THE FILMS OF RODGERS AND HART

Richard Rodgers and Lorenz Hart 

THE FILMS OF RODGERS AND HART.

Richard Rodgers and Lorenz Hart were one of the greatest song-writing duos in history, with one hit show after another, and together they created a host of wonderful songs that have become standards. Unfortunately, in general they were badly treated by Hollywood, who made adaptations of their shows with watered down or completely altered plots and lyrics, and worse, sometimes most of the songs were dropped and even replaced by the work of other songwriters. However, they did do the songs for the film Love Me Tonight -- which introduced 'Isn't It Romantic?," among others -- and other songs they wrote managed to make it to the screen in one way or another.

This week we look at a variety of films that were either loosely based on Rodgers and Hart's Broadway hits, or featured music by the famous duo. Many of the writings about the team go on about how handsome Rodgers was, and how ugly and gnome-like Hart was, but actually Rodgers was not that handsome and Hart was not especially ugly. Rodgers was perhaps more even-featured than Hart, whose face was a little more interesting. In any case, who cares? -- all these decades later both men remain giants of the musical theater and people still admire, sing, and appreciate their work. Their shows include Pal Joey, Babes in Arms, The Boys from Syracuse, I Married an Angel, Too Many Girls, A Connecticut Yankee in King Arthur's Court, On Your Toes, and many others. NOTE: Reviews of the film versions of Pal Joey and Too Many Girls will be posted in future weeks. 

Rodgers worked with Hart nearly until Hart's death, but Hart lived to congratulate Rodgers on his first collaboration with his new partner, Oscar Hammerstein II, Oklahoma. Rodgers and Hammerstein would etch their own impressive resume after Hart's too-early death.

LOVE ME TONIGHT

Maurice Chevalier and Jeanette MacDonald

LOVE ME TONIGHT (1932). Director: Rouben Mamoulian.

"I don't know what will come tomorrow, but love me tonight."

Tailor Maurice (Maurice Chevalier) is hoping to be paid a large bill for several suits by the deadbeat Viscount Gilbert (Charles Ruggles). To that end Maurice travels to the home of the man's uncle, the Duke d'Artelines (C. Aubrey Smith), whom he is visiting. There Maurice becomes smitten with the Princess Jeanette (Jeanette MacDonald), who finds him rude and brash. Not wanting his uncle to realize he has yet another creditor nipping at his heels, Gilbert tells everyone that Maurice is actually a baron, and then an even greater dignitary traveling incognito. Slowly, Maurice begins to wear the princess down, but what happens when she learns he's just a tailor ..? Love Me Tonight would have to go on the list as one of the best movie musicals ever made. The story is slight, and often zany, but this is cinematic, very well directed by Mamoulian, with superior cinematography (Victor Milner of So Red the Rose) and editing (Mamoulian and William Shea). Chevalier gives an excellent and charming performance, MacDonald is swell, and Smith as effective and fun as ever. Ruggles is fine, but Myrna Loy as a countess and Charles Butterworth as a hopeless suitor for the princess's affections are less memorable. Elizabeth Patterson, Ethel Griffies, and Blanche Friderici stand out as a trio of "old biddies" who almost serve as a Greek chorus and are very funny.

And then there's the music. Although this was based on a straight stage play and not a musical, Rodgers and Hart provided several songs that were written just for the movie. The best-known is Isn't It Romantic, a standard. and a classic Rodgers melody. It is first sung (not that well, frankly) by Chevalier, then picked up by a customer in his shop, a cab driver, moving on to several other people throughout the French countryside, until the tune is taken up by marching soldiers and finally McDonald, whose voice is very imperfect but who at least sings the tune better than Chevalier. (He could get across a song without having a great voice). We also have "Lover;" "Apache:" "The Son of a Gun;" the title tune; and "Mimi." Some of Hart's racy lyrics survive intact in this pre-code movie (the production code was formed two years earlier, but not really enforced until 1934 when pictures had to obtain a certificate of approval.) Chevalier sings of how his father and mother "weren't very well acquainted."

Now here's where things get odd. Chevalier sings "Mimi" to MacDonald but the song is never repeated. I could swear that the first time I saw this movie, "Mimi" was intoned by virtually everyone in the movie. Am I confusing it with what happened with "Isn"t it Romantic?" But in the wikipedia entry regarding the song, it says that the song is "later reprised by the entire company." Could this have happened in a later movie? I swear I remember dozens of people singing the tune in Love Me Tonight, and the DVD doesn't say anything about the film being cut. Anyone know what's up?

The movie has other notable scenes, such as a Foxhunt in which Chevalier winds up befriending a frightened stag, and MacDonald's racing on a horse to get ahead of a train. The film begins with all of the sounds of Paris combining to form a kind of music.

Verdict: A lovely and entertaining gem, if a little odd at times. ***1/2.

BABES IN ARMS

BABES IN ARMS (1939). Director: Busby Berkeley.

When some old vaudevillians leave town to go on tour, their children decide to put on their own show.  That's the plot of this okay Mickey Rooney-Judy Garland "let's put on a show" musical. This is based on a Rodgers and Hart stage musical, but the only songs by the team that are left are the title tune and "Where or When?," which I believe was from another show. ("The Lady is a Tramp" from Pal Joey plays in the background of one scene.) As usual, some of the "kids" in this are a bit too old, such as Douglas McPhail and real-life wife Betty Jaynes, both of whom have beautiful semi-operatic voices (they do "Where or When?"). Mickey and Judy are in splendid form, of course, and we see footage of Rooney when he was a small boy performing in vaudeville. Of the older cast, which includes Guy Kibbee,  Margaret Hamilton, Henry Hull and Ann Shoemaker, Charles Winninger [Three Smart Girls] is a stand-out as Mickey's father, Joe Moran. Johnny Sheffield of Bomba fame also has a small role. Judy sings "I Cried for You," Mickey does an excellent impression of Gable, and there's a memorable finale in "God's Country." McPhail had hoped to have a career along the lines of Nelson Eddy, but when it didn't materialize and he and Jaynes got divorced, the poor guy took his own life at age thirty.

Verdict: Not the best Mickey-Judy musical but fun enough. **1/2.

ON YOUR TOES

Eddie Albert and (Vera) Zorina

ON YOUR TOES (1939). Director: Ray Enright.

"Russian art is always morbid." -- Vera.

Phil Dolan Jr. (Eddie Albert), a childhood hoofer who had an act with his parents, now wants to be a composer. To this end he hooks up with Ivan (Loenid Kinsky), a Russian composer  who helps him work on his ballet, "Slaughter on Tenth Avenue." He meets his old friend, Vera (Vera Zorina), now a ballet dancer, and she encourages the mild-mannered man in his work. He winds up dancing in his own ballet, unaware that two Russian hit men have confused him with someone else, and are planning to kill him at the climax. This is a textbook example of how not to make a film out of a hit Broadway musical (which was successfully revived in the 80's). First you hire two leads who can't sing, then cut out each and every one of Rodgers and Hart's tunes (one or two play in the background and that's it), then cobble together a screenplay that makes the movie resemble more a typical dopey musical of the period than anything else. "Slaughter on 10th Avenue" was performed much more successfully nine years later in Words and Music, the Rodgers and Hart biopic. There's some mild suspense involving the hit men, but mostly the movie is more tedious talk than music and comedy, with mostly unfunny shtick from the players. Accomplished ballet dancer Zorina [I was an Adventuress] was getting the build-up from Sam Goldwyn, and the film's credit reads "Zorina in On Your Toes." Talk about making somebody a star before they're a star! That said, Zorina has a pleasing personality and gives a capable performance, but her career was derailed when she was replaced in From Whom the Bell Tolls by Ingrid Bergman. Albert is okay, but James Gleason and Queenie Smith as his parents, as well as Erik Rhodes [Charlie Chan in Paris] as the temperamental ballet star, Konstantin, make a bigger impression, as does a charismatic Donald O'Connor playing Albert as a boy. Gloria Dickson has little to do as a flirtatious patron of the arts, but boisterous Alan Hale is all over the movie as the head of the ballet troupe.

Verdict: Aside from a couple of moments this is basically a waste. *1/2.

I MARRIED AN ANGEL

Sexless? Nelson Eddy and Jeanette MacDonald

I MARRIED AN ANGEL (1942). Director: W. S. Van Dyke.

In Budapest the irresponsible playboy and supposed banker, Willy (Nelson Eddy), is about to celebrate his 35th birthday with a masquerade ball. His disapproving associate, whom he calls "Whiskers" (Reginald Owen of The Good Fairy), thinks it's time Willy were married, and arranges for his shy secretary Anna (Jeannette MacDonald) to be invited to the party. His other, sexier secretary Marika (Mona Maris), suggests Anna go dressed as an angel, primarily to make fun of her. Willy doesn't know quite what to make of Anna, but later he dreams of an actual angel named Brigitta, who looks just like Anna, descending from heaven to marry him. But there are complications. I Married an Angel was based on a Rodgers and Hart musical, and it undoubtedly worked much better on the stage where its satirical aspects could be expressed with a degree of sophistication. Reworked as a vehicle for the essentially sexless duo Eddy and MacDonald, it simply comes off as weird and generally unmemorable. The picture picks up in the latter half, especially during a scene when Brigtta makes one tactless remark to her guests after another, assuming honesty is the best policy (but even this has a certain ugliness to it, as the targets are singled out for their age and appearance). MacDonald does become sexy in a nightclub scene, after Brigitta has fallen under the influence of a devilish baron (Douglass Dumbrille) and works her way scintillatingly through the crowd. I've no doubt most of the Rodgers and Hart songs were eliminated, but we still get the lovely title tune, the amusing "Willy Marry Me," and a snappy duet-dance between MacDonald and Binnie Barnes [Three Smart Girls] where the latter counsels the former to keep a "Twinkle in Your Eye." Wright and Forrest contributed one or two numbers as well. Unfortunately, both MacDonald [The Cat and the Fiddle] and Eddy [Phantom of the Opera] have a tendency to over-sing everything, clubbing the songs into submission. Their acting is fine, however, with MacDonald (although too old for the role of a virginal secretary) being as adept as the shy young woman warily approaching her boss at the party as she is as the semi-malicious character in the nightclub sequence. Owen, Maris and Barnes are fine, but Edward Everett Horton is wasted. Esther Dale and Gertrude Hoffman make their mark in smaller roles. At one point Eddy stands on a balcony and watches scenes of "Brigtta" inexplicably performing in such operas as Carmen -- making one wonder if the actress was hoping to be tapped by the Met. This was the last -- and probably least -- collaboration of the famous duo.

Verdict: Rodgers and Hart deserved better than this. **.

WORDS AND MUSIC

Mickey as Lorenz Hart and Judy as herself

WORDS AND MUSIC (1948). Director: Norman Taurog.

"... strange places with strange people ..."

Richard Rodgers (Tom Drake) and Lorenz Hart (Mickey Rooney) become a highly popular song-writing duo and a theatrical force to be reckoned with. This is a heavily fictionalized biography that completely suppresses Hart's homosexuality and alcoholism, and instead makes the man unlucky in love. The highlights of the film are the musical interludes: Judy Garland, playing herself, singing "I Wish I Were In Love Again" with Mickey; and doing a solo on "Johnny One-Note." Lena Horne scores with "Where or When? " and "The Lady is a Tramp,"  and Mel Torme does "Blue Moon." Then there's the excellent "Slaughter on Tenth Avenue" from On Your Toes with Gene Kelly at the top of his game. Rooney is as superb as ever, Drake [Betrayed Women] is fine as Rodgers, and Marshall Thompson plays associate Herbert Fields. Perry Como plays a fictional character in the film, and while his acting isn't bad, his singing style (at that time) apes Bing Crosby shamelessly. Janet Leigh has a nice turn as Rodgers' wife, as does Ann Sothern as Joyce, but the best one can say about Betty Garrett is that she's utterly unexciting. The picture is very handsomely produced, but the narration is unnecessary. To cap it all off we've got "With a Song in My Heart," one of Rodgers most beautiful melodies.

Verdict: Not the real story but colorful and entertaining. ***.

JUMBO

JUMBO (aka Billy Roses' Jumbo/1962). Director: Charles Walters.

"Pop" Wonder (Jimmy Durante) is the owner of a circus that is in real financial trouble -- the only real asset is an elephant named Jumbo --  none of which is helped by Pop's gambling. Against her better wishes, his daughter, Kitty (Doris Day), hires a stranger, Sam (Stephen Boyd), who claims to have experience as a trapeze artist. But Sam may have a connection to a man who is trying to take over Pop's circus against his wishes. A developing romance between Kitty and Sam is threatened by these revelations. This circus-themed musical is based on a Rodgers and Hart stage play, and their songs are the highlights of the movie: 'This Can't Be Love;" "My Romance;" "The Most Beautiful Girl in the World;" etc. The elephant Jumbo's act is also quite amazing. Day [Pillow Talk] is perky and efficient if sexless, Boyd [Ben-Hur] is better than you'd expect in this kind of material, Durante [The Great Rupert] as lovable as ever, and Martha Raye as his love interest is ... cute. Her bit pretending to be a lioness is devoid of mirth, but her stint as a human cannonball is a bit funnier. The screenplay was by Sidney Sheldon, and Busby Berkeley was second unit director.

Verdict: Just when you think it's over, it goes on and on and on. **1/2.

RODGERS AND HART: BEWITCHED, BOTHERED AND BEDEVILED

RODGERS AND HART: Bewitched, Bothered, and Bedeviled. Samuel Marx and Jan Clayton. Putman's; 1976.

This duel biography looks at the lives and careers of the great songwriting team of Richard Rodgers and Lorenz Hart. Together the two were responsible for numerous great songs, many now standards, in such shows as Babes in Arms, On Your Toes, I Married an Angel, The Boys from Syracuse, I Married an Angel, Pal Joey, and others, several of which were made into films. The book details how the two men met, their childhoods and early lives, the way they worked together, their sojourns to Hollywood and their work in the film industry, and the eventual discontent that settled in due to Rodger's exasperation with Hart's habit of getting drunk and/or disappearing for days. Written in a post-Stonewall period, Rodgers and Hart doesn't gloss over the probability that, despite his having proposed marriage once to a female friend (actress Vivienne Segal of Pal Joey and The Cat and the Fiddle) whom he'd never even kissed, he was essentially a gay man, although some of his intimates try to deny this. It is typical for people to describe gay men in a pre-Stonewall period as "tormented," but Hart seems to have enjoyed his life to the fullest even if he never found ideal love. (The authors do suggest that Hart would have been much better off if he had taken an insouciant, more positive attitude toward his sexuality a la Noel Coward.) Hart was the lovable prankster while the colder Rodgers was in comparison, a stern, more conventional taskmaster, although he was certainly not any kind of monster and was as kind and forbearing with Hart as he could be. Hart was devastated by being replaced as Rodgers' lyricist by Oscar Hammerstein and the success of Oklahoma, but Dick had not given up on Larry and worked with him on six new tunes for a revival of one of their earlier hits, but he died shortly after, probably due to cirrhosis of the liver. Rodgers and Hart is a good look at the team, but it isn't always well-edited, as instead of inserting comments from those they interviewed throughout the rambling manuscript in a more judicious approach, they simply let certain individuals drone on (often more about themselves than their subjects) for pages with no real context. Samuel Marx [Deadly Illusions: Jean Harlow and the Murder of Paul Bern] was a Broadway reporter and Jan Clayton [The Snake Pit] was in the original cast of Rodgers and Hammerstein's Carousel.

Verdict: Not the last word on the team, not always well put together, but a good enough introduction, and the authors' refusal to "straighten out" Hart is admirable. **1/2.

EVERGREEN

Just a guppie: Jessie Matthews

EVERGREEN (1934). Director: Victor Saville.

Music hall star Harriet Green (Jessie Matthews) has fallen in love and decided to retire. Her sycophants tell her that she is ageless and will remain "evergreen." Then someone gives her distressing news and she runs off all of a sudden. Decades later, Harriet's lookalike daughter, also named Harriet, shows up in London, and winds up masquerading as her own "ageless" (and deceased) mother. She herself becomes a music hall star, but how long can the deception last? Aside from one lovely tune, 'Springtime in Your Heart" -- which I believe is by Roger Woods and not Rodgers and Hart, who contributed one or two minor ditties -- this is a decidedly poor British musical starring the "talents" of the fish-faced Jessie Matthews whose singing is a trial for the ears -- Betty Boop, anyone? At least when her friend Maudie (Betty Balfour) does a horrendously bad version of an aria from Rigoletto, it is meant to be funny. At one point young Harriet's singing boyfriend Tommy Thompson (Barry MacKay) pretends to be the older Harriet's son, and the two put on a romantic (!) act together, which is gross in of itself. The final production number is okay, there is a weird "futuristic" bit with descending tubes transforming dancers into space-types, but for the most part these numbers are bad imitations of MGM musicals. Matthews later played the mother of Tom Thumb. Matthews has her fans; I am not among them.

Verdict: Stupid, with mostly uninteresting players, and just one good song. **.