist, feels she’s degrading herself by kowtowing. Jimmy meets up with black musician friends and jams with them at a Harlem club (“Do they let white cats in?” “Just come in the back way.”). For the first time, Jimmy’s style is set free and wild in the be-bop milieu. Meanwhile, behind the pyrotechnics of Jimmy’s approach to life, Francine grows, quietly, from defensive doll, to urgently helpful wife, to coolly calculating go-getter who gets it. And Jimmy, without saying a word, knows he’s going to get screwed by life again. The subterranean arc of anxiety in Jimmy begins driving him crazy.
Like many Scorsese narratives, New York, New York is a study of a macho slow burn, except that this one remains entirely interpersonal. Jimmy gets himself thrown out of a nightclub by getting increasingly soused and truculent as Francine is courted by a Decca executive (Lenny Gaines). In one of the film’s most striking images, Jimmy is manhandled along the entry hall lined by bright neon tubes, embodying the electric distress by which he is caged. He and Francine fight in their car, whereupon Francine is stricken and almost loses the baby. When Jimmy visits her in the hospital, they mouth caring statements for each other, but it’s clear what held them together has dissolved.
Francine is much more a question mark than Jimmy. Minnelli often looks dazed by De Niro, appropriate to the character, yet she barely registers when not singing; her trademark acting touches feel by rote in comparison. Francine is, finally, the opportunist of the pair. Insufferable as he is, Jimmy is curiously honest even when bullshitting. Very few films paint so vivid a tale of how colliding egos and intentions can destroy relationships. Jimmy and Francine are scrutinized by the camera like a microscope on a pair of mating insects. In the space of about a year, we have one failed marriage, the kind that Francine, later a big Hollywood star, will sigh over if mentioned by interviewers.
In the film’s epilogue, we are treated to a short film purporting to be Francine’s latest hit movie, Happy Endings, which Jimmy is watching in a theater. Happy Endings is a brilliantly made pastiche of 50s-style musicals, charting the rise of a doe-eyed usher to major star who yearns for her gentlemanly agent Donald (Larry Kerns), who disappeared just when she made it big. Happy Endings presents just such a spin on the New York, New York story that such a musical would have done. The number was originally edited out of Scorsese’s film, and this was credited with its flop; without the sequence, the film’s careful alternation of glam and grit is unbalanced.
Out in the real world, Jimmy’s not doing too badly. He has a spiffy nightclub, his song “New York, New York” has, in its cool jazz incarnation, become Casey Kasem’s theme song, and Francine’s singing her mountain-leveling version in her live shows. Actually, of course, the song is the work of Kander and Ebb. (In the film, Francine’s poetry becomes the lyric, with Jimmy unimpressed: “These vagabond shoes…are longing to stray…and step around the heart of it?” he reads, nose curled up like it’s week-old fish.) Backstage after seeing her sing, Jimmy meets his son, and proposes he and Francine get together later; she agrees. But neither can finally be bothered.
And yet the film around them is a lovingly textured dream, a paean to the total style of classic Hollywood, indeed catching how artifice can sometimes suggest reality better than reality: in the snow-crusted villages the band tours in, where Jimmy and Francine bicker and are married, or the stunning vignette of Jimmy watching, after the first night with Francine, a sailor and girl jitterbugging in the street below a railway line, suggesting an otherworldly staging by Gene Kelly of Alfred Eistenstadt’s Times Square kiss photo. The musical sequences are bravura in style. Marty’s camera (with immeasurable aid from DP Laszlo Kovacs) zooms, dollies, and glides, picking out soloists and darting in on them, then drawing back and painting rich group shots. Scorsese tips his hat to the influence of Michael Powell at several junctions: Jimmy signs into a hotel as “M. Powell;” the scene where Jimmy cracks up in the nightclub is decorated entirely in neon that glows an infernal, maddening red, a favorite signifier for both directors; and the way Happy Endings reflects, in a distinct, distorted mirror, the larger film’s story, is reminiscent of the ballet at the centre of The Red Shoes.
The central couple’s personal separation symbolizes a vital split in American pop culture. Francine goes Hollywood—big, slick, entertaining, vital but without edge, embracing of artifice over truth. Jimmy remains New York—hip, hard, leaning to black culture, small in scale but intently creative, calmly resigned to his busted dreams (“Yeah I saw Sappy Endings,” he tells Francine). The story, conceived as a variation on A Star Is Born doesn’t entirely reverse the formula; instead of having one figure supplant another in stardom, New York, New York suggests there is more than one kind of stardom, more than one kind of success. This Scorsese film obviously had a stylistic influence on such jazz-and-nostalgia-themed films that followed as ‘Round Midnight, Bird, and Henry & June. It failed on first release, but there is a happy ending; when the film was restored to its proper form, it did good business in a 1980 re-release. l
In 1933, Warner Bros. Pictures provided audiences with three classic movie musicals with almost identical creative teams. The first was 42nd Street, the second was Gold Diggers of 1933, and the third was Footlight Parade. All three films featured Ruby Keeler and Dick Powell, the reigning ingenue couple of the 30s; all had dance numbers by Busby Berkeley; and all included memorable music by Harry Warren. But Footlight Parade is by far my favorite, and the most accomplished of the three films. Here’s why.
Although Warner Bros. was the leader in talking pictures and had the first music synched with the images on screen (1927’s sensation The Jazz Singer), MGM was the gold standard in movie musicals. MGM, specifically producer Arthur Freed, understood the importance of weaving music and dancing into a story, a technique epitomized by such MGM gems of the 1930s as TheMerry Widow, Monte Carlo, The Great Ziegfeld, and culminating in the timeless The Wizard of Oz.
Many 1930s Warner Bros. musicals tended to have an odd structure—frontloading the film with a big production number, filling a lengthy middle with a conventional feature film, and ending with a couple more show-stopping production numbers. 42nd Street, Gold Diggers of 1933, and Footlight Parade all fit this format. Part of the reason for this structure had to do with the fact that Busby Berkeley was the director of the musical portions, and there is simply no way a Berkeley production number can have any bearing with reality. They are short films in themselves, and excellent ones at that, particularly in each of these films.
So what’s so different about Footlight Parade? Ruby Keeler’s acting and dancing skills improved measurably from her debut in 42nd Street to her featured, but secondary role in Footlight Parade. Her break-the-floor slapping and tapping took on a little more lightness and precision, and she danced better in combination with other dancers.
While each film has a showbiz theme, Footlight Parade has one that sheds a lot of light on the history of films, and particularly on the adaptation of stage performers to the silver screen. In 42nd Street, we have a standard story about putting on a show in distressed circumstances. Gold Diggers gives us a good idea of the high unemployment during the Depression, particularly among show people, but spends the majority of its time focusing on a flip story of how three showgirls land wealthy husbands. Footlight Parade gives us a context for the production numbers that actually helps make sense of how lavish (though certainly unrealistically so) they are.
The most important difference between the three films, however, is that Footlight Parade stars James Cagney and Joan Blondell. These two wonderful actors—Cagney, a bonafide star, and Blondell, an underrated actress of enormous warmth and appeal—had a history together, beginning on Broadway in the hit play Penny Arcade and continuing to Hollywood, where they reprised their parts in this play in its film version, Sinner’s Holiday (1930). Their chemistry and timing help define and flesh out their characters’ relationship in Footlight Parade of career-driven boss Chester Kent and Nan Prescott, dedicated secretary in love with Kent. Their line readings are never clichéd or throwaway. For example, in this exchange:
Chester Kent: Sometimes I get the feeling you don’t like anybody. Nan Prescott: If you only knew.
We catch Nan’s longing look, which Kent misses, and it’s a real heart-tugger.
The film tells the story of a writer of stage musicals (Kent) who can’t get them produced anymore because audiences have been abandoning the legitimate theatre for the movie theatre. Two producers, Al Frazer (Arthur Hohl) and Silas Gould (Guy Kibbee), take Kent to a nearby movie house and show him that live dance productions called prologues, which show between screenings of the film, satisfy an audience’s craving for live theatre. The prologues, however, are costly to produce. Kent gets an inspiration to create a factory-like setting (inspired, no doubt, by the type of movie factory in which Footlight Parade was made) for the production of prologues. Stock routines could be taught to a unit of dancers and singers and then sent on the road. With numerous units able to fill the demand, success should be assured.
Keeler plays super-efficient production assistant Bea Thorn, dressed as all super-efficient women should be in round, horn-rimmed glasses, matronly clothing, and sensible shoes. Dick Powell is Scott Blair, a new protégé of Si Gould’s wife Harriet (Ruth Donnelly) whom Kent is forced to take on. Fortunately, Scotty can sing. He also inspires Bea to stop being sensible, fall in love, and return to her roots as a hoofer. There are several intrigues, including a romance Kent starts with Vivian (Claire Dodd), a down-and-out gold digger who is staying with Nan; a mole in Kent’s organization who is feeding his ideas to a competitor; and Kent’s mercenary ex-wife (Renee Whitney) returned to claim her share of his good fortune—which he doesn’t have because his partners have been cheating him. The story is told briskly, with sparkling dialogue and equally sparkling stars to speak it. Cagney is having a ball doing what he always loved best—singing and dancing.
And speaking of singing and dancing, feast your eyes on the production numbers. “Honeymoon Hotel” has Keeler and Powell getting married and spending their first night together in a hotel filled with honeymooners. In true precode fashion, the sex is more than alluded to, the women are scantily clad, and Billy Barty, the most successful midget in movies, plays a not-so-innocent child who follows the chorus girls around the corridors. “On a Waterfall” has to be seen to be believed. From a simple stage duet by Keeler and Powell, an entire soundstage full of water slides and an enormous pool emerge. Berkeley’s famous overhead camera shots show the mermaids move into the kaleidoscopic formations for which he was known. The cameras take us underwater, too, for some sexy shots. Clearly, these prologues cannot be justified by the story. Only the magic of movies can present these types of images to a large audience at one time. They simply are their own source of wonder. The final production number, “Shanghai Lil” features my favorite dance by Keeler. Her eccentric tapping style perfectly fits Cagney’s, and they carry this number off beautifully. You can see it here.
Footlight Parade combines screwball comedy’s wisecracking, scattershot dialogue with the psychedelic fever dreams of Busby Berkeley and some of the best actors of the 1930s to produce a film of enduring appeal and subtle social commentary. This film is essential viewing for every film enthusiast.
In my review of I’ll Cry Tomorrow, I mentioned that the 1950s were the heyday of classic women’s films. The ’50s were also the Golden Age of the musical. Gene Kelly was the reigning lord of the dance in these grand entertainments, and several female dancers fluttered around his flame, including Vera-Ellen, Ann Miller, Cyd Charisse, and a charming young ballet dancer named Leslie Caron, whose debut in films was starring opposite Kelly in the renowned An American in Paris (1951). Caron went on to star in the popular but tough-minded Lili (1953), her first collaboration with director/choreographer Charles Walters. When MGM decided to film another version of the story of Cinderella, it hoped to strike gold by again teaming Caron, Walters, and screenwriter Helen Deutsch.
I am a big, big fan of musicals, but some of the best ones of the ’50s seemed to have vanished without a trace. Give a Girl a Break (1953), starring Marge and Gower Champion, is one such musical that I recently caught on Turner Classic Movies and have been praising ever since. Now (again courtesy of TCM) I add The Glass Slipper to the list of Golden Age musicals that the public should rediscover.
The Glass Slipper is a fairytale film that, for the most part, provides everyday explanations for the magical occurrences with which we are all familiar. Its most radical departure from fairytale scripture is to make Cinderella a belligerent outcast in her small village rather than a beautiful flower cowering in a corner, waiting for a magical messenger to free her from bondage to her stepmother and stepsisters. When we first meet Ella, she is being taunted by villagers for her filthy appearance with their nickname for her—Cinder-Ella. She sticks her tongue out and in all other ways makes herself as unappealing as possible while proclaiming that it has been prophesied that she will live in the palace one day. She reserves her sweetness only for an organ grinder’s monkey.
When Cinder-Ella returns to her home, she is beset by demands and insults from her stepmother (Elsa Lanchester) and stepsisters Birdena (Amanda Blake) and Serafina (Lisa Daniels). Again, contrary to fairytale convention, the vain stepsisters are beautiful on the outside. Director Walters has his fun, however, by showing a flawless Birdena look into her mirror and bear her teeth like an animal. It is in similarly understated visuals and clever scripting that we grasp the fuller stories of these characters and their potential fates. When Cinder-Ella runs off to be alone in her special place in the woods, narrator Walter Pigdeon cautions like a cousin of Dicken’s Spirit of Christmas Present, how her rebellion will be silenced if she is subjected to a few more years of oppression by her stepfamily and eventually she will be turned to timid servitude for the rest of her unlovely, unloving life. This observation lets us know that we are living in a real world where a “happily ever after” may not be a slam-dunk.
Cinder-Ella meets an eccentric old woman, Mrs. Toquet (Estelle Winwood), at her secret place. Toquet has a reputation in the village as a lunatic who lives in the woods and only comes to the village at night to steal. Even Cinder-Ella has heard the rumors and is wary of her. But Mrs. Toquet offers her friendship and declares that she likes the sound of the word “Cinder-Ella” as much as she does “elbow” and “windowsill”. Along with such nonsense, she offers wisdom to Cinder-Ella, and Cinder-Ella begins to feel less alone. She looks forward to the next day, when she will meet Mrs. Toquet again in the woods.
Prince Charles (Michael Wilding) has his own longing for the woods. He confides to his friend Kovin (Keenan Wynn) that he feels most alive in nature and further confesses a weakness for tragic, weeping women, developed when he saw a 5-year-old girl crying inconsolably in the village over the loss of her mother. Naturally, he meets that girl—Cinder-Ella—at her secret place, and pretends that he is the son of the palace cook to gain her confidence. She pushes him into the pond when she detects that he may be laughing at her. As they watch her run off, Charles tells Kovin that she has “a tender heart half afraid to love.” Despite her fear, Cinder-Ella meets her young man again the next day. He apologizes and presents her with an invitation to the palace ball. When she protests that she doesn’t know how to dance, he teaches her. The prince impulsively kisses Cinder-Ella. That’s it. Cinder-Ella feels energized by what might be the beginnings of love.
Cinder-Ella’s household is all aflutter when rich cousin Loulou comes to visit. Cousin Loulou came by her fortune by seduction, and, the narrator notes, Serafina and Birdena look forward to the day when they can be ruined in just such a profitable manner. Later that evening, Cinder-Ella dutifully helps her stepsisters get ready for the ball, though she is wracked with envy that she cannot go, too, because she lacks the proper attire. After her stepfamily leaves for the ball, she falls asleep, only to be awakened by Mrs. Toquet, who brings her into the garden to show her a wedding cake gown pilfered from cousin Loulou’s house. She helps Cinder-Ella dress, doing her best with the short, jagged hair that Cinder-Ella was left with when she cut her hair in a fit of pique, and sending her into a carriage Mrs. Torquet has arranged for her. The carriage driver’s real customer is attending a party of his own and must be picked up at 1 a.m. So Cinder-Ella must leave the prince’s ball at midnight. This is a clever turn on the usual fairytale explanation for the curfew.
When Cinder-Ella arrives at the palace, she tries repeatedly to escape to the kitchen where she thinks she will find her beloved slaving over a hot stove. Indeed, she has daydreamed him in the kitchen during one of the two ballet sequences in the film. Cinder-Ella becomes the most popular girl at the ball, but none of her ardent dance partners can get her to say a word. Finally, when Charles joins her on the ballroom floor, she is more bewildered and desperate to keep cousin Loulou and her stepfamily from seeing her than she is in rejoicing over her good fortune. At midnight, she flees.
Rumors circulate that the prince intends to marry the bewitching dark-haired girl at the ball, thought to be an Egyptian princess who doesn’t speak the language. Despairing, Cinder-Ella runs away from home, back to her secret place, where Mrs. Toquet appears but fails to comfort her or, indeed, to make any sense at all. Perhaps she is just a daft old kleptomaniac. Cinder-Ella falls asleep, and awakens to Charles telling her he is looking for the foot that will fit the glass slipper left behind at the ball. She says, “I have the other!” It is tied inside her satchel. He fits the glass slipper onto her foot in full view of the villagers. We are told that Mrs. Toquet was indeed her fairy godmother and that they “lived happily ever after.”
This film is wise about human motivation and compassion shown in easily recognizable ways. While we are made to loathe the stepmother and stepsisters, they are not made as ugly on the outside as they are on the inside. The attractive frequently get ahead regardless of their deservedness. Cinder-Ella was on her way to being a friendless freak beyond help, tracking much more closely with the idea that all human beings reach milestones of development that will determine their course in life forever. Even Prince Charles (Charming) falls for Cinder-Ella because he has a certain fetish that originated in his glimpse of her at the age of 5. As I finished watching this film, I thought that the marriage of Cinder-Ella and Charles may well be doomed. Once he gets over the fetish that attracted him, what will he have to say to a girl who is ignorant, probably illiterate, from a vastly different walk of life from his?
It is not inappropriate to ask these questions of a film that posits its fairytale characters as real people and its tricks not as enchantments but as business arrangements. Perhaps this a fatal flaw and one of the reasons this film has sunk below the horizon of the more famous canonical versions. Nonetheless, as an adult, I appreciated the cleverness of this story, its humanity, the artisty of its beautifully rendered sets and costumes, its sweet music and dancing, its strong supporting cast, and finally, the vulnerable, winning performances by Leslie Caron and Michael Wilding. This is one glass slipper that fits adults beautifully. l
If the movies had not had Busby Berkeley, they certainly would have had to invent him. The medium of film was made for visual dazzle, and nobody dazzled them like this spectacle-loving director and choreographer. I can just imagine him as a boy, twisting the end of a toy kaleidoscope he had just received for his birthday, lifting his eye above the spyhole, and visualizing the room around him cracking and tumbling in on itself in gay abandon. Indeed, in The Gang’s All Here, a late entry in Berkeley’s oeuvre and his first film in Technicolor, the final hallucinatory musical number, “The Polka Dot Ballet,” breaks into a kaleidoscopic image that prefigures the psychedelia of the 1960s.
Before we reach this ultimate abstraction of human form, which I will elaborate on later, Berkeley weaves some of the most over-the-top musical routines of his career into his soldier boy-meets-chorus girl story. Alice Faye plays the sweet Edie Allen, who, while doing her patriotic duty dancing with soldiers on leave at the USO canteen, falls for Andy Mason (James Ellison), a sergeant with a fiancee he neglects to tell her about. He ships out the next day and when he returns a hero, his rich father (Eugene Pallette) arranges for the entire floor show from the Club New Yorker—where Edie works—to do a welcome-home show for Andy at the estate of the Potters (Edward Everett Horton and Charlotte Greenwood), the parents of Andy’s fiancee Vivian (Sheila Ryan). Of course, a misunderstanding ensues, but it all comes right in the end. And boy, what an end!
This solid cast, led by the luminous Miss Faye, takes delight in the comic moments that serve as just a bit more than matchbooks fitted under the off-kilter legs of Berkeley’s fever dream. An especially good moment occurs when the wife of straightlaced Peyton Potter reveals herself to be former chorus girl Blossom Murphy upon encountering the director of the nightclub show, Phil Baker, playing himself. They go from the most proper formality to a dance that ends with Potter catching them doing a suggestive dip.
More comic relief is provided on and off the dance floor by Carmen Miranda at her fruity best. Her midriff is bared (but her belly button discreetly hidden by flesh-colored cloth) and her head is piled high with fruits and baubles as she shuffles through a series of forgettable songs. Miranda seems comfortable embodying the stereotypical Latina, whose words never match and whose wardrobe and elbow-high bangle bracelets seem likely to topple her off her skyscraper platform shoes. She is oddly sexless, almost a screaming drag queen. She wears thin fast.
Alice Faye could sing the Federal Register and bring you to an emotional peak. She has three numbers in this film, all forgettable songs made memorable by her delivery, particularly “No Love, No Nothin.” She’s a fabulous movie star whose shine has faded considerably over the years. It’s a shame. She deserves to be better remembered.
But, of course, the screaming star of the show is Berkeley’s choreography. “Lady in the Tutti-Frutti Hat,” must boast the largest collection of bananas ever committed to the silver screen. As is typical of Berkeley, why hire 10 dancers when you can have 50, or start a musical number with one organ grinder and monkey, unless you end it with a dozen? In between, put a banana-clad Carmen Miranda among the bevy of chorus girls, have her play a banana xylophone, and finish with her standing in front of a backdrop that shoots an enormous fan of bananas out the top of her head. What could be more obvious?
Believe it or not, “Tutti-Frutti Hat” is a more traditional number for Berkeley. When he reaches the final production number, he passes through the looking glass. He begins with Faye performing “The Polka Dot Polka” among a group of dancing children dressed in polka-dotted clothes. Almost ominously, Faye sings “The polka is gone, but the polka dot lives on.” We then watch the chorus girls slip in and out of neon circles and then move like a synchronized swimming team with gigantic polka dots as props. Berkeley runs their movements in reverse at one point, a favorite trick of musicals directors. Just when we think the acid trip is over, he has the diembodied heads of all the principal actors appear one at a time in the middle of a polka dot singing the movie’s signature love song, “A Journey to a Star,” starting hilariously with the bullfrog voice of Pallette. We learn that Faye and Ellison are together when we see them in the same polka dot at the very end. In this way, Berkeley cleverly avoids the cliched final clinch, while turning the entire cast into his version of the night sky to parallel the song lyrics.
The songs in the film have among the worst lyrics I’ve ever heard. The Benny Goodman Orchestra is featured prominently, and maybe Berkeley thought he was doing Benny a favor by letting him sing a couple of songs. Although I was interested in hearing Goodman’s singing voice, heretofore unknown to me, did he really have to say, “Paducah, Paducah, if you want to, you can rhyme it with bazooka”? He fares a bit better in “Minnie’s in the Money,” and I enjoyed watching the dancers do the jitterbug for all it’s worth.
This movie has a lot of so-bad-they’re-awful moments, but you can’t help but laugh. This is not a good musical, but it is still a must-see. You won’t really believe it until you see it for yourself. l
When Fred Ebb wrote those lyrics for John Kander’s catchy celebration of the immorality of the Jazz Age, “Nowadays,” for the stage musical Chicago, he likely was making an ironic statement about America in the 1970s. I don’t know if his lyrics for that song, “You can even marry Harry/But mess around with Ike,” had anything to do with the landslide victory Richard Nixon, Dwight (Ike) Eisenhower’s Vice President, received in the year the play premiered (1972), but I do know that Kander and Ebb sounded an early warning of the cynicism and lawlessness to come. Their message fell on deaf ears, and their musical was a flop.
In the 1990s, Chicago returned in triumph to stages all over the world, and the film won the Best Picture Oscar for 2002. I wonder sometimes what the success of Chicago today says about us. In 1972, we still thought of ourselves as liberal, warring on poverty, and peacing on war. By the 1990s, bloody war on others was still the rage, and bloodless war on the poor was well underway. Everyone could understand and many aspired to be like Chicago’s greedy, amoral lawyer Billy Flynn. We also had just experienced a media frenzy over a celebrity murder case that would have pushed Velma Kelly’s and Roxie Hart’s headlines out of the papers altogether. This clearly was a musical for our times.
The show opens in a backstage frenzy of nightclub performers getting ready for their acts. One such performer rushes to her dressing room amid questions about where the other half of her sister act is. Velma (Catherine Zeta-Jones) answers flatly, “She’s not herself,” and deposits her things, including a gun, in her vanity. She rushes on stage to perform her act alone, amid the writhing chorus boys and girls that Chicago’s choreographer Bob Fosse is known for. At a climactic moment in the dance, Velma transforms into a glamorous blonde. It is Roxie (Rene Zellweger), an aspiring singer and dancer imagining her heart’s desire. Reality intrudes on them both, as furniture salesman Fred Casely (Dominic West) hustles Roxie back to her apartment for the horizontal tango, and the cops come to take Velma away for murdering her two-timing husband and sister.
This opening sets up the structure of the film beautifully. It uses quick cuts to shorthand the story to us and pulse the film with energy, as well as establish a relationship between Velma and Roxie that will fill the frames of this story. The use of music and dance to telegraph fantasies and underlying motivations also is established, undercutting one of the main objections people have to musicals—they can’t believe a story in which people leave the plot to break into song and dance. In Chicago, we don’t have to take these intrusions literally and, therefore, can enjoy the interludes (which, in fact, comprise almost the entire film) without worrying about the logic of them.
A month passes in the wink of an eye. Casely has decided to end things with Roxie and does so in particularly rough fashion. This does not seem to bother Roxie as much as the fact that Casely lied to her about being able to get her into show business. She does what any self-respecting woman in this film does—she plugs him full of lead. After unsuccessfully trying to pin the murder on her doltish husband Amos (John C. Reilly), she arrives at Cook County Jail to take her place among the other women murderers and learn the ropes of self-preservation through self-promotion.
It’s a merry ride Chicago takes us on. Roxie deposes Velma as the flavor of the month and shows her cunning in holding the spotlight for the duration of her incarceration. Billy Flynn (Richard Gere) is a master manipulator, illustrated by the superb “We Both Reached for the Gun” number, in which Roxie is a dummy on ventriloquist Billy’s knee, and in the spin-control cross-examination at Roxie’s trial, “Tap Dance.” The film has a happy ending, if you want to call it that, with our two ladies of larceny making a comeback on the stage of the Chicago Theatre. F. Scott Fitzgerald said there are no second acts in American lives, but our endless fascination with celebrity has proven him wrong.
Rob Marshall’s choice to cast actors with limited or no background in musical productions in the leads was an interesting one. In a story obsessed with celebrity, choosing to cast some of Hollywood’s biggest stars adds to the irony of the story. At the same time, I think that the first-class acting chops of these performers, particularly Zellweger, add depth to the portrayals. The stage production used no realistic scenery and was close to being sung through, which heightens the unreality of the proceedings. The convincing performances of the cast ground this film and add to the power and poignancy it offers.
I’m sorry Marshall chose to cut “Class,” the duet between Velma and Mamma Morton (Queen Latifah), the prison matron/fixer. The deleted scene is on the DVD and deserved to be in the final cut. Who knows why it wasn’t. I also quibble with his decision to cast Christine Baranski as obsequious reporter Mary Sunshine. Baranski is a favorite of mine, but the phoniness of the news coverage would have been better highlighted if he had stuck with the strategy of the stage production and depicted Sunshine as a very masculine-looking drag queen.
Still, Chicago makes few mistakes. It is masterfully crafted and enormously entertaining. And it still manages to throw a pie at the audience and strike them right in the kisser. Grand, isn’t it?
There is no shortage of stories about reaching for the American dream. Willy Loman and Jay Gatsby are two of the 20th century’s most self-deluded climbers toward the promised land. Their creators, Arthur Miller and F. Scott Fitzgerald, were men of letters and, significantly, both American. Being born inside the dream, both could see its soft underbelly and weep.
Frank Capra is another matter. A Sicilian, he came to the promised land with his parents in 1903 and became the picture-perfect fulfillment of the American dream on which its native sons had gone sour. His films tend to affirm the greatness of America, where you’re never out of the game and where a cynical heart will be reborn before the final frame. People feel good when they finish a Capra film because it is their cynical hearts he is working on, the grateful immigrant boy made good telling his troubled neighbors “you don’t know what trouble is. This is paradise!”
A Hole in the Head is a later entry in the Capra oeuvre, but it has a familiar sound. This is It’s a Wonderful Life transposed to Florida. Tony Manetta (Frank Sinatra) is George Bailey’s successor as the man who wants more out of life. His ambitions are greater than Bailey’s—this film is from the prosperous post-WWII years, after all. Manetta wants to be a big shot. Instead, he’s a widower on the verge of being evicted from the rundown hotel he manages. He’s got a cute kid/buddy (Eddie Hodges) and a beatnik girlfriend (Carolyn Jones). When all his options fail, he calls his big brother Mario (Edward G. Robinson), a 5-and-dime mogul from New York, to bail him out.
Sinatra’s character is that of a boy stubbornly clinging to his dreams. He lives like the bum his brother calls him, but we know he’s really pure of heart because he won’t give up his vision for his life. This stubbornness cost Willy Loman and Jay Gatsby their lives, but for Capra, the story turned out differently. His antiheroes always discover the richness that they have—usually in their human relationships. But A Hole in the Head cuts a little darker than other Capra films. The implied happy ending, during which Manetta is shown running down the beach with his son and a lovely widow (Eleanor Parker) he has just met, is smoke and mirrors.
Manetta is still in deep trouble, financially and personally. He hasn’t grown up; he doesn’t seem to really connect on a personal level to anyone, even his son. The only real difference between him and Mr. Potter is that he’s broke and Potter isn’t. He doesn’t deserve a happy ending, even in Capra’s world. But this is Hollywood and Capra, where everything comes out right and everyone has infinite chances to make good. Too bad. This could have been the anti-Capra movie he always should have made. l
"You put a lot of love into your blog." – Roger Ebert, Roger Ebert's Journal
"Marilyn and Roderick … always raising the tone." – Farran Smith Nehme, The Self-Styled Siren
"Marilyn and Rod aren't merely engaging writers, they're engaging debaters, willing to argue (civilly) a point or discuss a post with even the most ardent dissenters." – Greg Ferrara, Cinema Styles
"Honestly, you both have made me aware of films I've never seen, from every era. Mega enriching." – Donna Hill, Strictly Vintage Hollywood
"You have my highest praise!" – Andreas, Pussy Goes Grrr