HOME IN INDIANA

Lon McCallister and Jeanne Crain

HOME IN INDIANA (1944). Director: Henry Hathaway. 

"If you'd been a boy we'd have been the greatest pals!" 

Orphaned "Sparke" Thornton (Lon McCallister), who got into some unspecified trouble in the big city, comes to live on his aunt and uncle's farm in Indiana. His first impulse is to run out the back door but then he discovers there's a stables and track -- and two pretty girls -- next door. His Uncle "Thunder" Bolt (Walter Brennan) himself has only one old and blind filly left, but Sparke contrives to secretly mate this animal with the neighbor's prize stallion, resulting in a possibly champion racing horse. It isn't long before Sparke, with the help of Thunder, "Char" (Jeanne Crain) and the more glamorous "Cri-Cri" (June Haver) -- not to mention stable boy Mo' (Willie Best) and employee Tuppy (George Reed) -- is off to the races! 

Charlotte Greenwood with McCallister

The performances -- by those named as well as a wonderful Charlotte  Greenwood as Aunt Penny -- greatly help put over this somewhat entertaining but unriveting horse drama. It seems Lon McCallister was too often teamed up with horses (The Boy from Indiana) and mules (Scudda Hoo!, Scudda Hey!, which reteamed him with Haver and Brennan) as often as he was with the ladies. He's earnest and appealing in that "gosh oh golly" way of his. He, Haver and Crain, although all three had had bit parts in previous films, were "introduced" in this movie.  McCallister plays very well with both Crain and Haver, although his switching his affections from one to the other occurs rather abruptly and without any real explanation. The girls' fathers are played by Ward Bond and Charles Dingle. Remade as April Love with Pat Boone.

Verdict: Horse lovers will get more of a kick out of this. **1/2. 

STAR DUST

A waiting game: John Payne and Linda Darnell

STAR DUST  (1940). Director: Walter Lang.

Thomas Brooke (Roland Young) was once a leading man in silent movies but now is a talent scout for Amalgamated Pictures and his boss Dane Wharton (William Gargan). Brooke sends two hopefuls to Hollywood -- college football star Ambrose Fillmore, better known as "Bud" (John Payne), and singer Mary Andrews (Mary Healy) -- but he fears that Carolyn Sayres (Linda Darnell) is too young, Convinced she has talent, Carolyn goes behind Brooke's back and writes to Wharton on her own, therefore there are three new candidates for stardom who wait anxiously outside Wharton's office after filming their screen tests. It may be surprising which if any of the three will be offered a contract. 

"Secrets in the Moonlight:" John Payne sings 

Star Dust was loosely based on Linda Darnell's life, as she was also told she was too young to work in movies. The rest is pure fiction, of course. There are those who will tell you that Darnell wasn't much of an actress but I have to disagree, as she does some very good work in this and in other films. John Payne, one of the handsomest leading men in Hollywood, could actually sing and you can hear him doing a very nice rendition of "Secrets in the Moonlight." He also gives a smooth and charming performance. Mary Healy, who married Peter Lind Hayes, is a bit too odd-looking to be attractive and has a voice that is way too deep without being sexy. She is best-known for The 5000 Fingers of Dr. T. 

A face meant for radio? Mary Healy

Roland Young of Topper fame is splendid, as is Charlotte Greenwood as his colleague, the acting coach for Amalgamated's young hopefuls. Donald Meek scores as one of Young's rivals at the studio, as does Mary Beth Hughes as a contract actress, June Lawrence, who acts snotty with Carolyn and gets her comeuppance. George Montgomery plays an actor who has learned that the studio dropped his option, and Robert Lowery is another actor who came out to Hollywood and wound up just another bellboy. Jessie Ralph and Irving Bacon each have a couple of good scenes as, respectively, Carolyn's non-nonsense aunt and the clerk at a small college town hotel. At one point 21-year-old Bud gives a big smooch to 16-year-old Carolyn, which is not seen as anything significant in 1940 but today would get a guy arrested! (Payne was actually 28 and Darnell 17.) 

Verdict: Snappy and entertaining musical comedy with some basic truths about Hollywood. ***.  

WAKE UP AND DREAM

Jun Haver and John Payne

WAKE UP AND DREAM (1946). Director: Lloyd Bacon. 

Jeff Cairn (John Payne) lives with his little sister, Nella (Connie Marshall), on a farm during WW2. Although he could get a deferment, he enlists in the Navy and says good-bye to his sort of sweetheart, waitress Jenny (June Haver). Then a notice comes saying that Jeff is Missing in Action. Nella and Jenny, in convoluted fashion that never quite makes sense, wind up on a drydocked boat built by the old curmudgeon, Henry Pecket (Clem Bevans). With the aid of Howard Williams (John Ireland), Peckett is able to set sail (sans permit or any special plan) and Jenny, Nella and Howard go with him. Nella is hoping they will sail to some beautiful island where she will be reunited with her brother, but instead they wind up literally stuck in the mud. 

Haver with John Ireland 

Say one thing for Wake Up and Dream, one of the oddest musicals I've ever seen, it is unpredictable. Oh it's no great surprise that Jeff turns up alive after missing most of the movie (a pretty much wasted role for Payne),  but other events are not so certain. Payne introduces the song "Give Me the Simple Life" early in the picture, and Haver warbles the pretty "I Wish I Could Tell You" but then in a much later sequence a chorus starts singing "We're Off to See the Wizard" [!] as the group trek into the swamp after a hermit that Nella has discovered. One could argue that the movie offers a message of hope, but when you consider that most men listed as missing in action were actually dead, it's perhaps not in the best of taste. In any case, all of the performances are quite good, including Charlotte Greenwood as a widow who takes in boarders and Irving Bacon as a toll gate attendant. Lee Patrick is in the picture but I must have blinked and completely missed her. Based on a novel by Robert Nathan, this has all the earmarks of a screenplay that was cut and pasted together. Some good dialogue, however. 

Verdict: 20th Century-Fox was no MGM when it came to (semi) musicals. **1/2. 

OH, YOU BEAUTIFUL DOLL

Mark Stevens and June Haver

OH, YOU BEAUTIFUL DOLL (1949). Director: John M. Stahl. 

Around the turn of the (last) century, song promoter Larry Kelly (Mark Stevens of Time Table) runs into classical composer Alfred Breitenbach ("Cuddles" Sakall) and uses the latter's arias from his unproduced opera to turn them into tin pan alley hits. This he does with the cooperation and encouragement of Breitenbach's daughter, Doris (June Haver), who has a big crush on Larry. While Alfred enjoys the money he makes as "Fred Fisher" -- the name he takes as composer of popular hits -- he is afraid he is bowdlerizing his art and will never be taken seriously as an operatic composer. So he just takes off to rework the opera while Larry, Doris, and his wife, Anna (Charlotte Greenwood) frantically search for him. But famous conductor Gottfried Steiner (Eduard Franz of The Four Skulls of Jonathan Drake) has an idea to get the man back ... 

Charlotte Greenwood and Cuddles Sakall

Mark Stevens had already teamed with June Haver two years earlier in I Wonder Who's Kissing Her Now in which he played composer Joe Howard, although in this his character is fictional. There really was a Fred Fisher, born Alfred Breitenbach, and he did have a daughter named Doris, but just about everything else is made up, including his being a classical composer. Cuddles Sakall gives his customary good and lively performance in this, and Mark Stevens gives a fine account of himself as well. Playing another good and proper gal as she generally did, the only thing June Haver lacks is a little frosting. Gale Robbins [Double Jeopardy] is a little spicier as actress Marie Carle, but she isn't given much to do. Charlotte Greenwood is swell as Cuddle's wife, but she not only doesn't deliver any of her famous high kicks, she doesn't sing and dance at all. 

The big finale

A strange thing about the picture is that both Haver and Stevens were singers, but both of them are dubbed in this movie. Bill Shirley, who has a splendid voice, did the singing for Stevens; he appeared as himself in a few movies as well. As for the songs, aside from the title tune (not composed by Fisher), and Fisher's best-known compositions "Peg O' My Heart" and "Chicago," and maybe one or two others, they are forgettable. The finale has Gottfried Steiner conducting a concert version of Fisher's hits, when it probably would have been more appropriate to play the original operatic versions (which never actually existed). In beautiful technicolor. 

Verdict: Pleasant, with a more interesting plot than usual, even if it's completely fabricated. ***.