BLACK WIDOW (1954)

BLACK WIDOW (1954). Writer/director: Nunnally Johnson.

Broadway producer Peter Denver (Van Heflin), who is married to actress Iris Denver (Gene Tierney), befriends a struggling young writer named Nanny (Peggy Ann Garner) and eventually wishes he hadn't. Ginger Rogers (Dreamboat) plays his star Carlotta Marin and Reginald Gardiner is her husband, Brian. Possibly attempting to approximate the success of All About Eve, Nunnally Johnson took a story by mystery writer Patrick Quentin (actually Hugh Wheeler) with a Broadway background and concocted another story of an aging affected actress and opportunistic young'n. There the resemblance to All About Eve ends as, to be fair, Black Widow goes in its own direction, but while the first quarter is unpredictable the rest is sadly familiar. Also, Black Widow is vastly inferior to All About Eve and Ginger Rogers is pretty inadequate doing a lower-case Bette Davis. Heflin is as good as ever, but the material is far beneath him, and Gardiner, usually at his best in comedies, is comically miscast in this. Gene Tierney is also good, but she, too, is pretty much wasted. Virginia Leith, Otto Kruger and an unrecognizable Cathleen Nesbitt are excellent in supporting parts. George Raft is simply an embarrassment as a police detective, but Peggy Ann Garner scores as Nanny. The main trouble with Johnson's script is that he hasn't created characters, only trotted out an assortment of types.

Verdict: Watch out for movies in which Reginald Gardiner plays a romantic figure. **.

DO YOU LOVE ME?

Dick Haymes and Maureen O'Hara

DO YOU LOVE ME? (1946). Director: Gregory Ratoff. 

Katherine Hilliard (Maureen O'Hara) is a rather plain college professor, dean of the School of Music, who loves classical music and is engaged to fellow professor Ralph Wainwright (Richard Gaines). Traveling to New York by train she is insulted by a trumpeter, Barry Clayton (Harry James), after she tells him she doesn't care for his music. Stung by his criticism and glamorizing herself, Katherine is soon getting wolf whistles from Barry, singer Jimmy Hale (Dick Haymes), and others. But true love never runs smoothly, so it may be a while before "Kitty," as she is called, and Jimmy can get together. 

Harry James with O'Hara

Do You Love Me? is another film that focuses somewhat on the battle between classical and swing music, although there seems to be a truce by the end of the film. The movie tries to make out classical music lovers as being stuffy, but doesn't quite succeed in this, in large part because the classical pieces that are chosen are so rousing and exciting that no one but an idiot could find them dull. As for the "modern"  tunes, they are all sung quite well by Haymes: "I Didn't Mean a Word I Said," is especially nice, as is "The More I See You," which has become a standard. Haymes has a very good voice. His acting is also swell, O'Hara is luminescent and gorgeous, and even James gives a professional enough performance, though his trumpet-playing is better. Betty Grable, who was married to James at the time, has an amusing cameo. If you blink you might miss Lex Barker as a party guest. As an associate of Katherine's Reginald Gardiner is Reginald Gardiner, although he is quite convincing when he takes up the baton. James isn't as convincing conducting what sounds like a version of Gershwin's "Summertime."

Verdict: Amiable if minor Technicolor musical with some nice tunes. **1/2. 

AIN'T MISBEHAVIN'

AIN'T MISBEHAVIN' (1955). Director: Edward Buzzell. 

Millionaire businessman Kenneth Post (Rory Calhoun) is smitten with a showgirl, Sarah (Piper Laurie of Carrie), that he sees on TV and goes to a nightclub to see her, accompanied by his disapproving good right hand, Hal North (Jack Carson of The Bottom of the Bottle ). Sarah proves to be a  rapacious and unrepentant gold-digger to the point of being obnoxious. In spite of this Ken proposes and she accepts, insisting that she has truly fallen in love with him despite her original intentions. The trouble isn't with her spending, but the fact that she decides to better herself, and spends too much time in the company of Ken's distant relation, Anatole Piermont (Reginald Gardiner of Black Widow), a cultured man with an eye for the ladies. Meanwhile, Ken is caught at a baseball game sitting next to the predatory Pat (Barbara Britton). Can this marriage be saved?

Rory Calhoun surrounded by ladies

This has one of the worst scripts of any fifties musical, without any solid laughs and two main characters who are stupid and unlikable for most of the running time. The songs are instantly forgettable, and the production numbers intermittently lively but mediocre. Piper Laurie is spritely and appealing in spite of her character and Calhoun proves more adept at this kind of light stuff than you would imagine -- both are eye candy -- but neither of them can do much to overcome that screenplay. Barbara Britton is saucy as Pat and Mamie Van Doren has a couple of sexy moments as a pal of Laurie's; Dani Crayne plays another dancer. Jack Carson could do this sort of thing in his sleep and Reginald Gardiner provides most of the limited fun with his portrayal of the often tipsy Anatole. Madge Blake has a bit as does Frank Chase, the sheriff in Attack of the 50 Foot Woman, this time playing a sailor. 

Verdict: The lead characters are assholes. *1/2. 

EVERYBODY SING

Judy Garland

EVERYBODY SING (1938). Director: Edwin L. Marin.

Judy Bellaire (Judy Garland of Presenting Lily Mars) belongs to a theatrical family, but she keeps getting thrown out of one school after another because she prefers swing music to classical and is therefore considered a "corrupting" influence. The rest of the household consists of her playwright father Hilary (Reginald Owen); her actress mother Diana (Billie Burke); the housekeeper Olga (Fanny Brice), who used to work in vaudeville; and the handsome cook, Ricky (Allan Jones of Reckless), who is moonlighting as a singer at a posh cafe. Judy also has a sister named Sylvia (Lynne  Carver), who is struck on Ricky and vice versa. Judy wants to help get needed money for the cash-poor family by singing at the same cafe, but has to resort to subterfuge when her parents deny her permission to do so. Meanwhile Hilary tries to mount his own show but objects to his wife's acting partner, Jerrold Hope (Reginald Gardiner).

Bus song: Garland, Carver, Jones and Gardiner

This aptly-titled MGM movie is a real charmer, thanks to the cast, some good song numbers, and an amiable disposition throughout, although Judy's attitude (as expressed in one of the song numbers) that classical music is passe is obnoxious. She gets to sing the snappy "Melody Fair," Jones warbles "The One I Love," much of the cast does an operatic pastiche -- based on Verdian melodies -- on a bus; and Fanny Brice [The Great Ziegfeld], who is wonderful, does "Dainty Me," as well as a Baby Schnooks number with Garland. Jones also reprises "Comsi Comsa" from A Night at the Opera. Monty Woolley shows up briefly as a producer and he adds to the fun as well. When they made dithery Bille Burke, they certainly broke the mold.

Verdict: Not just for Garland fans, but they will especially enjoy this. ***.

SWEETHEARTS

Nelson Eddy and Jeannette MacDonald

SWEETHEARTS (1938). Director: W. S. Van Dyke.

"She's in the hospital for over work. She can't even see the doctor for six months."

Gwen Marlowe (Jeanette MacDonald) and Ernest Lane (Nelson Eddy) have starred in the hit Broadway musical "Sweethearts" since the show opened -- and they were married -- six years ago. Producer Felix Lehman (Frank Morgan of Saratoga) is horrified at the notion that his stars may flee to Hollywood, but they are so fed up with demands upon their time that they agree to go west with movie man Norman Trumpett (Reginald Gardiner). But then the show's lyricist, Leo Kronk (Mischa Auer), comes up with a rather cruel way to keep the couple in New York -- by breaking them up! To do this he plants the notion in Gwen's head that Ernest is having an affair with their secretary, Kay (Florence Rice of Mr. District Attorney).

Eddy, Frank Morgan and MacDonald

Let's make it clear from the start that although Eddy, MacDonald, Morgan and others are swell, the true star of this picture is Victor Herbert. The plot of the great composer's operetta was thrown out for this mild backstage roundelay in which the lead characters only appear in "Sweethearts," which retains Herbert's music while attributing it to fictional composer Oscar Engel (an amusing Herman Bing). So we get the gloriously romantic title tune; McDonald warbling "Summer Serenade;" Nelson delivering "Marching On Parade" with real panache; and the couple dueting on "A Little Gray House in the West,"  memorable tunes all. MacDonald is delightful as she jazzes up "Pretty as a Picture."

Nelson and Jeanette

The shame of it is that the stars, especially MacDonald, seem more than up to the task of delivering what's required if there had only been a more sophisticated and/or meatier script. Both Gwen and Ernest have parents who are or were in show biz, and who talk about their past glories endlessly. but their children's near-contempt of them is a bit unsettling. Lucile Watson and George Barbier are two of the parents. Ray Bolger has no dialogue but does a snappy dance number, and Douglas McPhail [Babes in Arms] and Betty Jaynes show up briefly as young hopefuls. Fay Holden and Olin Howland have smaller roles. The two leads are in fine voice, even if they at times tend to over-sing, and Ms. MacDonald can occasionally be shrill.

Verdict: Beautiful MGM technicolor, some good performances and vocalizing, and lilting Victor Herbert music -- but oh that script! **1/2. 

THE DOLLY SISTERS

June Haver, Betty Grable and John Payne

THE DOLLY SISTERS (1945). Director: Irving Cummings.

Latsie Dolly (S. Z. Sakall) brings his two nieces from Hungary to America where Jenny (Betty Grable) and Rosie (June Haver) become a popular singing and dancing sister act. Jenny falls for entertainer Harry Fox (John Payne) but their romance hits a couple of snags. Lest you think that the Dolly Sisters were a mere invention of 20th Century-Fox, these gals actually existed, and a true story of their lives would have shocked the hell out of staid 1940's movie house patrons. In this sanitized version of their backstage history, the focus is on the love affair and marriage of Jenny and Harry -- Harry Fox was also a real person -- but the latter was only one of Jenny's husbands -- and lovers. This movie completely ignores the fact that the two gals became more famous for gambling and bed-hopping with wealthy men than they did for their singing and dancing! A car crash which necessitated plastic surgery for Dolly is presented in the movie, and would seem like a lame attempt to add "drama" were it not for the fact that it actually happened. Reginald Gardiner [Black Widow] plays a duke who dallies with Jenny after she and Harry part ways, and Frank Latimore [Shock] is a real-life store owner, Irving Netcher, who marries Rosie. Trudy Marshall [Mark of the Gorilla] has a nice bit as Lenora, a woman who has the misfortune of falling for Harry even though he's still in love with Jenny. While the screenplay is mediocre, The Dolly Sisters is bolstered by sumptuous Technicolor, high-class cinematography from Ernest Palmer, professional performances (from Sig Ruman and others), and some pleasant songs (Gordon and Monaco), although the best numbers are standards such as "I'm Always Chasing Rainbows." Two ladies who make an impression are Collette Lyons as (fictional?) entertainer Flo Daly and an uncredited chorus cutie who plays "Rosie Rouge" in a production number devoted to make up. (This song, in particular, has a weird off-kilter melody, if you can even call it that.) I have no idea what they were like in real life, but as embodied by Haver and Grable, the Dolly Sisters come off as a decorative but not terribly mesmerizing or especially talented vaudeville act.

Verdict: Smooth and entertaining and good to look at it nothing else. ***.

BACK STREET (1961)

BACK STREET (1961). Director: David Miller.

"There isn't a marriage in the world where one doesn't love more than the other."

NOTE: This review contains spoilers. The third film version of Fannie Hurst's novel [earlier versions appeared in 1932 and 1941] makes just about every mistake conceivable in adapting the material. Rae Smith (Susan Hayward) falls in love with soldier Paul Saxon (John Gavin) without realizing that he's already married. She is going to fly to New York with him to start a new life, but misses the plane. They meet up years later and resume their affair while Paul's conveniently drunken and nasty wife (Vera Miles) insists she'll never give him a divorce. The first problem with the picture is that mistresses, while still capable of raising eyebrows, were not quite as scandalous in the sixties as they were in the thirties, forties and earlier. Another problem is that the life-long affair of the novel and other two film versions only occupies a few years in this version. The wife, mostly unseen in earlier versions, was never supposed to be a shrew but a perfectly nice person, one of the reasons the married man never divorces her. The earlier film versions concentrated on the loneliness endured by women in back street affairs, but Hayward has a successful career and lots of friends. Worst of all, in this version the married man's son is just a child, incapable of eventually reaching an understanding as regards to his father and the other woman he loved, (making the ending all the more inexplicable). In the first two film versions, Walter/Paul was only engaged and decided to marry Ray/Rae, but in this version he wants her to run off to New York with him without first telling her he's got a wife! At the end, after his and his wife's death in an accident, his very young children suddenly show up at his mistress' door and want to be friends with her -- which makes absolutely no sense at all [their being orphans notwithstanding]! At the time of filming Hayward was 44 and Gavin was 30 and the difference in their ages quite apparent, but the script unwisely ignores it. Hayward, who seems justifiably bored with the material, just goes through the motions for the most part. Gavin makes an effort and is acceptable. Miles comes off the best, with good support from Virginia Grey, Charles Drake, Natalie Schafer, Reginald Gardiner, and Robert Eyer as the son.The liveliest scene has Miles invading a charity auction to make snide remarks about Hayward and carry on in supremely bitchy fashion.

Verdict: A completely unnecessary remake that shows some promise at first but gets more tedious with every passing minute. **.

I WONDER WHO'S KISSING HER NOW

I WONDER WHO'S KISSING HER NOW (1947). Director: Lloyd Bacon.

Surely the life of performer and songwriter Joseph E. Howard was more interesting than this? Mark Stevens enacts the role capably and with charm, although he might seem a tad bland to some. June Haver plays his "kid sister," who was raised with him but is actually unrelated, and has an unrequited passion for him. Martha Stewart and Lenore Aubert are two women with whom he gets involved both professionally and romantically.

The movie is pleasant and easy to take, but there is no real drama in it, and no particular comedy, either, despite the presence of William Frawley (Fred Mertz). Gene Nelson is a featured dancer, but has few if any lines. Florence O'Brien makes an impression as the saucy, non-deferential maid, Marie, as does Lewis L. Russell as Milford. Reginald Gardiner is okay as a playwright. Sexy Martha Stewart didn't amass too many credits and Aubert's most famous role was as Sandra in Abbott and Costello Meet Frankenstein.

Besides the title tune, Howard's most famous composition is arguably the snappy "Good-bye, My Lady Love." This was one of the period tunes that Jerome Kern used in Show Boat which was not composed by Kern. A highlight of the film is the "Glowworm" number which, via rich orchestration, turns the simple melody into a veritable symphony.

Verdict: Minor-league musical. **1/2.

FLYING DEUCES

FLYING DEUCES (1939). Director: A. Edward Sutherland.

Ollie proposes to French waitress Georgette (Jean Parker), unaware that she already has a husband, Francois (Reginald Gardiner). Broken-hearted, he decides to commit suicide, and Stan -- who'd be lost without him -- has to take the plunge into the Seine (where a shark is somehow on the loose) with him. But they wind up in the foreign legion instead, where they have to deal with a jealous Francois and a stern commandant (Charles Middleton, better-known as Ming the Merciless). Not a classic by any means, but this does have many amusing moments, especially the mountain of laundry! Stan makes like Harpo Marx and plays the bed springs of a mattress like a harp at one point. Amusing wind-up.

Verdict: Mostly for L & H enthusiasts; all others beware. **1/2.