STATE FAIR (1962)

Pat Boone and Ann-Margret

STATE FAIR (1962). Director: Jose Ferrer.

In this CinemaScope remake of the 1945 State Fair, the Frake family are off not to a fair in Iowa but in Texas. Mom (Alice Faye) and Dad (Tom Ewell) still want ribbons for their mincemeat and boar, respectively, but now the son Wayne (Pat Boone) races cars while sister Margy (Pamela Tiffin), still restless, is bored with her now-handsome fiance, Harry (David Brandon). At the fair Wayne meets up with entertainer Emily (Ann-Margret) and Margy encounters radio interviewer Jerry (Bobby Darin). Now let's see -- Darin  and Boone [Mardi Gras], of course, simply had decades of experience in musical theater (!) but in spite of this they are not as bad singing show tunes as you might expect. In fact, after Tom Ewell, Boone actually gives the best performance in the movie (credit director Jose Ferrer, perhaps). Boone has a nice voice, and puts over such numbers as "That's for Me" and a new song (Rodgers composed several new numbers for this remake), "Willing and Eager." Darin, usually a very different kind of singer, also delivers when he croons "You're Not an Angel." Faye is given a new number that she sings to her daughter, "Never Say No to a Man" and she and Ewell, who obviously can't sing "I Owe Iowa" anymore, perform "The Littlest Things in Texas" instead. The new songs are perfectly pleasant. Unfortunately, "Isn't It Kind of Nice?" is horrendously staged, first as a weird burlesque and then jazzed up with Ann-Margret [Any Given Sunday] tearing at that lobster again while she sings, although she is better when she relaxes a bit doing "Willing and Eager" with Boone. "It's a Grand Night for Singing" doesn't get a big production nearly as good as the one in the original. Unlike Dana Andrews in the first version, Darin plays the character like a cheap and common playboy, making it improbable that Margy would fall for him or vice versa; Wayne's hasty romance with Emily is only slightly more convincing. Wally Cox [The Night Strangler] is funny as the judge who gets inebriated on mincemeat. Alice Faye is okay as the mother, but there are times when you get the impression she'd rather be anywhere else than in this movie. She's given some funny lines -- "[Ewell] won't be happy until that hog shows up in Who's Who" -- but her delivery is always flat. Faye was to play the daughter's role in the 1945 movie but abruptly retired; this was supposedly her comeback. State Fair was finally turned into a Broadway musical in 1996 using songs from both movies and a couple from lesser-known Rodgers and Hammerstein shows.

Verdict: Has some nice moments but decidedly inferior to the original. **1/2.

BOBBY DARIN: A LIFE

BOBBY DARIN: A LIFE. Michael Seth Starr. Taylor.

This is a workmanlike biography of Darin with some excellent interviews with, and insights from, people who worked with him and knew him well. Mercifully Starr doesn't spend too much time on Darin's childhood, and after a few pages takes us into the beginnings of his almost meteoric if short-lived show business career. Darin is essentially portrayed by Starr and others as a man driven to succeed at an early age because of a heart condition that would probably ensure him an early demise – as it did (at age thirty-seven). Of course, many young people with perfectly healthy hearts are driven to succeed – the sooner the better --- but his condition may have added a certain intensity to Darin's ambition. Darin could be prickly and cocky, which didn't endear him to some (Ed Sullivan was certainly no fan), but he eventually mellowed and won people over with his talent. Starr doesn't spend as much time on the ultimately shattered Darin-Sandra Dee marriage, which may disappoint those looking for juicy stories of marital combat, but he does adeptly describe his recording career, film roles, and critical and fan reaction to same. Interestingly enough, at one point Darin decided to almost “drop out,” sold all of his possessions, and moved as far away from everyone as he could get. Bobby Darin: A Life is a good bet for readers who are curious about Darin but don't necessarily want to read a thick tome on the performer; it gives all the basic facts of his life and is a quick read.

Verdict: Not bad! ***.

ME AND BOBBY D: A MEMOIR

ME AND BOBBY D: A Memoir. Steve Karmen. Hal Leonard.

What happens to the people left behind – the old friends and co-workers -- when someone makes the big time in show business? Steve Karmen attempts to answer that question in this interesting memoir of his early friendship with the singer/actor Bobby Darin. This is by no means a biography of Darin, although the reader will gain some insight into the man's character, which was extremely career-driven (probably why he made it) and expedient at times, although Karmen relates examples of how Darin could also give credit when due and be extremely gracious to old pals. (Although in one obnoxious moment Darin tells Karmen that he is not to ask for anything from him and that “they travel on different levels.”) 

Most of the book relates a short-term engagement in Detroit where Darin was the solo act and Karmen his guitar and vocal accompanist. Encouraged by his agent, Darin eventually relegated Karmen to the side of the band and didn't allow him to sing any more back ups. Aware that Karmen was, ironically, taller and better-looking than he was, Darin may have allowed jealousy to get the better of him, although it is also true that it was Darin who had just cut a record and had an agent – not Karmen. Karmen split from Darin and had a brief try at his own recording/acting/club career, but eventually found success as the composer of such famous jingles as “I Love New York,” “This Bud's for You,” and many, many others. 

Perhaps too much of the book is devoted to Karmen's stumbling attempts to get laid in Detroit, which become tiresome and are described in long stretches of dialogue that go on for many pages as if he were writing a forgettable coming-of-age novel. (Karmen describes Darin as getting laid on a regular basis in Detroit, continuously coming back to their hotel room smeared with lipstick, even bedding a mobster's sexy girlfriend.) Much more interesting are the few pages describing his attempts to establish his own successful show biz career, which has that certain ring of pain and truth, Karmen being undone by bad breaks and agents without enough clout. He describes the combination of fascination, envy, and anguish he felt while watching Darin's club act and feature films. 

Although the book is not without flaws, Me and Bobby D is a reasonably affecting look at show biz survivors and casualties and how they prosper, adapt, and make do. Throughout the book Karmen's love-hate for Darin clearly comes across. (On the back cover Connie Francis, who apparently loved Darin unconditionally, is quoted as saying “the experience of reading Me and Bobby D brought closure from the heartache and emptiness I have lived with for over 40 years...”)

Verdict: Imperfect but absorbing show biz memoir. ***.

BEYOND THE SEA

BEYOND THE SEA (2004). Director/Co-Writer: Kevin Spacey.

This biopic of singer-actor Bobby Darin was clearly a labor of love for Kevin Spacey, who not only co-wrote (with Lewis Colick), directed, and starred in the film, but also does all his own singing – and is excellent at it. For much of its length this is a fairly standard show biz biography, although it has a stylized framework of Darin starring in a movie about himself and discussing with the other actors/characters how to proceed (There is even one outdoor production number like something out of a movie musical). The movie skirts much of his younger life and brings him to Hollywood and into the arms of wife Sandra Dee (Kate Bosworth) pretty quickly. It gets even more interesting when we see how he temporarily “dropped out” and then decided to reinvent himself as a folk singer (although one has to wonder if his singing anti-Viet Nam protest songs reflected his true feelings or was only an attempt to generate a new, younger audience for himself). This could be dismissed as a “vanity production” for Spacey were it not for the fact that he pulls it off, despite being older than Darin was when he died. Bob Hoskins also gives a wonderful performance, as does Caroline Aaron as his mother, Nina (who pretended to be his sister for most of his life) and William Ullrich as Darin as a boy. The songs are well chosen and whatever its deficiencies the film works beautifully on an emotional level.

Verdict: Ol' Maggie's back in town! ***.