THE PAJAMA GAME

John Raitt and Doris Day

THE PAJAMA GAME (1957). Directed by George Abbott and Stanley Donen. 

Sid Sorokin (John  Raitt) gets a job in management at a pajama factory and almost immediately comes into romantic conflict with worker and union member Babe Williams (Doris Day). Although the two are clearly attracted to one another, Babe is sure that there will eventually be problems over their taking opposite sides in a struggle over a raise of seven and a half cents. Meanwhile Gladys (Carol Haney), who keeps the books, is exasperated by her boyfriend Vernon's (Eddie Foy Jr. of The Case of the Black Parrot) almost pathological jealousy. When the workers decide to have a slow-down on the job, things come to a head.  

Picture This: Foy and Shaw trip the Light Fantastic

The Pajama Game is based on the Broadway show with songs by Adler and Ross and choreography by Bob Fosse, which is transplanted to the screen along with much of the cast, such as Raitt. Doris Day replaced Janis Paige, but she is quite good, and handsome Raitt is so good -- and has such an outstanding voice -- that it's a wonder he didn't have more film assignments. Haney and Foy are also excellent, as is Reta Shaw, who does a delightful light-on-her-feet number with Foy ("Picture This"). Other musical highlights include Raitt singing the show's most memorable number, "Hey There;" the big production number at the picnic ("Once a Year Day"); and the smoky, insinuating "Hernando's Hideaway." Another well-known number from the show is "Steam Heat," which I confess I've never much cared for. 

John Raitt 

Thelma Pelish makes an impression as Mae, the economy-sized factory worker and wit who certainly stands out in (very) widescreen. Barbara Nichols [Woman Obsessed] as dumb Poopsie is her typical whiny self and even attempts to sing at times. The worst performance is from Ralph Dunn (of The Golden Eye) as boss Myron Hasler, who instead of  being amusing is merely loud and obnoxious, ruining virtually every scene that he's in. It also has to be noted that the secondary love story between Gladys and Vernon has its tiresome moments, especially the nonsense with the latter throwing knives at everyone in the office. Otherwise, Pajama Game is a likable, entertaining, if relatively slight musical comedy with several good scenes and songs. 

Verdict: Fun and tuneful musical with a spirited Day and a rather sexy Raitt. ***. 

DAMN YANKEES

Whatever Lola Wants: Tab Hunter and Gwen Verdon

DAMN YANKEES (1958). Produced and directed by George Abbott and Stanley Donen.

"I was the ugliest woman in Providence, Rhode Island." -- Lola, remarking upon her origins

Joe Boyd (Robert Shafer) is a manic fan of the Washington Senators baseball team. The Devil -- in the form of a man named Applegate (Ray Walston) offers him a chance to become young and play for his favorite team against the "damned Yankees," even offering him an out. As "Joe Hardy" (Tab Hunter), Boyd becomes a star player with many fans, but he can't quite forget the wife, Meg (Shannon Bolin), he left behind. But will 172-year-old vamp Lola (Gwen Verdon) be able to keep Hardy in line? With its highly theatrical premise, this Broadway hit should not have worked as a movie but it does, mostly due to its performances and its recreation of some excellent production numbers. With the exception of Tab Hunter, most of the Broadway cast was transplanted to the big screen, a wise decision, especially in the case of Verdon. Although Verdon may not have been seen as a truly formidable sexpot, she is a highly talented performer with great dancing and acting skills and a really killer figure. Walston is as delightful as ever, and Hunter [Island of Desire] -- while not in the same class as the others -- does an okay job as the rather shy Hardy who wants to stay faithful to his wife. He briefly attempts some dancing as well and manages to pull it off. Rae Allen and Jean Stapleton [Dead Man's Folly], both of whom also appeared in the Broadway show, are snappy as, respectively, the inquiring reporter, Gloria Thorpe, and the likable neighbor, Sister Miller. Shafer and Bolin were primarily stage performers, and the former appeared in just this one picture. The score by Adler and Ross boasts some tunes that have become standards: "Whatever Lola Wants:" and the spirited "You Gotta Have Heart," but there's also Joe's nice farewell to his sleeping wife ("Goodbye Old Girl"); a snappy Mambo number; and the knock-out production number for Verdon and Hunter's "Two Lost Souls." Bob Fosse [Cabaret] did the choreography for both show and film; he and Verdon were married two years later. There's lots of dark humor and a poignant conclusion.

Verdict: One of the very best of the hit Broadway show film adaptations. ***1/2.

THE CHEAT

Tallulah Bankhead

THE CHEAT (1931). Director: George Abbott.

"If you're trying to appeal to my better nature, it's hopeless, for I haven't any."

Elsa Carlyle (Tallulah Bankhead) and her husband Jeffrey (Harvey Stephens) are feeling a financial pinch when Elsa makes matters worse by losing a bundle at cards. She compounds this error by making a very unsound investment. The oily Hardy Livingstone (Irving Pichel), a wealthy man who collects women like literal trophies, offers Elsa his help -- but at a price she isn't willing to pay, leading to melodramatic complications and a climactic courtroom scene. Except for her overacting at the finale, Bankhead is quite good, and while hardly a raving beauty, one can imagine she never lacked for dates. Stephens is adequate and Pichel is fine, although the movie might have had more of an edge -- and given Elsa more of a moral dilemma -- had Hardy been played by a sexier actor one could believe she was attracted to. The picture is minor but holds the attention and Bankhead is basically swell and appealing. Pichel was later the villain in the serial Dick Tracy's G-Men and directed many films, including The Most Dangerous Game (co-director) and Quicksand. Bankhead later appeared in everything from Hitchcock's Lifeboat to Die, Die, My Darling to the TV series' Lucy-Desi Comedy Hour and Batman.

Verdict: Creaky old pre-code melodrama enlivened by Bankhead. **1/2.