THE STORY OF VERNON AND IRENE CASTLE

Fred Astaire and Ginger Rogers

THE STORY OF VERNON AND IRENE CASTLE (1939). Director: H. C. Potter.

Encouraged to stop doing low comedy routines for Lew Fields (the real-life vaudevillian who plays himself, albeit years older), Vernon Castle (Fred Astaire) starts a dancing act with his new wife, Irene (Ginger Rogers). After a false start in Europe, they become a sensation dancing at the Cafe de Paris, and rapidly make their way back to New York City. They introduce many new dances, including the Foxtrot, sell various products under their names, while Irene unveils the new bob hair cut for women and influences clothing fashions as well. Then Vernon becomes a military flier in World War One. Training pilots back in the states, Vernon has a date with destiny ... Vernon and Irene is such a delightful and upbeat picture that the tragic ending almost seems out of place, were it not for the fact that it's part of history.  But for most of its length, this is a joyous film with top performances from the leads (as well as from Fields, Walter Brennan [Nobody Lives Forever] as their pal, Walter, and tart Edna May Oliver as the Castles' manager)  and some excellent singing and dancing. A particular highlight is the ballroom dancing the Castles do for their audition in Paris. A clever bit shows the couple going on tour in the United States by picturing a big map with dancing figures superimposed all over it. Still a top team, Astaire and Rogers did not make another film, The Barkleys of Broadway, for ten years.  In real life, Walter was actually African-American, and the lady manager was happily gay. Vernon Castle was only thirty when he died while Astaire was ten years older when he made this picture.

Verdict: Very entertaining musical biopic. ***. 

MEET THE BARON

Edna May Oliver puts Ted Healy and his Stooges in line

MEET THE BARON (1933). Director: Walter Lang.

"I know I'm not good-looking, but what's my opinion against thousands of others." -- Jimmy Durante.

Two men (Jack Pearl, who is not given a name, and Jimmy Durante as "Joe McGoo") are lost in the jungles of Africa when they encounter Baron Munchausen (Henry Kolker of The Crash), who takes all of their water supply and abandons them. Jack and Joe are rescued, and the former is mistaken for the real Munchausen, and hailed as a hero. The two men are brought to Cuddle College where "Munchausen" is to lecture, and they meet the upstairs maid Zasu (Zasu Pitts of Let's Face It), janitor Ted Healy and his Stooges, and Dean Primrose (Edna May Oliver). All is well until the real Baron Munchausen shows up ... Jack Pearl had done his turn as the baron on the radio (and was still doing it on Jackie Gleason's show in the early sixties), but while he's a competent performer, he isn't that funny and his film career never amounted to much. It's easy to see why the Three Stooges (Moe Howard, Curly Howard, and Larry Fine) dumped the completely unimpressive Ted Healy, their nominal leader, and branched out on their own; nevertheless Healy did quite a few movies after Meet the Baron. Zasu Pitts is Zasu Pitts, but the film is stolen by an absolutely excellent comic performance by Edna May Oliver [Lydia], who can put those stooges in their places! A highlight is the MGM Girls doing the production number "Clean as a Whistle," not to mention the smashing final gag.

NOTE: It took me long enough to realize it, but I have been continuously misspelling Zasu Pitts name as Zazu with a "z" when it's Zasu with an "s," for shame! If only the damned lady hadn't appeared in so many movies reviewed on this blog! I have corrected some of the earlier reviews, but you'll probably still come across the misspelling now and then. Let's hope I get it right in the future, Zasu!

Verdict: Minor, but cute, comedy with enthusiastic players. **1/2.

LYDIA

Merle Oberon

LYDIA (1941). Director: Julien Duvivier.

"If I can't have all there is I don't want less."

An unmarried elderly woman named Lydia (Merle Oberon) invites a few old male friends to a gathering where she reviews her life and loves over the past few decades. Bob (George Reeves) runs off with Lydia after her grandmother Sarah's (Edna May Oliver) disapproval, but they never make it to the altar. Frank Andre (Hans Jaray) is a blind pianist whose love for Lydia remains unrequited. Michael (Joseph Cotten) is all set to marry Lydia but she doesn't feel the passion for him that she feels for Richard (Alan Marshal of House on Haunted Hill), a handsome sailor who tells her he must go off to settle some past romantic affairs and to wait for her. Well, it'll be a long wait ... Lydia is an unusual and unpredictable movie in that it defies romantic Hollywood conventions and doesn't offer up a traditional happy ending, meaning some viewers will find it unsatisfying, but it's just that difference that makes the movie interesting. The performances are excellent throughout, with a luminescent Oberon; George Reeves [The Adventures of Sir Galahad] proving that he was more than just Superman (whom he would essay a few years later); Joseph Cotten as good as ever; Alan Marshal charming as the mountebank; and Edna May Oliver nearly snatching away the movie from everyone else with her peppery portrayal of the hypochondriac grandmother. Sara Allgood is also on target, as usual, as the mother of a blind boy (Billy Ray) that Lydia befriends and Gertrude Hoffman is fine in a very small role. This has a nice score by Miklos Rozsa as well. The film is in some ways similar to Letter from an Unknown Woman, particularly in its conclusion.

Verdict: Romantic yet uncompromising. ***.