GOLDEN GIRL

James Barton and Mitzi Gaynor

GOLDEN GIRL (1951). Director: Lloyd Bacon. Produced by George Jessel.

When tippling and irresponsible John (James Barton), loses the family boarding house in a casino, his wife, Mary Ann (Una Merkel of The Fuzzy Pink Nightgown) and daughter, Lotta (Mitzi Gaynor), along with singing boarder Mart (Dennis Day of I'll Get By), take off to tour the west as a stage troupe during the Civil War. Lotta, who becomes a celebrated entertainer, falls in love with a man named Tom Richmond (Dale Robertson of The Outcasts of Poker Flat) who may be keeping more than one secret. Meanwhile Mary Ann, Lotta and John are reunited in a surprising and unexpected fashion. 

Mitzi Gaynor and Dale Robertson

Golden Girl is the first of two films (both produced by George Jessel and directed by Lloyd Bacon) in which Mitzi Gaynor starred as an entertainer of the past, the second being The I Don't Care Girl. Lotta Crabtree actually existed, and her mother was her manager and looked out for her and her money. Her father was quite different from the way he is portrayed in the movie, and Tom Richmond is an entirely fictional creation as Lotta never married. She became a household name in the 19th century and acquired a fortune, much of which she gave to charitable causes. Aside from the character of Richmond, Golden Girl is a bit more faithful to the facts than was I Don't Care. In Golden Girl the real-life dancer Lola Montez arrives in town in a flurry of excitement, but Lotta was already a friend of the woman's at the time. Golden Girl pretty much ignores the realities of the war until Lotta is asked to transport Union gold in her wagon, and when she sings Dixie to the initially unreceptive audience, after the North has defeated the South, because she thinks Richmond, a rebel, is dead. 

Una Merkel and Dennis Day

As usual, Gaynor gives an excellent performance playing a somewhat self-centered character who is not entirely likable. Barton, who appeared on Broadway in Lerner and Loewe's Paint Your Wagon (and many other stage shows), is wonderful as Pop Crabtree, matched in perfection by the feisty Una Merkel. Dennis Day reveals a sterling operatic tenor voice when he gets to burst out in song by himself. His somewhat goofy looks doomed him to playing second fiddle and comedy relief -- mostly as foil to Jack Benny --  but there was much more to the man than that. As for Dale Robertson, well he's handsome and competent enough, but even he would have been the first to admit that he was more of a personality than an actor. He had his greatest success on television as the star of Tales of Wells Fargo. 

Verdict: Entertaining Hollywood look at the life of the once-famous Lotta Crabtree. ***.

THE I DON'T CARE GIRL

Bob Graham and Mitzi Gaynor

THE I DON'T CARE GIRL (1953). Director: Lloyd Bacon.  Produced by George Jessel.

The real George Jessel is trying to produce a picture about old vaudeville star Eva Tanquay (Mitzi Gaynor of Anything Goes) and importunes his scriptwriters (Warren Stevens and Craig Hill) to locate people who knew the entertainer. These include Ed McCoy (David Wayne), supposedly the man who discovered her as well as her former partner; Charles Bennett (Oscar Levant of The Barkleys of Broadway), a composer; and Larry Woods (Bob Graham), another composer-performer who falls in love with Eva but is married. Larry is separated from his wife but a bigger problem is the seductive Stella Forest (Hazel Brooks of Sleep, My Love), who wants to star in Larry's operetta. Will true love win out over all?

David Wayne, Warren Stevens, Craig Hill

Hollywood is famous for coming out with biopics that have little to do with the real lives of their subjects, but The I Don't Care Girl takes the cake, as there's very little -- but the bare basics -- that have anything to do with Ms. Tanquay. The movie is really just an excuse to show off the admitted skills of Mitzi Gaynor, who gives a good performance, sings quite well, and is a sensational dancer with sensational gams. Ms. Gaynor is featured in some creative -- some might say overly creative -- big production numbers that have very little to do with anything ever seen on a vaudeville stage and everything to do with fifties fashion. 

Mitzi Gaynor and Oscar Levant

The title of the picture comes from Ms. Tanquay's most famous number, "I Don't Care." (Judy Garland, somewhat mimicking Tanquay,  arguably gives the best performance of this song in In the Good Old Summertime.) As for Tanquay, she was certainly a more interesting character than the sanitized version we see in this picture. Essentially forgotten today, she was once a tremendous international star, an early feminist, an absolutely relentless self-promoter, and had two or possibly three husbands as well as at least one affair. For a publicity stunt, she "married" a cross-dresser and wore a tuxedo while he wore the wedding dress. You can bet you won't see that in this movie! 

As for Bob Graham, the fellow is handsome, has a great baritone voice, and makes a smooth, likable leading man. But this was his last picture out of seven. What happened? Even the Internet Movie Data Base has very little information on him, including his date of birth and death. He is not to be confused with another actor named Robert Graham. 

Verdict: The story is just a mass of cliches but the cast is game and the dancing is great. ***.   

WE'RE NOT MARRIED

Wedded bliss? Fred Allen and Ginger Rogers

WE'RE NOT MARRIED (1952). Director: Edmund Goulding.

"I'll say one thing about our marriage. If there's such a thing as an unjackpot, I've hit it!" -- Ramona

Five couples who were married by a dithering Justice of the Peace (Victor Moore) discover that the man's license only went into affect after the new year, so that their marriages are invalid. Those affected include radio show hosts Ramona and Steven Gladwyn (Ginger Rogers and Fred Allen), who hate each other and only speak during the show; Katie and Hector Woodruff (Eve Arden and Paul Douglas), who have gotten into a rut; Annabel and Jeff Norris (Marilyn Monroe and David Wayne), who have an adorable baby boy; Patsy and Wilson Fisher (Mitzi Gaynor and Eddie Bracken), who are expecting a child; and Eve and Fred Melrose (Zsa Zsa Gabor and Louis Calhern), who are facing an expensive divorce -- for Fred. 

Gabor, Louis Calhern, Paul Stewart

Although there are a few laugh-out-loud moments, We're Not Married has a very insufficient screenplay. Some of the stories have such flat endings that you wondered why anyone even bothered. It also makes no sense to team the adorable Marilyn Monroe -- whose appearances virtually amount to a cameo! -- with the bland and utterly sexless David Wayne; they hardly set the screen on fire. The best episode has lawyer Paul Stewart dictating divorce terms to Louis Calhern, then a certain letter arrives in the mail, but even this segment is completely predictable. For me it doesn't help that Eddie Bracken happens to be one of my least favorite actors ever, although his typically whiny performance is adequate. Calhern, Rogers and others are wasted in this piffle, which could have been a really strong picture with a much, much better screenplay. Fred Allen was once a very popular comedian, although he's virtually forgotten today. Movies like this didn't help.

Verdict: A lot of good actors with generally disappointing material. **1/2.

ANYTHING GOES (1956)

Bing Crosby and Donald O'Connor clown around

ANYTHING GOES (1956). Director: Robert Lewis.

Broadway veteran Bill Benson (Bing Crosby) and hot shot TV star Ted Adams (Donald O'Connor) are teaming up to do a Broadway show. They each decide on a leading lady, unaware of what the other has done. So on a boat back to New York from Europe, they have to contend with the fact that they promised the plum role to two different women: Patsy (Mitzi Gaynor) and Gaby (Zizi Jeanmaire). Complicating matters is the realization that each man has started to fall in love, not with the woman they chose to star with but with her rival!

Mitzi Gaynor and Donald O\Connor

Twenty years earlier Crosby did a previous version of Anything Goes that co-starred Ethel Merman. This new version throws out the plot of the Broadway musical it was based on but uses some of Cole Porter's songs, along with a few new ones by Cahn and Van Heusen. (You can tell which are whose fairly easily). This is a one-gimmick plot but it does add some suspense to the proceedings, and Paramount studios manages to give the flick some of the gloss you associate with MGM, thanks to Technicolor, VistaVision, some excellent art direction, and cinematographer John F. Warren. More importantly, the performances by all are adept and enthusiastic.

Zizi Jeanmaire with chorus boys

Zizi Jeanmaire (billed in this only as "Jeanmaire") was a French dancer and actress who did most of her work in Europe. She is quite good in Anything Goes and is given one zesty number as well as a featured ballet with little boys, sailors and several lookalikes. The production numbers include the title tune choreographed by Ernest Flatt, "I Get a Kick", and the finale, "Blow, Gabriel, Blow," which features the four stars in a striking tableau.

"Blow, Gabriel, Blow." Jeanmaire, Crosby, Gaynor, O'Connor

Anything Goes, however, goes on for a little too long, and there are some dull stretches, including a nightclub bit wherein Crosby plays a mind-reading Rajah that becomes tiresome rather quickly. In spite of that, the movie is fun and colorful for the most part. Phil Harris [The Patsy] is cast as Gaynor's father, Steve, and Kurt Kasznar [Land of the Giants] as Crosby's agent, Victor Lawrence.

Verdict: Talented cast helps put this over. ***. 

BLOODHOUNDS OF BROADWAY (1952)

BLOODHOUNDS OF BROADWAY (1952). Director: Harmon Jones.

Hillbilly and Hood: Mitzi Gaynor; Scott Brady

Bookie "Numbers" Foster (Scott Brady) is temporarily on the lam with his buddy, Harry (Wally Vernon), when they break down on a back road in Georgia. Coming to their rescue is the cute hillbilly gal, Emily (Mitzi Gaynor), who has just presided over the funeral of her grandpappy.  Left alone in the world, and with Numbers thinking she's a mere child, she agrees to go with him back to New York, along with her two adorable bloodhounds, Nip and Tuck. But will Numbers' girlfriend, Yvonne (Marguerite Chapman), who perjured herself on the witness stand for his sake, take kindly to the fact that Emily  -- who is no child -- is now part of his life?

Nip and Tuck

Supposedly inspired by Damon Runyan-like situations, Bloodhounds of Broadway is an amiable musical with winning performances and a very creaky plot line even for the fifties. The digitally remastered DVD, which also includes a lengthy interview with Gaynor, features brilliant Technicolor and fine cinematography by Edward Cronjager [House By the River]. The score consists of some standards like "I Got a Feelin' You're Foolin'," which features some fancy footwork, and a few mediocre new tunes. "Get along home, Cindy" features some sharp dancing from Gaynor and little Sharon Baird, and "Jack of Diamonds" is an inventive and colorful production number.

Richard Allan, Mitzi Gaynor, Mitzi Green

Gaynor and Brady [Mohawk] make a good team, and there's some notable support from Chapman (who has a brief skirmish with Gaynor in a dressing room sequence); Michael O'Shea as a cop; Mitzi Green (formerly the child star "Little Mitzi") as Harry's sister Tessie; and Richard Allan [Niagara] as Charlie -- Green and Allen are also featured dancers and are, as they say, swell. Mary Wickes has a cameo as a woman who can't grasp that a diaper (or "didy") service is only a front for a bookie joint, and Charles Bronson has a few lines as one of Numbers' gunsels. The two bloodhounds nearly steal the picture and are given a very cute final moment as one pooch steals a smooch from the other. Harmon Jones also directed Princess of the Nile.

Verdict: Not much of a script,. but this is easy to take for the most part and nice to look at. ***.

LES GIRLS

Elg, Kendall and Gaynor

LES GIRLS (1957). Director: George Cukor.

Retired dancer Lady Sybil (Kay Kendall of Wings of Danger) has written a book about her life in which she claims that a former colleague, Angele (Taina Elg), attempted suicide out of her unrequited love for their boss, Barry Nichols (Gene Kelly). Angele is outraged -- and so is her husband, Pierre (Jacques Bergerac of The Hypnotic Eye) -- so a libel suit results. Most of Les Girls consists of flashbacks

"Wild One" Kelly and his Leather Boys

as Sybil tells her story, then Angele tells hers, and finally Barry comes into court to tell his side of things. Les Girls has an interesting hook with the libel suit, but the script becomes increasingly stupid with each section, and even Cole Porter's songs are second or third-rate for this composer. The film's highlight is a sequence when Kelly walks in with a gang of motorcycle toughs and does a splendid dance number with Mitzi Gaynor [The Joker is Wild], but most of the production numbers are disappointing. Kelly and the ladies are all excellent, however. Henry Daniell plays the judge presiding over the case and Patrick Macnee [The Avengers] is one of the lawyers; Leslie Phillips is Kendall's husband. In CinemaScope and Metrocolor. This was Porter's last film score, and Kelly's last MGM musical. 

Verdict: Cute but unremarkable. **1/2. 

THERE'S NO BUSINESS LIKE SHOW BUSINESS

The technicolor finale of There's No Business ...

THERE'S NO BUSINESS LIKE SHOW BUSINESS (1954). Director: Walter Lang.

Molly Donahue (Ethel Merman) and her husband Terence (Dan Dailey) are long-time vaudevillians who have three children who join their act: girl-happy Tim (Donald O'Connor); pretty Katy (Mitzi Gaynor); and jazz baby Steve (Johnnie Ray), who actually prefers to enter the priesthood. Tim falls hard for a sexy lady named Vicky (Marilyn Monroe), but a misadventure with her sends him running off from a role in a Broadway show on the eve of WW 2. Is this the end of the Five Donahues? Aside from the title tune (which actually comes from Annie Get Your Gun), you'd be surprised that the music is by Irving Berlin, as the new numbers are pretty terrible and the older ones are ruined by inappropriately jazzy arrangements. As Steve, Johnnie Ray over-sings everything and makes faces, and his rendition of "Alexander's Ragtime Band," which he butchers, has to be seen to be believed. Ray also delivers the pious "If You Believe" (while mimicking Elvis' movements!) while the Adorable One -- La Monroe -- sexes up "Tropical Heatwave" in her inimitable style, although she's dubbed by Delores Gray and the number is otherwise not especially memorable. Although Monroe isn't quite up to her more "serious" scenes, she's positively luminescent in this and delivers her comedy sequences with her usual panache. As for the rest of the cast, Merman is terrific, with fine support from Dailey, Gaynor [The Joker is Wild] and O'Connor; Ray is fairly pleasing when he isn't singing. Hugh O'Brian [Rocketship X-M] shows up briefly as a theater man who falls for Katy; Robin Raymond [The Glass Wall] is the crude Lillian, who dates Tim; and Chick Chandler and Lee Patrick hardly get any lines as a couple of old vaudevillians at the Donahues party. The ending is nicely sentimental, and the last production number is a positive riot of brilliant technicolor.

Verdict: It would be all too easy to quibble about this picture's general mindlessness and often hokey numbers, but it all plays in spite of it. ***.

MITZI GAYNOR RAZZLE DAZZLE THE SPECIAL YEARS DVD

MITZI GAYNOR RAZZLE DAZZLE THE SPECIAL YEARS DVD.

This DVD devoted to the talents of singer/actress Mitzi Gaynor has been released in honor of the 4oth anniversary of her first televised special and the 50th anniversary of perhaps her most famous film, South Pacific, in which she co-starred with Rosanno Brazzi and John Kerr. Gaynor's annual specials were aired for ten years, and there are song and dance numbers from each of them on this disc. Special features include a look at her Bob Mackie fashions; new interviews with Gaynor, Carl Reiner, Bob Mackie and others; comedy skits from her specials; and other extras. I don't know if Rex Reed was correct when he claimed Gaynor was "one of the colossal talents of our age," but she certainly had looks and ability to spare, and she was quite charming in South Pacific. For more information or to order a copy go to Gaynor's web site or the web site of City Lights Media, which is releasing the DVD.

Verdict: Perfect for Gaynor enthusiasts. ***.

THE JOKER IS WILD

THE JOKER IS WILD (1957). Director: Charles Vidor.

Hollywood-style biopic of singer-comedian Joe E. Lewis, who has his throat slashed after he leaves one mob-owned club to go to a better one against his bosses wishes. He manages to continue his career but can't commit to one woman who loves him (Jeanne Crain) and marries another (Mitzi Gaynor), but would rather drink, gamble and carouse. Frank Sinatra generally offers a perfectly good if second tier performance but does have at least two great moments: when he collapses in horror in the hospital after fully realizing what has been done to him, and when he gets drunk while giving his night club act. Sinatra introduced the song “All the Way” in this and gives a great performance of it in the opening minutes of the film. In later sequences, of course, he has to sing without his usual elan to show how Lewis' voice has been adversely affected. Crain and Gaynor are both fine, as is Eddie Albert as his pianist and friend, but Beverly Garland, a long-underrated actress, really scores as Albert's wife. After South Pacific Mitzi Gaynor was seen as kind of “white bread,” but in this she's rather sexy. Not a great movie by any means, but it holds the attention and is certainly a good bet for Sinatra fans. It also gets points for not having a standard happy ending, although some will be annoyed by its inconclusiveness.

Verdict: Worth a look. **1/2.