LOVE HAPPY

"Some men are following me:" Groucho and the Adorable One

LOVE HAPPY (1949). Director: David Miller.

The Marx Brothers get embroiled with a penniless theatrical company when the evil Madame Egelichi (Ilona Massey of Frankenstein Meets the Wolfman) learns that a stolen necklace she covets is in a can of sardines lifted by Harpo, who brings food to the actors. Groucho is a private detective who narrates the story and in one brief sequence dallies with Marilyn Monroe in a cameo that was not her first film appearance. (She had a big part in Ladies of the Chorus with Adele Jergens the previous year, for one thing.) Chico is a wannabe performer who adopts the theater company, or vice versa. 

Love Happy is not a comedy classic like A Night at the Opera; in fact, it's not a very good movie and wastes the talents of its stars. As the femme fatale of the piece, Ilona Massey certainly has a voluptuous figure -- in one outfit her nipples look like loaded weapons -- but hasn't the face to match, giving her all the sex appeal of Margaret Hamilton. At first chubby-cheeked ingenue Vera-Ellen (Three Little Words) seems so squeaky clean she makes Doris Day look like a dominatrix, but she also has a good figure -- and is a very good dancer -- and when she plays Sadie Thompson in a production number she's not as bad as one might think. Paul Valentine makes little impression as the director/producer of the show-within-the-show. The songs by Ann Ronell are best described as forgettable, especially the lousy title tune and a truly dreadful number called "Who Stole the Jam?" which is performed by Marion Hutton (In Society), Betty's less successful sister, as Bunny. Raymond Burr plays -- and plays well-- one of Massey's thug cohorts, resulting in a bizarre moment when Harpo slaps Perry Mason in the face! There are some funny moments, especially relating to Harpo's coat from which voluminous items are pulled in one great gag, but Love Happy is mostly a sad comedown for the clowns and kind of tedious to boot. Director Miller also helmed Sudden Fear with Joan Crawford and many others.

Verdict: Not such a happy affair. **.

GO WEST, YOUNG LADY

Glenn Ford

GO WEST, YOUNG LADY (1941). Director: Frank R. Strayer. Colorized.
 

The town of Headstone is regularly besieged by a masked villain known as "Killer" Pete and his gang. Then into town comes the official replacement for the murdered sheriff, Tex Miller (Glenn Ford of Gilda). Bar owner Jim Pendergast (Charlie Ruggles) is expecting his nephew, Bill, to take over as sheriff, but "Bill" turns out to be his niece, Belinda (Penny Singleton of Young Widow), who's dad always wanted a boy. Belinda and Tex are immediately drawn to one another, while Pete keeps robbing the saloon. Judge Harmon (Jed Prouty), Deputy Hank (Allen Jenkins), and businessman Tom Hannegan (Onslow Stevens of The Vanishing Shadow) are at their wit's end, but one of them is hiding a secret. Meanwhile dance hall gal Lola (Ann Miller) knows much more than she's telling. 

Penny Singleton and Ann Miller have at each other!

Go West, Young Lady is a delightful western musical comedy that is bolstered by fast-paced direction, a great spirit of fun, and terrific performances. Ford is appealingly boyish, and while Singleton could be accused of simply playing Blondie Out West, she is also very good. Miller is suitably nasty as Lola, and she and Singleton have a protracted "cat fight" (they are not fighting over Ford) that is one of the best examples of a femme fight scene I've ever seen in the movies. Ruggles, Stevens, and Jenkins are also terrific -- Jenkins has a funny song and dance number with Miller -- and Edith Meiser is also notable in a small bit as an angry townswoman (she appeared in the I Love Lucy episode when Ricky makes the mistake of putting Lucy on a schedule). 

Charlie Ruggles and Ford

Go West, Young Lady is punctuated by several songs -- the title tune and "Take Your Time" are the most memorable -- but all of the tunes are pleasant. Waffles the dog makes an impression, and we've got numbers by the Foursome, as well as Bob Wills and the Texas Playboys. The opening, with Ford and Singleton shooting attacking Indians, is a bit problematic, but the ending, in which the ladies of the town take matters into their own hands, is wonderful! Frank R. Strayer also directed several installments of the Jones Family movie series in which Jed Prouty played the father. 

Verdict: An utterly charming musical comedy with the added bonus of a major "cat fight!" ***.

POINTED HEELS

William Powell and Fay Wray

POINTED HEELS (1929). Director: A. Edward Sutherland. Colorized.  

"I was so afraid you were going to be sensible -- and go away." -- Lora.

Broadway producer Robert Courtland (William Powell) is interested in the mildly talented Lora Nixon (Fay Wray of King Kong and Queen Bee) but she leaves the show to marry the wealthy Donald Ogden (Phillips Holmes of Beauty for Sale). Learning of his marriage, Donald's furious mother cuts him off without a penny and he and his new wife move into a dingy flat. Lora's brother, Dash (Richard "Skeets' Gallagher), has an act with his wife Dottie (Helen Kane), and they interest Courtland -- who is still attracted to Lora -- in their show, which they threaten to sink by suddenly deciding to act all "refined." Courtland can't help but notice a rift in the Ogden's marriage -- musician Donald can't quite deal with Lora being the breadwinner -- but will he take advantage of the situation? 

Phillips Holmes

Pointed Heels is a charming old musical, an early sound film, that features some good performances from the three leads although it frequently eschews logic. For instance, why would Donald feel out-classed by Lora when his score is being used for the new musical and she only has a supporting part? And one could certainly raise their eyebrows at Courtland's technique for loosening up the Nixons -- he gets them drunk before sending them out on stage on opening night! As well, Donald is working on a "symphony" but the passages we hear don't exactly sound like classical music. The songs in this include "Ain't Ya" and "I Have to Have You." Helen Kane only appeared in eight films but she became famous as the basis of Max Fleischer's cartoon character Betty Boop and even originated the phrase "Boop-boop-deboop." She sued Fleischer but lost, even though Betty Boop was clearly inspired by her. A. Edward Sutherland also directed Follow the Boys and many others. 

Verdict: Minor but fairly nice old musical with interesting players. ***. 

HOLLYWOOD PARTY (1934)

HOLLYWOOD PARTY (1934). Director: Roy Rowland.

The Three Stooges and Laurel and Hardy in the same movie! Along with Jimmy Durante, Lupe Velez (the Mexican Spitfire), Polly Moran, Arthur Treacher, and Mickey Mouse. Including an animated bit called the "Hot Chocolate Soldier." Durante plays the great "Scharzan," whose jungle movies have taken a dip at the box office. His rival, "Liondora" (George Givot), isn't doing so great either, and both of them hope to get a prize pride of lions to appear in their films with them. Somehow this all leads to a great big Hollywood party with chorus girls singing the snappy title tune (the darn thing sticks in your memory whether you want it to or not!). Best bits are scenes between Lupe Velez and Laurel and Hardy, and the interplay between Durante and Polly Moran as a wealthy patroness of the arts. Some of the gags are real groaners. The Three Stooges are autograph hunters and Laurel and Hardy think they own the aforementioned lions.

Verdict: Fun, but if only the material were as good as the cast! **1/2.

SAFETY IN NUMBERS

The cast of Safety in Numbers

SAFETY IN NUMBERS  (1930). Director: Victor Schertzinger.

"My uncle says you're well-acquainted with the 400."

"We are. We know all of the husbands and none of the wives."

20-year-old Bill Reynolds (Charles "Buddy" Rogers) will inherit millions on his next birthday, so his uncle inexplicably sends him to New York to supposedly sow his wild oats, yet hires three chorus girls to look after him and keep him out of trouble and away from predatory females. You would think with a plot like this the movie would at least be some fun, but it's so badly written and paced that it's a real snooze-inducer. The three chorus girls are so amateurish that it's a shock to realize that one of them is actually Carol Lombard, who would of course develop into a talented comedienne and major Hollywood figure -- but you'd never know it from this movie. Geneva Mitchell is slightly saucier in her brief turn as Cleo Carew, who has a hankering for Reynolds. 

Rogers had some charm and aplomb, but the movie is dull and the songs not very memorable. Louse Beavers, playing a maid as usual, sings a number -- but you can miss it. The movie has a total of one laugh and only one interesting sequence, when we see a bunch of chorus girls in silhouette before a screen showing scenes of New York. Reynolds unaccountably  falls in love with Jacqueline (Kathryn Crawford), the plainest of the trio. Josephine Dunn rounds out the threesome and Virginia Bruce has so small a role that if you blink you miss her.

Verdict: Almost unbearably bad. 1/2 *. 

HOLLYWOOD HOTEL

Dick Powell and Rosemary Lane

HOLLYWOOD HOTEL (1937). Director: Busby Berkeley. 

Saxophonist Ronnie Bowers (Dick Powell of Susan Slept Here), who has somehow been given a movie contract, is tapped to accompany movie star Mona Marshall (Lola Lane of The Woman Condemned) to a big premiere. He is unaware that an angry Mona has refused to attend and his date is actually a lookalike named Virginia (Rosemary Lane). When the studio drops Ronnie's contract due to the complaints of Mona, Ronnie and Virginia cook up schemes to get him back in the business. Meanwhile Benny Goodman and his band play a couple of snappy numbers, Dick and the Lane sisters sing some pleasant if forgettable songs, and three comparative freaks of nature -- supremely homely columnist Luella Parsons, "singer" Johnnie Davis, and buck-toothed Mabel Todd as Mona's sister -- nearly shatter the camera lens. 

Freaks: Johnnie Davis and Louella Parsons

Hollywood Hotel is an amiable bit of nonsense with a slender plot and some lively musical moments. Fritz Feld has a very funny bit as a Russian customer in a coffee shop, Ronald Reagan appears for a few seconds as an emcee at the premiere, Harry James -- still playing for Benny Goodman at this point -- makes smooth music with his trumpet, and Raymond Paige and his orchestra play an exciting Russian-style number. Others in the cast include Ted Healey (who put the Three Stooges together before being ousted) as "Fuzzy," Ronnie's alleged manager; Frances Langford; Glenda Farrell as Mona's secretary; Alan Mowbray (of Becky Sharp) as Mona's leading man; Perc Westmore as himself; Grant Mitchell as the head of the studio; Allyn Joslyn as his assistant; and others. Goodman's integrated band includes drummer Gene Krupa and vibraphonist Lionel Hampton. A gay fashion designer is named "Butch" -- oy vey!

Verdict: Some fun but perhaps not enough. **1/2. 

WHEN JOHNNY COMES MARCHING HOME

WHEN JOHNNY COMES MARCHING HOME (1942). Director: Charles Lamont.

War hero Johnny Kovacs (Allan Jones) is feted when he comes home on leave, but most of his musician buddies only know him as Johnny O'Rourke. Therefore when police come searching for him so he can fulfill some obligations, his pals assume he's a deserter from the army. Two women fall instantly in love with Johnny -- Joyce (Jane Frazee) and Marilyn (Gloria Jean) -- while Dusty (Peggy Ryan) can't even score with Frankie (Donald O'Connor). This has virtually no plot to speak of, but there are some well-delivered songs, such as the duets "This is It," "Romance," and "You and the Night and the Music." Jones has a very nice voice, but even in his day his style was a little too precious, and nowadays he seems just a bit hokey. Olin Howlin has a larger role than usual as a liaison, and a black dance group called the Four Step Brothers are full of verve. O'Connor is as good and as likable as ever, although his numbers with the frankly unfunny Ryan are nothing to sing about. Ryan made a better impression in Chip Off the Old Block, which starred O'Connor. Frazee was in Buck Privates and Gloria Jean in Copacabana.

Verdict: By the numbers -- but at least the numbers are good. **1/2.

IN THE NAVY

Bud Abbott, Dick Foran, Lou Costello

IN THE NAVY (1941). Director: Arthur Lubin. Colorized version. 

Russ Raymond (Dick Powell), singing star, wants to get away from his adoring fans and become anonymous in the Navy. Reporter Dorothy Roberts (Claire Dodd of Babbitt) is determined to get a photo of him for her magazine, somehow thinking this will be a big story. (Even Elvis getting a haircut for the Army wasn't that big a story!) Russ in his new identity encounters the film's true stars, Abbott and Costello, as sailors Smoky and Pomeroy. Chubby Pomeroy thinks of Patti of the Andrews Sisters as his girlfriend, but she may not be so inclined. Everyone sings! 

The Andrews Sisters

In the Navy is an amiable if minor A&C comedy with some amusing moments and pleasant tunes that are not that memorable all told. Bud and Lou do their usual schtick and do it well. Dick Foran is fine as their slightly grouchy superior officer and Powell does his best as straight man for the boys. Claire Dodd is professional but comparatively bland as the persistent reporter. Patti Andrews displays personality to spare, and she and her two sisters sing up a harmonizing storm. The highlight of the movie is actually some splendid tap-dancing from the Condos Brothers duo. Foran and the Andrews trio also appeared together in Private Buckeroo, where Foran gets to do a lot more singing. The Andrews Sisters did a pilot for a TV sitcom in 1951 but no network picked it up. 

Verdict: The boys have done better but this has its moments. **1/2. 

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. ***. 

COPACABANA

COPACABANA  (1947). Director: Alfred E. Green.

Lionel Deveraux (Groucho Marx) is a manager with one client, Carmen Navarro (Carmen Miranda), to whom he's been engaged for ten years. When he tries to get her work at a nightclub owned by Steve Hunt (Steve Cochran), Hunt tells him that he prefers a French singer. Enter the always veiled Mlle. Fifi,  who is Carmen in disguise. Hunt hires the French doll, then decides he wants Miss Navarro as well. So Carmen does her best to keep up a hectic performance schedule without anybody knowing that both performers are actually the same woman. The interplay between Marx and Miranda, who make a great team, is priceless, and the other performers are game. Gloria Jean is charming as Hunt's secretary, Anne, who pines for him even as he pursues Fifi. Singer Andy Russell, who plays himself, has a very nice voice and is easy to take. Miranda may not be a brilliant performer, but it's hard not to like her, and Groucho is as wonderful as ever. Some nice songs include "Strange Things Have Happened." The film is full of chorus cuties who trade wisecracks with Marx, and there are guest appearances by columnists Abel Green, Louis Sobol, and Earl Wilson.

Verdict: This may not be a Night at the Opera, but it's very amusing and charming. ***.

NEW FACES

Robert Clary stinks up another number

NEW FACES (1954).  Director: Harry Horner.

Making CinemaScope productions of Broadway revues was certainly a rare occurrence in the 1950's, but New Faces was quite successful and it was supposed that it would transfer well to the screen. Well ... the trouble is the material and some of the players. The two performers who get the most screen time are Eartha Kitt and Robert Clary.  Kitt (of Anna Lucasta) was a very talented actress, but her voice was not always exactly euphonic. Clary, best-known for a supporting role on the sitcom Hogan's Heroes, must have had an uncle or somebody else who backed the show, for his appearance in this is inexplicable. He does number after number but betrays no great singing talent nor comedic ability. You'll be reaching for the fast forward button!

"Love is a Simple Thing" dance routine

Fortunately there are a few more talented people in the movie. Paul Lynde (of Bye Bye Birdie) does a hilarious routine on going on a disastrous vacation in Africa. Singers Virginia Wilson and June Carroll do a couple of numbers each. Carol Lawrence [A View from the Bridge] and Alice Ghostly [Rodger and Hammerstein's Cinderella] also appear, the latter doing a forgettable skit with Lynde. The rest is decidedly a mixed bag. "Penny Candy" is an awful number that seems to go on forever; Kitt is at least given a fairy decent song with "Santa Baby," and "Love is a Simple Thing" is the most memorable tune; the dancers excel during this number. "You Can't Chop Your Papa Up in Massachusetts" -- about Lizzie Borden -- is meant to be cute and whimsical but is simply an exercise in bad taste. In the barely existing backstage plot, Ronny Graham tries to get Virginia's father to fork over the money for the show. Harry Horner also directed Vicki, a murder mystery set in the theater world. 

Verdict: Too much tedium but Paul Lynde helps a lot. **. 

HOLIDAY IN HAVANA

Mary Hatcher, Desi Arnaz

HOLIDAY IN HAVANA (1949). Director: Jean Yarbrough.

Bus boy turned bandleader Carlos Estrada (Desi Arnaz of Cuban Pete) wants to sign up singer Lolita Valdez (Mary Hatcher) to be a vocalist with his group. Talking to what he thinks is Lolita through a hotel room door, Carlos is highly insulted by the gal's termagant mother, Mama Valdez (Minerva Urecal of That Other Woman). Hating Lolita for "her" remarks, Carlos attempts to find a new singer with which to enter a competition at a carnival in Havana. Through a sequence of events, Lolita winds up accompanying Carlos and his band to Havana, but he thinks she is a woman named "Delores." Meanwhile two opposing agents, Marge (Ann Doran of Violent Road) and Sam (Ray Walker), are both anxious to sign Lolita to a contract that will bring her to New York. 

Ray Walker, Minerva Urecal, Ann Doran

I asked myself while watching "why is Holiday in Havana so dull?" Desi Arnaz is charming and talented -- I was never crazy about his voice but he does know how to put over a song -- as is his leading lady, Mary Hatcher, and there is fine back up from Urecal, Doran, and Steven Geray and Sig Arno as members of the band. There are also some snappy song numbers -- Hatcher scores with the lovely "I'll Take Romance" while Desi does "The Straw Hat Song" (which he reprised on Lucy) and that exciting bongo-rhumba finale. But then there's everything in-between, silly situations with no real laughs even though the cast is more than game. The movie runs a little over an hour but it seems three times as long. Mercifully, Arnaz found gainful employment, and showcased his considerable talent, on I Love Lucy two years later. Despite her ability, Mary Hatcher's film career -- after only a handful of credits -- was over that same year. Hatcher had a beautiful near-operatic voice and did some Broadway musical productions in addition to film assignments. 

Verdict: Desi has energy to spare but he needs a better script. **1/2. 

ONCE UPON A MATTRESS (1964)

"I'm SHY:" Carol Burnet as Winifred the Woebegone

ONCE UPON A MATTRESS (1964 television presentation from the Broadway show.)  Directed by Joe Layton and Dave Geisel. Music by Mary Rodgers. Lyrics by Marshall Barer. 

Recently I saw a revival of the old Broadway hit Once Upon a Mattress --which made Carol Burnett (of Eunice) a major star -- at City Center in Manhattan with Sutton Foster in the lead. I remember seeing the TV adaptation of the show when I was a kid and decided to look for it on youtube -- and there it was (along with a 1973 color version also starring Burnett). Now I have to say Sutton Who? Burnett with her comic genius owns this role -- Princess Winifred the Woebegone -- no matter who else plays it in the future. She is marvelous and very funny. 

Joseph Bova with Burnett

Burnett is backed up by a very talented cast. As the queen, Jane White is bitchy perfection. (White was actually African-American, the daughter of the founder of the NAACP, and it's wonderful that the TV network didn't insist on hiring someone Caucasian to replace her.) Also transferred from the Broadway production was Joseph Bova as Prince Dauntless the Drab. I'm not certain if the others were on Broadway, but they consist of Shani Wallis as Lady Larken, Bill Hayes in fine voice as the Minstrel, Jack Gilford [A Funny Thing Happened On the Way to the Forum] as the mostly silent king, Jack Fletcher as the wizard, and Elliott Gould [Stolen: One Husband]  -- yes the man can sing and dance, too -- as the court jester. 

Jack Gilford and Elliott Gould

The only real quibble I have is that this version drops three of the best songs, two love duets for the minstrel and Lady Larken, and the show-stopping "Happily Ever After" number. Fortunately we've got Hayes and Wallis singing "Normandy," Burnett exuberantly performing the knock-out number "Shy," the queen planning Winifred's defeat in "Sensitivity," and Gould doing a splendid turn with "Soft Shoes." There is also a brief duet for the prince and Winifred that is not on the cast album and which I found on an additional youtube clip. Another change from Broadway is that the young lovers are secretly married in this, whereas in the stage show they are not -- and Larken is pregnant. That's a no-no for TV in the sixties!

Verdict: All in all this is delightful with a simply wonderful Burnett. ***1/4.

ONCE UPON A MATTRESS (1972)

Carol Burnett sings "Shy"

ONCE UPON A MATTRESS (1972 TV adaptation). Directed by Ron Field and Dave Powers. Music by Mary Rodgers. Lyrics by Marshall Barer.

Having done a black and white TV adaptation of her Broadway triumph, Carol Burnett decided to do it again -- this time in color -- about a decade later. Jack Gilford and Jane White reprise their roles as the king and queen, Bernadette Peters and Ron Husmann play the young lovers, Wally Cox is the jester, Ken Berry is Prince Dauntless, and Lyle Waggoner is the wizard, Sir Studley. At first you might think that Burnett is a little off her game, having lost that sort of gauche quality that she had before she became so famous, but then she digs into her showstopper "Happily Ever After" (left out of the earlier version) and brings the house down. She's sensational. 

Jane White and Ken Berry

However, she almost has to take a back seat to Jane White, who is even better than she was in the first version, and who is given a little more to do, such as being flirtatious with Sir Studley. One of the love duets, "In a Little While," arguably the best song in the show, has been reinstated, and the lovers -- the gal is pregnant -- are once again unmarried, this being the swingin' seventies. Ken Berry reveals a pleasant singing voice and while not quite as good as Joseph Bova in the original telecast, works well with Burnett. Ron Husmann was a busy Broadway performer. 

Verdict: Another charming and tuneful adaptation. ***.                    

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. 

CUBAN PETE

Beverly Simmons and Desi Arnaz

CUBAN PETE (1946). Director: Jean Yarbrough. 

Society woman Mrs. Lindsay (Jacqueline deWit of The Damned Don't Cry), who fancies that she has a voice, wants to hire Desi Arnaz (playing himself) and his band for her radio show. Desi is caring for his little orphaned niece, Brownie (Beverly Simmons), in Cuba and has no desire to go to New York. Ad man Roberts (Don Porter of Youngblood Hawke) has his associate, Ann (Joan Shawlee), fly to Havana to importune Desi to return with her. With the help of his niece, Ann eventually gets her objective, only to learn that Mrs. Lindsay, who has a terrible voice, intends to sing on the radio with his band! Can Ann convince Desi not to return to Cuba on the first plane, and can they prevent Mrs. Lindsay from ever opening her mouth?

Don Porter and Ann Shawlee

Cuban Pete is strictly a showcase for Desi Arnaz, who is spirited and charming in the film, demonstrating that he had ability and charisma long before I Love Lucy. He does a fine rendition of the title tune (which he also sang on Lucy) and a couple of other numbers. Desi has a girl group called the King Sisters, one of whom, Consuela, sets her cap for Roberts. Brownie has a talking parrot which, in an unfunny sequence, causes foolish havoc in a doctor's office. With its weak script, Cuban Pete did nothing to establish Arnaz as a film star. Shawlee had a wide variety of credits as did Porter; both did much TV work later in their careers. Pianist Ethel Smith, playing herself, does a nifty number on the organ. From Universal Pictures. 

Verdict: A likable energetic Desi is about all that saves this. **1/4. 

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. 

GENTLEMEN MARRY BRUNETTES

Jane Russell and Scott Brady in Paris

GENTLEMEN MARRY BRUNETTES (1955). Director: Richard Sale.

Connie Jones (Jeanne Crain) is annoyed that her sister Bonnie (Jane Russell) can't stop herself from accepting one proposal after another from smitten gentlemen. The two flee from New York to Paris where they somehow become the toast of the town due to the efforts of Rudy Vallee (playing a kind of slimy variation of himself) and wannabee managers David (Scott Brady) and Charlie (Alan Young). The ladies are booked into several high-tone establishments but are always fired when they refuse to wear the highly immodest outfits that the managements propose. Ensconced in a hotel room and wondering how they'll pay the bill, they suddenly find they have a unknown benefactor who is plying them with gifts -- everything from gowns, diamonds and poodles to a luxury car complete with chauffeur. Wondering what their mysterious benefactor will expect when he finally introduces himself, they accept an invitation to perform in Monte Carlo in Monaco, where the truth will finally come out.

Jane Russell and Jeanne Crain

Gentlemen Marry Brunettes, a sort of sequel to Gentlemen Prefer Blondes, exists in a separate universe of its own that has absolutely no relation to reality. It is never explained how or why David even knows of the existence of the sisters, or why Charlie, who turns out to be very wealthy, shares a garret with David and has to resort to stealing newspapers and food. (Yes, there's something about his father's edict that he can't spend money on himself, but food?) For that matter, why is Rudy Vallee, who can't really sing a note if we're being honest, playing himself? 

Ain't Misbehavin': Alan Young in a gorilla suit!

Then there are the song numbers. The original songs are pretty awful and the versions of classic songs such as Rodgers and Hart's "My Funny Valentine" are poorly done. The absolute nadir of this film -- and possibly of virtually every musical that ever came out of Hollywood -- is Alan Young croaking "Ain't Misbehavin'" while wearing a gorilla suit. (This is during a so-called African number that is performed in Monte Carlo.) The performances are pretty much what you would expect, perfectly adept and professional, with Crain in an unusual role for her. Jane does her own singing, Brady and Crain are dubbed aside from one number, and I'm not sure about Young except that he or whoever dubbed him sings flat. 

Scott Brady and Jeanne Crain

Despite all of this Gentlemen Marry Brunettes moves along swiftly and is never especially offensive. Jane Russell is in her usual butch-femme mode throughout, and Young is more femme than butch. The film is greatly bolstered by obvious location filming in both Paris and Monte Carlo, although there is back lot work as well. My favorite line is quoted by Young as spoken by his rather horrible father: "Every time you enter a room it's like somebody left."

Verdict: At least there are great views of Paris and Monaco in CinemaScope and Technicolor! **1/2. 

AT LONG LAST LOVE

Burt Reynolds and Cybill Shepherd

AT LONG LAST LOVE (1975). Written and directed by Peter Bogdanovich. 

Brooke Carter (Cybill Shepherd) and her maid, Liz (Eileen Brennan of Jeepers Creepers), are wondering when mother will send the check to pay the hotel bill. She meets a handy millionaire named Michael (Burt Reynolds), but he becomes smitten with Broadway star Kitty O'Kelly (Madeline Kahn), who turns out to be an old high school pal of Brooke's. But Brooke has a consolation prize in handsome Italian Johnny (Duilio Del Prete) who, unfortunately, is a gambler with no money. Meanwhile Liz develops a yen for Michael's good right hand, Rodney (John Hillerman). As the entire cast sing nothing but Cole Porter songs -- Friendship, Did You Evah, I Get a Kick, DeLovely, You"re the Top, Just One of Those Things and more -- the affections among the foursome transfer and confuse until you don't really know (even at the end) who will wind up with whom. 

Madeline Kahn and Duilio Del Prete

At Long Last Love was Peter Bogdanovich's second stab at an old-fashioned kind of screwball comedy and it is much less successful than his first, What's Up Doc? The movie may not be as awful as many have suggested, but it does have some serious problems. The biggest is the direction and editing. The actors perform their numbers live before the camera, no dubbing, but that should not have precluded there being cuts in these numbers so that they have a cinematic panache. Even the kitschiest old Hollywood musical has more of a sweep and flow to the production numbers -- it's as if they were simply shot on a theater stage with the camera nailed to the ground. (The camera moves at times but there are very few actual cuts and no mix of close ups and medium and long shots.) 

John Hillerman, Eileen Brennan and cast

Then there are the performances. I can certainly think of two leads who would be more appropriate for a homage to Cole Porter than Burt Reynolds and Cybill Shepherd. Both are perfectly pleasant and even reasonably adept, but no more. Shepherd reveals a nice voice and uses it well, while Reynolds can carry a tune without disgracing himself but little else. Eileen Brennan is, of course, as terrific as ever and also can sing quite well, while Kahn also shows off her considerable talents. Del Prete has a lot of ability and a great deal of charm -- he is quite appealing in the picture. (By the way when he sings the title tune he does not say "luff" instead of "love" as some critics suggested back in the day.) 

And the music. One is reminded of all the glorious melodies and amusing sophisticated lyrics written by the great Cole Porter. Some of the numbers are pretty much muffed, but others survive the production back drops and the singers. Cary Grant played Cole Porter in the fictional biopic Night and Day. 

Verdict: Those long, long takes nearly sink this from the first, but it's also stylish and pretty good to look at. **1/2. 

SAY ONE FOR ME

Debbie Reynolds and Robert Wagner

SAY ONE FOR ME (1959). Produced and directed by Frank Tashlin. 

Father Conroy (Bing Crosby) has a parish in the middle of the theater district and holds services at two in the morning. When one parishioner, Harry (Les Tremayne), falls ill and can't work, his daughter, Holly (Debbie Reynolds), takes up the slack. Harry and Father Conroy think she's working as a secretary, but Holly is actually appearing in a nightclub with her smooth and handsome partner and boss, Tony Vincent (Robert Wagner). Now the trick is to keep that wolf Tony at bay while both of them jockey for stardom. When Father Conroy gets a chance to put together a TV special, Tony thinks he's In Like Flynn -- but is he?

Ray Walston with Der Bingle

Say One for Me is artificial from the first frame to the last, and comes off more like something out of the 1930s than the 1950s. Bing doesn't strain too much to put over his familiar portrayal of Father Conroy, and Reynolds and Wagner are perfectly professional. Wagner sings and dances in this, but he's no threat to Fred Astaire. The supporting cast is perhaps of more interest: In addition to Tremayne, we've got Connie Gilchrist as the priest's cook and housekeeper; Joe Besser -- "Stinky" on The Abbott and Costello Show -- as Tony's manager; and especially Ray Walston in a terrific turn as an alcoholic associate of Tony's. Father Conroy cures the man of his addiction overnight! 

Judy Harriet as June January

There are a few songs by Cahn and Van Heusen, most of which are forgettable, with the exception of Bing's "I Couldn't Care Less" and "Christmas All Year Through." Judy Harriet plays a girl who is rejected for the nightclub by Tony and tells him in a year she'll be a star, which happens at the end of the movie as she warbles her hit record, "The Night Rock n Roll Died" -- also forgettable. The best music in the movie is actually the theme music by Lionel Newman. If the movie weren't treacly enough, it also throws in a baby and an unwed mother. Sebastian Cabot shows  up briefly as a fat Monsignor, and Herb Alpert is the sexy trumpet player in the background of one of the numbers.

Verdict: You can stand this for about an hour but unfortunately it's two hours long! **.