BELLE OF THE YUKON

Randolph Scott and Gypsy Rose Lee

BELLE OF THE YUKON (1944).  Director: William A. Seiter. 

Former con man "Honest" John Calhoun (Randolph Scott of Captain Kidd) owns an Alaskan nightclub and saloon which is managed by Pop Candless (Charles Winninger). Pop's daughter, Lettie (Dinah Shore), is breathlessly in love with handsome piano player, Steve (William Marshall), but there is a rumor that Steve may have a wife and children. Then John's old girlfriend, an entertainer named Belle De Valle (Gypsy Rose Lee), turns up as the star attraction at the saloon  -- and with marriage in mind. When Honest John decides to open a bank and importunes everyone to put their money in it, the trouble really begins. 

Dinah Shore and William Marshall

Belle of the Yukon is one of those movies that is perfectly pleasant while it's unfolding, but when it's over you realize that there really wasn't much to it. There's no great plot to speak of aside from the misunderstandings between Lettie and Steve and John and Belle, and attempts to make off with the bank's gold engineered by George (Robert Armstrong) and Sheriff Maitland (Guinn "Big Boy" Williams). The songs by Burke and Van Heusen [Duffy's Tavern] are no great shakes although "A Slay Ride in July" is one that could grow on you. Scott is stalwart but not really a deft comedian; Gypsy Rose Lee (the subject of Gypsy) is okay but nothing that special; Dinah Shore sings quite well and is reasonably appealing; and William Marshall has little to do but look quite dreamy and now and then punch out the sheriff. Charles Winninger and Florence Bates as Lee's companion easily walk off with the movie, which so often was the case. 

Verdict: Amiable if minor-league piffle with some good performances. **1/2. 

LOVER COME BACK (1946)

George Brent and Lucy

LOVER COME BACK (1946). Director: William A. Seiter.

"Jealousy is a particularly crude manifestation of the uncultured."

"Your complete and unashamed lack of principles almost amounts to integrity." 

"That's different -- I'm a man!"

Executive Kay Williams (Lucille Ball) cleverly fobs off a variety of wolves, including her boss, while her husband, Bill (George Brent), a war correspondent, is overseas. When he returns home, Kay discovers that he had a number of dalliances with women, including his photographer Madeline (Vera Zorina of On Your Toes). She decides to get even by pretending that she also saw different men while he was gone -- and after. Madeline waits hopefully in the wings, while Kay's in-laws -- Bill Sr. (Charles Winninger) and his wife (Elisabeth Risdon) -- offer conflicting advice to both parties and bicker with each other. Will the younger couple work out their problems or wind up in Reno? 

Elisabeth Risdon and Charles Winninger

Lover Come Back is a breezy and delightful film bolstered by excellent performances from the entire cast, with Lucy being especially bright-eyed, effective, and resplendent. This is a clear example that Ball's talent did not begin and end with the wonderful I Love Lucy. Brent gives one of his more memorable performances, and one can't say enough about the terrific Winninger and Risdon, who make quite a pair of nattering lovebirds. Then we've got Austrian actor Carl Esmond as dapper and aggressive Paul, who wants to marry Kay; William Wright (of Philo Vance Returns) as photographer Jimmy, who makes frequent passes; Raymond Walburn (of And the Angels Sing) as Kay's amorous boss J. P. Winthrop; Wallace Ford as the lawyer Tubbs, who switches sides in this battle of the sexes after he gets punched; and spirited Louise Beavers as the couple's lovable domestic, Martha. Others in the cast who appear briefly are Franklin Pangborn as a hotel clerk; Ellen Corby as a secretary; and Joan Shawlee as one of Bill's rather bitchy ex-girlfriends.

Lucy!

One could easily argue that Lover Come Back is a slight picture were it not for the feminist sub-text. The picture argues against the double standard that it's acceptable for men to cheat -- "I'm a man, after all!" -- but that it's somehow worse for women to do so. The screenplay by Michael Fessier and Ernest Pagano is also full of good dialogue, and while the flick is not a laugh-riot it is consistently amusing. Brent is a likable enough performer so that his slightly sleazy character -- despite his love for his wife -- is made more palatable. This was the last of nine films for the German actress and dancer Vera Zorina, who has a certain undeniable appeal. As for Lucy, she is just splendid and looks absolutely gorgeous throughout!

Verdict: Lucy leads a cast of pros in an amusing comedy. ***.

BROADWAY RHYTHM

George Murphy and Ginny Simms

BROADWAY RHYTHM (1944). Director: Roy Del Ruth.

John Demming (George Murphy) is a Broadway producer and dancer who is planning a new show and hoping to get film star Helen Hoyt (Ginny Simms) for the lead. For her part, Helen thinks John's script is too "arty" and she can't afford a flop, but she is importuned by John's father Sam (Charles Winninger), to appear in his production, a show about the illustrious Demming family itself. John's sister, Patsy, (Gloria DeHaven) also gets into the act. Broadway Rhythm is a sort of oddity, a backstage musical with a creaky "let's put-on-a-show" plot that is filmed in startling Technicolor. The songs feature the work of a number of composers, but except for a couple of old standards, they are mostly forgettable. The film's musical highlights include Lena Horne (playing a character instead of herself but getting little dialogue) singing "Somebody Loves Me," and Charles Winninger and Tommy Dorsey teaming for "I Love Corny Music." Murphy [No Questions Asked] is smooth and pleasant, as is Simms [Night and Day] in one of her infrequent film appearances; DeHaven is also notable. Charles Winninger [Destry Rides Again] is as winning as ever, and whether singing or clowning Nancy Walker is delightfully deadpan throughout. Others in the cast include perky singer Kenny Bowers; Eddie "Rochester" Anderson; the excellent dancer Walter B. Long (his only film appearance); Sara Haden (in an unbilled bit as a school headmistress); and Ben Blue as Felix. Dean Murphy certainly makes an "impression" as a farmhand who is also an expert impressionist, imitating everyone from Mortimer Snerd to Jimmy Stewart to Cary Grant to (hilariously) Bette Davis! The Ross Sisters do an awful number called "Potato Salad," but they are certainly skilled contortionists if nothing else. Tommy Dorsey proves as personable as rival band leader Kay Kyser in this.

Verdict: Oddball but entertaining musical. **1/2. 

BABES IN ARMS

BABES IN ARMS (1939). Director: Busby Berkeley.

When some old vaudevillians leave town to go on tour, their children decide to put on their own show.  That's the plot of this okay Mickey Rooney-Judy Garland "let's put on a show" musical. This is based on a Rodgers and Hart stage musical, but the only songs by the team that are left are the title tune and "Where or When?," which I believe was from another show. ("The Lady is a Tramp" from Pal Joey plays in the background of one scene.) As usual, some of the "kids" in this are a bit too old, such as Douglas McPhail and real-life wife Betty Jaynes, both of whom have beautiful semi-operatic voices (they do "Where or When?"). Mickey and Judy are in splendid form, of course, and we see footage of Rooney when he was a small boy performing in vaudeville. Of the older cast, which includes Guy Kibbee,  Margaret Hamilton, Henry Hull and Ann Shoemaker, Charles Winninger [Three Smart Girls] is a stand-out as Mickey's father, Joe Moran. Johnny Sheffield of Bomba fame also has a small role. Judy sings "I Cried for You," Mickey does an excellent impression of Gable, and there's a memorable finale in "God's Country." McPhail had hoped to have a career along the lines of Nelson Eddy, but when it didn't materialize and he and Jaynes got divorced, the poor guy took his own life at age thirty.

Verdict: Not the best Mickey-Judy musical but fun enough. **1/2.

DESTRY RIDES AGAIN

James Stewart

DESTRY RIDES AGAIN (1939). Director: George Marshall.

Kent (Brian Donlevy) who runs the saloon and the town in the old west, conspires with singer Frenchy (Marlene Dietrich) to cheat Lem Claggert (Tom Fadden of Winners of the West)  out of his ranch during a crooked card game. When Sheriff Keogh (Joe King) objects, he is dispatched with, as is anyone who gets in the way of Kent. Into this situation comes Tom Destry Jr. (James Stewart), the son of the legendary Sheriff Destry and now the deputy for inept and half-drunken Sheriff Washington Dimsdale (Charles Winninger). Destry doesn't carry a gun, although he's a crack shot (wouldn't you know?)  It's now his job to enforce the law, clean up the town, and find Keogh's body, while dealing with the hooker-hard Frenchy, who eventually warms up to him and vice  versa. Destry Rides Again is an odd movie, a sometimes uncomfortable combination of grim situations and unpleasant characters with moments of out and out farce, and the characters never seem remotely real. On the other hand, the movie is entertaining and certain sequences are quite well-staged by Marshall, including Frenchy's post cat-fight meltdown in the bar, and the sequence with the angry townswomen going on the march. As for the acting. it's top of the line all the way, with Dietrich giving an outstanding portrayal that almost manages to make her rather heartless character sympathetic. Jack Carson scores as a cattleman, a less genial role than he usually plays, Una Merkel is fine as the gal who tries to give French a good thrashing, Dickie Jones [Blake of Scotland Yard] is charming as young Claggett, Brian Donlevy [Juke Box Rhythm] is brisk and commanding as the evil Kent, and Charles Winninger gives a typically winning performance as the "new" sheriff, Wash. Dietrich's voice, with every other note sung flat, is wretched, but she still manages to put over such songs as "See What the Boys in the Back Room Will Have" with her emoting. It's interesting that while Frenchy is somewhat redeemed, she is still punished for her actions as she would probably not be today. This was remade with Audie Murphy as Destry, and seven years earlier Tom Mix starred in a very different version of Destry Rides Again. Andy Griffith starred in the Broadway musical version with songs by Harold Rome, and John Gavin starred in the short-lived television series. These all originated in a book by Max Brand.

Verdict: Peculiar in some ways but Dietrich knocks it out of the ball park. ***.

STATE FAIR (1945)

Dana Andrews and Jeanne Crain

STATE FAIR (1945). Director: Walter Lang.

The Frake family head for the Iowa state fair with a variety of goals: Father Abel (Charles Winninger) wants his boar, Blueboy, to win a prize; mother Melissa (Fay Bainter) also wants to win a ribbon for her mincemeat; restless daughter Margy (Jeanne Crain) has spring fever and is hoping to meet someone more exciting than her fiance, Harry (Phil Brown of Obsession); and son Wayne (Dick Haymes) just seems to want to have fun. Margy meets a newspaperman named Pat (Dana Andrews), who tells her he'll just disappear if if doesn't work out with her, and Wayne encounters singer Emily (Vivian Blaine), who has a little secret. Frankly, the romantic aspects of the movie are a little lopsided -- who really falls sincerely in love in two days? -- and the siblings blow off their respective beaus with casual, if not heartless, ease, but this is standard stuff for the period and since everything is just a framework for some excellent Rodgers and Hammerstein tunes, it doesn't really matter. "Spring Fever," "That's For Me," "I Owe Iowa" are all fine numbers, but the best songs are Haymes [Irish Eyes are Smiling] and Blaine's zesty delivery of "Isn't It Kind of Fun?" and the movie's best song, the beautiful "It's a Grand Night for Singing," a classic Rodgers melody. State Fair was not based on a Broadway show but on the first State Fair film, a non-musical starring Will Rogers made in 1933, although Oscar Hammerstein II wrote the screenplay for this remake (just as he did the librettos for their stage musicals). The acting in this is uniformly excellent, with Donald Meek nearly stealing the picture as a judge who gets drunk on Melissa's brandy-soaked mincemeat. Percy Kilbride scores as the Frakes' pessimistic neighbor, as do Jane Nigh, Harry Morgan, and William Marshall [The Phantom Planet] in smaller roles. Remade in 1962; both versions are in color.

Verdict: As stories go, this is not exactly The King and I, but the performances are good and the songs are all lilting and memorable. ***.

ZEIGFELD GIRL

HIGH CAMP: Judy Garland on top of poles

ZIEGFELD GIRL (1941). Director: Robert Z. Leonard.

Three young ladies are chosen to join Ziegfeld's Follies (Ziegfeld himself is never seen): Sandra (Hedy Lamarr), who is married to a jealous, out-of-work violinist, Franz (Philip Dorn) but is courted by the handsome singer, Frank (Tony Martin); Sheila (Lana Turner), who has a truck-driving boyfriend, Gil (James Stewart) but who is drawn to the wealthy Geoffrey (Ian Hunter); and Susan (Judy Garland), who has been working for years with her has-been father, "Pop" Gallagher (Charles Winninger), who is afraid he'll be nothing without her. Pop tries to get Susan to sing in a hokey, super-fast, old-fashioned style -- as the director, John (Paul Kelly) puts it "they quit beating a song to death ten years ago" -- but when she delivers "I'm Always Chasing Rainbows" as a ballad the whole audience is moved. (Of course, it makes little sense that the diminutive Garland would ever have been hired as a showgirl, and in one scene in fact she is told that she is not a showgirl, so I'm not certain what she was supposed to be doing before her singing talent was discovered.) This is one of probably dozens of films that look at the trials and tribulations of three women hoping for success in show business -- you can even include Valley of the Dolls in the bunch, for that matter -- and while the melodramatics are cliched and not that interesting, the picture is still quite entertaining. Busby Berkeley put together the production numbers, the best of which is Garland's "Minnie from Trinidad," which definitely turns into high-camp when Garland is lifted high above the stage atop poles at the finale! Garland is swell, Lamarr is beautiful and effective, and Turner isn't quite up to her more dramatic scenes, in which she tends to over-act, to put it mildly. Turner is chosen to be the gal who nearly winds up in the gutter, but even when she becomes a drunk she still looks glamorous! Jimmy Stewart is miscast and somewhat perfunctory in this, although he gets plenty of scenes. Eve Arden shows up once or twice doing her usual schtick; Fay Holden appears briefly as Lana's mother ("I didn't raise my boy to be a Ziegfeld girl," she says to Jackie Cooper when he imitates his sister); Paul Kelly orders the show girls around but isn't really given a character to play; and Tony Martin has a handsome face, a beautiful voice, and is charmingly smarmy as Frank. There are notable if quite small, supporting performances from Rose Hobart as Martin's neglected wife, and Renie Riano [Nancy Drew -- Detective]  as Annie, Lana's wise-cracking maid. I've no doubt Ziegfeld gals, especially the more popular ones, were paid comparatively well, but Lana's apartment looks like something a major film star like Joan Crawford might have lived in! But that's the movies! NOTE: Not to be confused with The Great Ziegfeld in which the great Ziegfeld actually appeared.

Verdict: Likable musical with attractive players. *** out of 4.

THREE SMART GIRLS GROW UP

Bob Cummings with the three smart girls.

THREE SMART GIRLS GROW UP (1939). Director: Henry Koster.

In this inferior sequel to Three Smart Girls, the "girls" are now young ladies with romantic problems. Their parents (Charles Winninger; Nella Walker) are back together and Joan (Nan Grey) is happily affianced to Richard (William Lundigan of Andy Hardy's Double Life). Unfortunately sister Kay (Helen Parrish) has fallen in love with Richard herself, a rather interesting situation that, unfortunately, never becomes entertainingly melodramatic. Sister Penny (Deanna Durbin) keeps throwing Harry Loren (Robert Cummings) in Kay's direction, to take her mind off Richard, but Harry rather rudely makes it clear that his interest is strictly in Penny. Durbin [It Started with Eve], the sole name to appear above the title, showing how her status had grown, gives a good performance, as does Winninger, and the rest are all more than competent.

Verdict: Pleasant if forgettable. **1/2.

THREE SMART GIRLS

THREE SMART GIRLS (1936). Director: Henry Koster.

Dorothy Craig (Nella Walker) has been divorced from her wealthy husband, Judson (Charles Winninger) for years, when she discovers that he's keeping company with a marriage-minded gal named Donna (Binnie Barnes). Her three daughters, who haven't seen their father in ten years, jet from Switzerland to New York City -- along with nanny-maid Martha (Lucile Watson) -- to break Judson and Donna up and reunite their parents. Three Smart Girls sort of glosses over the fact that there's no excuse for a father not to see his own daughters in a decade, but as he's played by the "lovable" Winninger, it's made more palatable, if not quite excusable. You have to wonder why Judson would have the slightest interest in seeing his wife again let alone remarrying her. The three sisters are Joan (Nan Grey of Dracula's Daughter), who falls for her father's associate, Bill (John King of Charlie Chan in Honolulu); mousy Kay (Barbara Read), who is unaccountably pursued by Lord Michael Stuart (Ray Milland); and Penny (Deanna Durbin), who is the youngest and most high-spirited of the bunch. Universal obviously put the publicity push strictly behind Durbin, giving her several song numbers to showcase her glorious voice, and letting the other two gals sink or swim. Grey had quite a few credits before Three Smart Girls, while this was the first picture for Read, who had a few later credits. Except for a short, this was also Durbin's first movie. Whatever its flaws, Three Smart Girls is amusing, entertaining and well-acted by all, with Barnes especially good as Donna, and Alice Brady [Beauty for Sale] scoring as her mother. Mischa Auer is quite funny as a man hired by the girls to romance Donna. Followed by Three Smart Girls Grow Up.

Verdict: Cute picture with a winning Durbin and others. ***.

LIVING IN A BIG WAY

LIVING IN A BIG WAY (1947). Director: Gregory La Cava.

Leo Gogarty (Gene Kelly) got married to Margo (Maria McDonald) just before he shipped out, but the two never really got to know one another. Now Leo's back with her wealthy family, but she and everyone else feel the rushed marriage was a mistake, and Leo begins to agree. Things begin to change when Margo's peppery Granny (Jean Adair) takes her shuttered old manor house and turns it into apartments for homeless veterans and their families, with both Margo and Leo pitching in. Will these two kids finally realize they really are in love with each other?

It's funny, but for some reason I can't quite explain I've never cared for Gene Kelly. He's not bad-looking, has a fair to middling voice, is an okay actor, and an excellent dancer, but there's just something about him that I've never liked -- perhaps he lacks the genial amiability of a Fred Astaire, coming off more like a prick. This, admittedly, is just a reaction to something in his screen image, as he generally plays good guys. In one scene Kelly tells war widow Peggy (Phyllis Thaxter) that she ought to forget about staying where she met her late husband and go home to her family in the small town where she was born, but Kelly's matter-of-fact delivery of the lines only makes him seem like a rather tactless and unfeeling bastard; Thaxter is excellent, however. As for the rest of the players, Adair is wonderful (even if sometimes Granny's pithy comments are semi-moronic, consisting of badly dated epithets passing for wisdom); Charles Winninger and Spring Byington both score as Margo's parents; that cute little child actor Jimmy Hunt [Pitfall] is as delightful as ever as Thaxter's son; Paul Harvey [Henry Aldrich Plays Cupid] makes a memorably funny judge in a sequence in divorce court; and acerbic Clinton Sundberg makes his mark as the dyspeptic and opinionated butler, Everett, whom anyone but Winninger would have fired. Leading lady McDonald [Guest in the House] is attractive and competent but there's nothing special about her. Living in a Big Way boasts some excellent dancing from Kelly, and some good and amusing moments, but it never develops into anything all that terrific.

As for Kelly, according to imdb.com "he was voted the 42nd greatest movie star of all time by Entertainment Weekly [not that I take EW all that seriously] and named the fifteenth greatest actor on The 50 Greatest Screen Legends list by the American Film Institute." The question is why? Kelly was admittedly a great dancer, but a great actor, no! He must have been quite popular in his day, but number fifteen! To each his own.

Verdict: Pleasant if forgettable. **1/2.

SOMETHING IN THE WIND

O'Connor, Durbin and Dall

SOMETHING IN THE WIND (1947). Director: Irving Pichel.

When Donald Read (John Dall of Rope) discovers that his late grandfather was making payments to a certain "Mary Collins," he mistakenly assumes that the lady in question is a pretty young radio singer (Deanna Durbin) and that she was grandpop's mistress. Actually the Mary Collins who received the checks for all those years was the singer's aunt, who had been dumped by the society-conscious old man many years before; the whole check business is more or less innocent. Young Mary is virtually kidnapped by the Read family and brought to their mansion, where she decides to torment them by not revealing the truth. Even though Donald has a fiancee, Clarissa (Helena Carter), he is drawn to Mary even as his brother, Charlie (Donald O'Connor) wants Clarissa for himself. Further muddying the waters is larcenous Uncle Chester (Charles Winninger), who hopes to exploit the situation for his own benefit. Something in the Wind is amiable enough, with Dall and Durbin making a better romantic pairing than expected; the trouble with the movie is that it isn't really that funny, and while Durbin is competent, she isn't exactly a skilled comedienne. Her singing is lovely, however, and she even manages to acquit herself admirably doing a duet from Verdi's Il trovatore with tenor Jan Peerce (who plays a singing cop and is quite good as well as in fine voice). Margaret Wycherly adds a touch of class as the grandmother who wants to size up her late husband's cutie. O'Connor is as adept and exuberant as ever, but his novelty song numbers are not that amusing. Helena Carter later appeared in such films as Kiss Tomorrow Goodbye with Cagney and in the sci fi not-so-classic Invaders from Mars.

Verdict: Mostly for Durbin fans but not bad. **1/2.