SMALL TOWN GIRL

Farley Granger and Jane Powell

SMALL TOWN GIRL (1953). Director: Leslie (Laszlo) Kardos.

Rich and patronizing playboy Richard Livingstone III (Farley Granger) speeds through the small town of Duck Creek, sasses Judge Kimbell (Robert Keith), and winds up thrown in jail for thirty days. Richard importunes the judge's daughter, Cindy (Jane Powell), to let him out one night for his "mother's" birthday. Richard has a jealous if unfaithful fiancee in Broadway star Lisa Bellmount (Ann Miller), but during a night in New York he and Cindy start to fall in love. How will the judge react when he is apprised of this situation?

Jane Powell

Small Town Girl is the perfect example of a well-turned out MGM musical. The players are fine and enthusiastic (Granger is much better than you might imagine); the TechniColor is vivid and beautiful; there are a couple of more than pleasant tunes ("Small Towns;" "The Fellow I Follow"); some excellent production numbers; and an essentially amiable if lightweight veneer that puts over the slight but entertaining storyline. Jane Powell [Seven Brides for Seven Brothers] again proves an adept leading lady with a lovely voice and good delivery. And besides Granger, Powell has a host of excellent supporting players and character actors to back her up.

Bobby Van 

First among these is Bobby Van [Lost Horizon], who plays Ludwig Schlemmer, the boy next door who has Broadway aspirations. Van is by no means handsome in Hollywood terms, but he is so irrepressible and talented that it doesn't matter; he has a kind of Al Jolson delight in performing. The most famous highlight of Small Town Girl is when Van literally hops his way across town in sheer spirited excitement, a well-choreographed (Busby Berkeley) sequence that was filmed with only a few cuts. When Ludwig meets Ann Miller and tells her his name, she says "Well, keep it quiet and no one will notice." Ludwig's father is played by "Cuddles" Sakall, whose character in this seems more grumpy and unpleasant than lovable.

Miller struts her stuff

Then there's Ann Miller [Carolina Blues]. There may well have been better female dancers in Hollywood musicals, but in this Miller stars in a zesty production number, "Feel That Beat," wherein the members of the band are hidden behind walls and under the floor, with only their arms and instruments protruding. As for the rest of the players, Robert Keith is fine as the judge, as is an uncredited Chill Wills as the friendly sheriff, Happy. Fay Wray is the judge's wife; Billie Burke is her dithery self as Richard's society mother; William Campbell is a reporter; Marie Blake is a shop customer; and Beverly Wills, the daughter of Joan Davis, plays Ludwig's sister, Deidre. Nat King Cole also sings a number, "Burn Low." Photographed by Joseph Ruttenberg.

Verdict: Delightful MGM musical. ***.   

LOVE FINDS ANDY HARDY

LOVE FINDS ANDY HARDY (1938). Director: George B. Seitz.

"Really, we're getting much too old for that sort of thing, hugging and kissing!" -- Polly

"Christmas -- with Andy Hardy next door!" -- Betsy

When Polly Benedict (Ann Rutherford) goes away for the holidays, Andy's (Mickey Rooney) pal Beezy (George P. Breakston) importunes him to date girlfriend Cynthia (Lana Turner) to keep the other guys away from her while he's on vacation. An added complication is Betsy Booth (Judy Garland), who is visiting her grandmother next door and develops a big crush on Andy despite him seeing her as "a child." Betsy, who despairs that she has "no glamour, no glamour at all" sings the cute number "In-Between" and proves that Garland was a great singer even at that tender age; Rooney and Garland both give especially outstanding performances in this and are a simply wonderful team. Meanwhile Polly comes back unexpectedly and is jealous of Cynthia, whom she calls "That awful red-headed creature!" In other developments the Hardy grandmother has a stroke and Mrs. Hardy (Fay Holden) has to go off to take care of her while cook Augusta (Marie Blake) complains about Marion's "mud" or coffee. Marion (Cecelia Parker), as flighty and immature as ever, finally breaks up with a still-unseen Wayne and Betty Ross Clarke again temporarily replaces Sara Haden as Aunt Millie as she did in Judge Hardy's Children. Communicating with Mrs. Hardy over ham radio, Judge Hardy acts as if he'd discovered the iphone. There is an excellent scene when the Judge (Lewis Stone) and Andy talk about the possibility of the much older man dying. Turner is a lot of fun as Cynthia, although she does seem to be out of Rooney's league. Don Castle [Roses are Red] plays a handsome bandleader who turns out to be Polly's cousin. Followed by Out West with the Hardys. 

Verdict: A nice combination of good humor and honest sentiment. ***.

CAMPUS RHYTHM

Reaction to a kiss: Gale Storm and Johnny Downs

CAMPUS RHYTHM (1943). Director: Arthur Dreifuss.

Joan Abbott (Gale Storm) sings on the radio for her sponsor, Crunchy Wunchy cereal, but she'd really rather go off to college. When her guardian, Uncle Willie (Douglas Leavitt), renews her contract without her knowledge, she takes off for Raleigh College by assuming the name of the sponsor's high-spirited secretary, Suzie Smith (Marie Blake). There she encounters the oh-so-serious editor of the campus paper, "Scoop" Davis (Johnny Downs); the dreamy, likable lover boy, Buzz (Robert Lowery); the weird if lovable Harold (Candy Candido); saucy, singing Babs (GeGe Pearson); and the venomous Cynthia (Claudia Drake of The Face of Marble), who's out to get her because she caught the eye of Buzz. In an attempt to find their wayward songstress, the sponsor holds a contest, and the funniest scene has to do with Uncle Willie traveling to Raleigh to find his niece and winding up in the hands of the law. The cast, led by a sparkling-as-ever Storm, is more than capable, and the film is pleasant. Babs sings "Oh, you character!" while Joan warbles "But Not You" to Buzz. GeGe Pearson has a nice voice and a lot of personality to go with her horse face; Candy Candido is the weirdest of novelty singers (and speakers) as his voice can go from falsetto to bass all within the same sentence. Both of them later did a lot of voice-over work for television and movies. John Duncan plays one of the fraternity boys; six years later he would team with Robert Lowery for the serial Batman and Robin, wherein he played the latter. The strange thing about this movie is that there's no fade out clinch between Storm and Downs, although it's intimated that they've gotten together again, but considering Scoop's behavior it's even more likely that they didn't. Downs [The Mad Monster] also starred in a movie called All-American Co-Ed, which is also known as Campus Rhythm, but it is not the same picture.

Verdict: Easy to take. **1/2.

JUDGE HARDY AND SON

Mickey Rooney and Lewis Stone

JUDGE HARDY AND SON (1939). Director: George B. Seitz.

When Judge Hardy (Lewis Stone) discovers that an elderly couple may lose their home, he enlists son Andy (Mickey Rooney) in a search for their daughter, who might be able to help. Andy enjoys looking for the lady as it brings him into contact with several nubile schoolgirls: eternally giggling Euphrasia (June Preisser): the oh-so-Southern Clarabelle Lee (Margaret Early); and the attractive, unhappy  Elvie (Martha O'Driscoll of Li'l Abner), who pretends to be 14-years-old but is actually much older. In a sub-plot Mrs. Hardy (Fay Holden) develops pneumonia and is placed in an oxygen tank by interne Jack Mulhall. One of the film's highlights is Andy's well-written and well-acted talk with his sister, Marian (Cecelia Parker). Judge Hardy and Son is a very entertaining comedy-drama that boasts an interesting story with some novel twists, fine acting and an outstanding performance from Rooney. The religiosity of the piece never quite gets out of hand. Marie Blake/Blossom Rock plays housekeeper Augusta, and Maria Ouspenskaya is one half of the elderly couple. Ann Rutherford is on hand as Andy's ever-jealous girlfriend, outraged as usual when she sees other girls' lipstick on his pan.

Verdict: One of the better Hardy Family entries from MGM. ***.

ALIMONY

Dumbrille, Lind and Vickers set a scheme in motion

ALIMONY (1949). Alfred Zeisler.

Composer Dan Barker (John Beal) relates the story of a woman he was once in love with, Kitty Travers (Martha Vickers), to her estranged father (James Guilfoyle), who hasn't seen her in years. Show biz aspirant Kitty stayed in the same boarding house with Barker, who was affianced to pretty Linda (Hillary Brooke). But Kitty works her wiles on Dan, who is just about to sign to do a Broadway show, and before long the man has dumped poor Linda in favor of Kitty. Unfortunately for Dan, the Broadway deal comes a cropper and Linda is soon off looking for greener pastures. But even when Dan and Linda are finally married, Kitty comes back into their lives because she was the inspiration for a song Dan composed that becomes a big hit [and isn't that memorable]. Again Dan acts like a complete jerk, Kitty a total skank, and as for dopey Linda ... let's just say that Alimony is the kind of irritating melodrama where a perfectly nice and attractive woman is treated abysmally by her man but still seems to think only the other woman is to blame. Neal, Vickers and Brooke give good performances, as do Douglass Dumbrille as an oily lawyer who works with Kitty and her friend Helen (a snappy Laurie Lind, who was introduced in this picture and never made another movie) and Marie Blake (AKA Blossom Rock of Hilda Crane) who plays the landlady of the boarding house. The title refers to the fact that Helen and Kitty marry or try to marry wealthy older men so that they can divorce them and collect you-guessed-it.

Verdict: Nice actors and premise but this is forgettable. **.