SMALL TOWN GIRL

Farley Granger and Jane Powell

SMALL TOWN GIRL (1953). Director: Leslie (Laszlo) Kardos.

Rich and patronizing playboy Richard Livingstone III (Farley Granger) speeds through the small town of Duck Creek, sasses Judge Kimbell (Robert Keith), and winds up thrown in jail for thirty days. Richard importunes the judge's daughter, Cindy (Jane Powell), to let him out one night for his "mother's" birthday. Richard has a jealous if unfaithful fiancee in Broadway star Lisa Bellmount (Ann Miller), but during a night in New York he and Cindy start to fall in love. How will the judge react when he is apprised of this situation?

Jane Powell

Small Town Girl is the perfect example of a well-turned out MGM musical. The players are fine and enthusiastic (Granger is much better than you might imagine); the TechniColor is vivid and beautiful; there are a couple of more than pleasant tunes ("Small Towns;" "The Fellow I Follow"); some excellent production numbers; and an essentially amiable if lightweight veneer that puts over the slight but entertaining storyline. Jane Powell [Seven Brides for Seven Brothers] again proves an adept leading lady with a lovely voice and good delivery. And besides Granger, Powell has a host of excellent supporting players and character actors to back her up.

Bobby Van 

First among these is Bobby Van [Lost Horizon], who plays Ludwig Schlemmer, the boy next door who has Broadway aspirations. Van is by no means handsome in Hollywood terms, but he is so irrepressible and talented that it doesn't matter; he has a kind of Al Jolson delight in performing. The most famous highlight of Small Town Girl is when Van literally hops his way across town in sheer spirited excitement, a well-choreographed (Busby Berkeley) sequence that was filmed with only a few cuts. When Ludwig meets Ann Miller and tells her his name, she says "Well, keep it quiet and no one will notice." Ludwig's father is played by "Cuddles" Sakall, whose character in this seems more grumpy and unpleasant than lovable.

Miller struts her stuff

Then there's Ann Miller [Carolina Blues]. There may well have been better female dancers in Hollywood musicals, but in this Miller stars in a zesty production number, "Feel That Beat," wherein the members of the band are hidden behind walls and under the floor, with only their arms and instruments protruding. As for the rest of the players, Robert Keith is fine as the judge, as is an uncredited Chill Wills as the friendly sheriff, Happy. Fay Wray is the judge's wife; Billie Burke is her dithery self as Richard's society mother; William Campbell is a reporter; Marie Blake is a shop customer; and Beverly Wills, the daughter of Joan Davis, plays Ludwig's sister, Deidre. Nat King Cole also sings a number, "Burn Low." Photographed by Joseph Ruttenberg.

Verdict: Delightful MGM musical. ***.   

HIT THE DECK

HIT THE DECK (1955). Director: Roy Rowland.

Young sailor Danny (Russ Tamblyn of Follow the Boys) is the son of rear admiral Smith (Walter Pidgeon). When Danny thinks that his sister, Susan (Jane Powell), a show business aspirant, may be taken advantage of by theater star Wendell Craig (Gene Raymond), he and his Navy buddies Rico (Vic Damone of Athena) and Bill (Tony Martin) break into his apartment where he sits with Susan and assault him. Their stupid actions result in the sailors being chased all over Manhattan by the shore patrol (including Alan King in an early role). Meanwhile Danny falls for Carol (Debbie Reynolds), who appears in Craig's show, and Ginger (Ann Miller) despairs that long-time fiance Bill will ever marry her. Rico's mother (Kay Armen of Hey Let's Twist) finds that her fiance, Peroni (J, Carrol Naish), may find her too old when he sees she's got a grown son. The "plot" is just an excuse to hang some songs and dance numbers on, so we've got Powell doing the snappy "Sometimes I Love You," Armen and the cast doing "Sing, Hallelujah!" and other numbers. Miller is typically saucy, Martin and Powell can sing, but Naish, Armen, and especially Gene Raymond make the best impressions. The silly  picture aspires to funniness but never quite gets there.

Verdict: More widescreen Technicolor twaddle. **.

REVEILLE WITH BEVERLY

REVEILLE WITH BEVERLY  (1943). Director: Charles Barton.

Beverly Ross (Ann Miller) wants to work on the radio in the worst way, so she connives to steal away Vernon Lewis' (Franklin Pangborn) morning program devoted to classical music and replace it with a pop music program. A wealthy man, Barry (William Wright) joins the Army at the same time as his chauffeur, Andy (Dick Purcell), and both bet on whether or not this new Beverly gal on the radio is pretty; she later confuses the two of them with one another. This was one of many wartime alleged morale boosters with a slim plot and many guest appearances by such artists as the Mills Brothers, Frank Sinatra, and Bob Crosby and his band. Irene Ryan has a funny turn as the secretary, Elsie, and Larry Parks plays a soldier named Eddie. Movies from this era either celebrated both pop/swing and classical/opera, with guest stars from various musical genres, or they do what this one does and turn it into a competition, chortling about how people prefer Bob Crosby to Mendelssohn. Franklin Pangborn is as wonderful as ever, cynically cast as the Mean Old Effeminate Classical Music Lover. With her perky, ruthless demeanor and out-sized cheeks, Ann Miller tap dances her way into infinity -- and not a moment too soon. Charles Barton directed many Abbott and Costello movies as well as The Shaggy Dog.

Verdict: No better nor worse than most of these things. **.

CAROLINA BLUES

CAROLINA BLUES (1944). Director: Leigh Jason.

"Is he dying of something serious?"

The irrepressible band leader Kay Kyser, playing himself, is back in another musical comedy and he's got Ish Kabibble and Ann Miller to play around with! The plot, such as it is, has Kay promising his band and singers a vacation but always discovering that there's another wartime commitment. Finally he resorts to pretending he's dying [a somewhat tasteless sub-plot] so that the gang will come back and perform. Another complication has it that Kay's favorite singer, the real Georgia Carroll, is going off to get married, and he's resistant to the idea of hiring Julie (Ann Miller), the daughter of supposedly wealthy Phineas Carver (Victor Moore), to replace her. [In real life Carroll married Kay Kyser!] Victor Moore not only plays Phineas but also all of his relatives, male and female, and there's a funny bit when we meet Ish Kabibble's family and all of them, including the dog, have the same bowl-over-the-head haircut. Kyser is likable and adept enough, Miller is enthusiastic and perky, the assorted singers and dancers are swell, the tunes are bouncy, and Moore [It Happened on Fifth Avenue] and Kabibble provide some laughs. What more could you ask for? Well ... Kyser and Kabibble were also in Around the World. Jason also directed Three Girls About Town and others.

Verdict: Amiable nonsense with music and a pleasant cast. ***.