SGriffin-6 Reviews

Peyton Place: Episode #1.83 (1965) Season 1, Episode 83

Peyton Place: Town of Metaphors

[5/10 · 1 June 2024]

Part of my enjoyment of "Peyton Place" is the visual style of the show--it reminds me a lot of how all soap operas (daytime too--I watched "All My Children" religiously) did their camerawork. One of my favorite stylistic tropes is when two characters are having a conversation, but both are facing the camera--one in close up, the other farther away. This way, we get to see both people's emotions, but that they can't see each other. It sounds weird in the description (and it is!), but it's ultra-common. Almost every episode has an example of this setup.

For this particular episode, there's a lot of use of props to symbolize what's going on with various characters and storylines.

1) Allison is getting annoyed at how snarky Norman has become (amen to that--he's become a real pill), and, as she reads him the riot act, she's cleaning out unsold books, throwing them into a box angrily, causing a lot of dust to fly up in the process. A great shot of the dust rising up into Norman's face indicates his need to clean up his act.

2) Allison also has a great scene while babysitting Kim. There's a loud crash upstairs at the Schuster house, and Kim's parents run in to discover that Kim has tipped over her doll house and is refusing to clean it up. Do I even have to explain this metaphor for how dysfunctional the Schuster home is?!

3) Betty goes out to dinner with Rev. Jerry. Although she's skeptical, she eventually relaxes and enjoys herself...but she can't help glancing over at "Steven Cord, son of Hannah Cord" (how he's consistently introduced!). A lovely moment happens when the waitress brings over the cherries jubilee that Jerry ordered for dessert. Betty is happily surprised at the extravagance...but she also happens to glance over at Steven just as the dessert is set aflame...with the camera placing Steven just behind the fire. A lovely way of visualizing the two potential paths in front of Betty: the good reverend or the dangerous flames of Steven...

Peyton Place: Episode #1.80 (1965) Season 1, Episode 80

Moving Around the Chess Pieces

[4/10 · 1 June 2024]

By the summer of 1965, "Peyton Place" had helped make ABC the number one network for the first time in its existence, surpassing NBC and CBS. As such, the show was so popular that, with this episode, the network started airing the series THREE times a week.

One would think that, with this move, there would be something going on in this episode that would grab the audience to want to watch that many times a week. But no. No major plot twists or cliffhangers. Rather, this episode continues what the previous few have been doing: setting up new story threads, putting the characters into position before the plotlines actually start getting hot and heavy.

Most particularly, the episode develops "Steven Cord, the son of Hannah Cord." Characters so constantly say this phrase that it almost feels like that's his full name...and anyone who has watched soap operas for a while has to know that when people start mentioning someone's name that often, they are likely to eventually show up...so Hannah is obviously on her way.

The one potentially exciting development in this episode is when Betty claps back at her boss Nurse Choate. Betty was one of the best characters when the show started, always commanding the screen. But her original plotline played itself out, and so she has had little to do over the past couple of months. But here, there is a sense that they are gearing her back up--a welcome sign.

Peyton Place: Episode #1.77 (1965) Season 1, Episode 77

Lots of Looking

[6/10 · 21 May 2024]

By this point in the show, the series has begun introducing a number of new characters--and another comes onto the scene in this episode. He doesn't say anything and we are not given his name (unless you watch the end credits of this episode!)...rather he gets out of (what we are told is) Martin Peyton's chauffeur-driven limousine, and his suitcases brought into the Colonial Inn, while he silently lurks around the town square taking in the surroundings. The fact that he seems to be scowling in the shadows, along with his somewhat uncanny resemblance to Prof. Paul Dougals (the ne'er-do-well who left town a few episodes ago) encourages us not to regard him kindly...

There is an even more interesting association than with Paul, though--because intercut with this mysterious man's arrival is Alison babysitting the rebellious Kim Schuster, who is first shown in this episode peeping over the living room sofa at Alison and her parents. Kim is someone who also silently watches. Thus, while Kim and the unnamed man do not appear together in this episode, their shared predilection for secretly watching links the two of them... subtly laying the groundwork for how these two will cross paths... (no spoilers here though!!)

Peyton Place: Episode #1.74 (1965) Season 1, Episode 74

men are icky

[5/10 · 17 May 2024]

So much time has passed since this episode was written, filmed, and originally broadcast, so my reaction might not be what was intended by the show's creators--but the men in this episode act like complete jerks towards the women. Like COMPLETE jerks.

1) Michael Rossi asks his dinner date Claire a personal question, and when she prefers not to answer, he shifts into prosecuting-lawyer mode, grilling her mercilessly. When she tries to say good night and leave him, he demands the right to see her home. Luckily, while he gets called away momentarily for a phone call, she takes off. He's a jerk.

2) David and Doris search desperately for their deaf daughter Kim, with David consistently blaming Doris for everything. When he talks with the police sergeant, he tells him to only call Doris if there's good news--if there's any trouble, the police are to reach him first, so he can manage Doris... oof

3) In Boston on their honeymoon, Elliot completely gaslights Connie. She enters the honeymoon suite saying that she was happy that they decided to stay an extra day (at his urging), but when he tries to extend the trip even longer, she reminds him that they have obligations. It becomes a tug-of-war, with him claiming she's trying to take charge...when it's completely the other way around...and she HAS compromised by agreeing to the extra day--it's his turn to realize HE has obligations too.

4) Rita continues to beat herself up, and let herself be a doormat. Her date Norman has abandoned her, and when Alison asks his brother to go talk to her, Rod says "she's not MY date" A$$hole. Good for Alison that she gets pissed off and leaves the apartment.

While I do think that the audience was not supposed to approve of Rod's ignoring Rita, and to feel perhaps ambivalent about Elliot's and David's actions, I do think they wanted us to agree with Dr. Rossi. Sorry, nope, not happening. These microagressions will not stand!

Peyton Place: Episode #1.70 (1965) Season 1, Episode 70

"Weddings bring out the emotions in everyone"

[12 May 2024]

By mid-May, it is plain that a new set of plotlines are about to set forth: there's a new reverend in town, and while he's intro'd marrying Connie and Elliot, this episode indicates he's a potential new love interest for Betty (who has been in a bit of storyline limbo since she divorced Rod); the new family moving into the former Harrington mansion...

But, as this episode indicates, the previous 8 months have helped build a good strong foundation for the Peyton Place citizenry, as indicated by one of my favorite bits of soap opera rhetoric: multiple looks darting across the room conveying the tangled web of relationships. In this case, during the wedding reception we get a well-orchestrated symphony of glances: Alison looks askance at her mother the bride and her new father; Rod sees Alison looking and asks her to dance; Betty watches her ex-husband Rod dance with Alison; Dr. Rossi sees Betty standing alone watching them dance, and goes over to ask her to dance; Claire seems bothered seeing Dr. Rossi do so...and then there's Rod's brother Norman watching it all with disdain, bringing the episode to a climax, shouting "You're all a bunch of LIARS!" before storming out.

Sidenote: I love that the small band playing at the reception seem to only know how to play songs that were written for movies made at 20th Century-Fox (who produced this show), such as "A Certain Smile," "You Make Me Feel So Young," and "Love Is a Many-Splendored Thing"...

Peyton Place: Episode #1.69 (1965) Season 1, Episode 69

holy time jump!!

[4/10 · 8 May 2024]

At the end of the previous episode, there was still snow on the sidewalks in the town square...and then, suddenly, it's a month or so later and it's spring! The opening montage of stock footage with narration from Matthew Swain helps smooth it over, and helps give the show the appropriate "Our Town" flavor of the changing seasons. (But, in doing so, the series actually does catch up with real time--it was May 1965 and Peyton Place was still in winter!)

Not only that, but Constance and Elliot have gone from finally touching each other's hand in his hospital room while he's recovering from heart surgery in the last episode to the two of them getting dressed for their wedding! In general, it very much feels like the show's creators have finished a particular narrative throughline, and are starting up a new bunch of stories--and a bunch of new characters: a new pastor, a new family moving into the Harrington mansion.

Peyton Place: Episode #1.66 (1965) Season 1, Episode 66

A showcase for young Ryan O'Neal

[7/10 · 3 May 2024]

When the series began in the fall of 1964, Ryan O'Neal's name was listed in the end credits, playing Rodney Harrington, the cocky oldest boy of the rich family in town. While Rod was quickly made part of the show's central "young-couple-in-love" (paired with Mia Farrow as Alison Mackenzie) , he remained listed at the end of each episode.

In the spring of 1965, O'Neal finally "graduated" to being announced as a lead character in the opening credits (along with Farrow, who'd always been there). As such, he started appearing in more episodes--and this one is the first where he really gets a chance to show his acting range.

Early in the episode, he has a long conversation with Alison's mother, as he grapples with finding out that his father has been covering up for literally decades that his recently-deceased mother was a murderer. Confusion. Anger. Disbelief. Sorrow. And an attempt to find love for his father nonetheless. All in one sequence. It's a lot--and he handles it neatly.

The guy might have a future! :-)

Peyton Place: Episode #1.63 (1965) Season 1, Episode 63

Key episode to the first year of this hit show

[9/10 · 26 April 2024]

When "Peyton Place" debuted in the fall of 1964, it set up a particular narrative that took until this episode, which broadcast in April of 1965 to finally pay off: Constance Mackenzie (Oscar winning actress Dorothy Malone) revealing to her daughter Alison (very young Mia Farrow) that she was married to anyone when she gave birth to her...and that the guy in the photo on the mantle came with the picture frame when she bought it at a drugstore! Further, her actual father is Elliot Carson--who has recently returned to town after having served 18 years for supposedly killing his wife!

The culmination of the reveal means this is a pivotal episode for Alison/Mia, and the show gives her a chance to shine. After leaving her mother to grapple with the sudden shattering of her world, she goes to see her college English professor, who is a cynical damaged man with a relatively obvious emotional interest in Alison. What transpires is a 6 minute long take (no editing) of the two of them, her trying to come to grips with a new view of life, and him trying to figure out if he should be honorable or take advantage of the situation. It's practically a return to the "Golden Age" of live theater on TV, and not only do the performers acquit themselves admirably, but Robert B. Hauser expertly glides the camera around the room to provide constantly intriguing angles and positions as they move around the room.

Peyton Place: Episode #1.52 (1965) Season 1, Episode 52

Fun for Someone New; Key Ep for Those Watching Avidly

[8/10 · 6 April 2024]

A number of key storylines link up in this episode (right as it hit the 1/2-way mark of its 1st season): the mystery over who killed Elizabeth, the secret about who Alison's father is, and town bigwig Leslie Harrington's attempts to overturn his dead wife's will. Plus we finally get to see Alison and Rodney (Mia Farrow and Ryan O'Neal) finally go on another date--after months apart due to Rodney having to marry Betty...

But fun as a standalone episode too--with an early rendition of "The First Time Ever I Saw Your Face" (years before Roberta Flack recorded it), some great mid-60's dancing at the local hangout The Shoreline, and Mickey Dolenz (pre-Monkees) showing up as a low-life with evil intentions!

Moonlight on the Prairie (1935)

More produced, but more thoughtless, than typical B Western

[4/10 · 28 November 2023]

Warner Bros. Trying to get in on some of that "singing cowboy" popularity that Republic was succeeding at with Gene Autry. The filmmakers seem to have more craft skills--some nice camera placement & moves (particularly when he finally breaks out in song), & decent back-screen projection.

But the plot is literally all over the place, makes no logical sense, and requires a lot of expository dialogue. Supposedly, Foran's wanted for murder--but that's conveniently forgotten. The kid and his Mom are under threat of physical violence by guys trying to take their ranch away--except when they aren't. Foran's sidekick is an expert escape artist...except not always. WTF? Republic knew how to craft a simple yet workable story--this is all over the place...

And the kid is obnoxious--showing up at the wrong time, saying the wrong things, etc. By the end, I was hoping Foran would side with the villains & let them take the ranch away from the brat...

Sesame Street: The magnificent block building (1970) Season 1, Episode 87

Landmark episode: "Bein' Green"

[10/10 · 31 March 2016]

According to the Muppet Wiki (http://muppet.wikia.com/wiki/Bein'_Green), this episode contains one of the key moments in "Sesame Street" history: when Jim Henson as Kermit the Frog sings "Bein' Green" for the first time. The tune was written by Joe Raposo, who composed a number of important songs for the show in the early years, such as "Sing" and the opening title song. In the philosophy of the show, it's a short segment--but unlike most of the other surrounding hyperkinetic cartoons, live action skits, and other Muppet hijinks is this low-key quiet piece of just Kermit sitting on a log in the dark singing. This segment is the start of the show (and the Muppets in general!) being regarded as something more than for kids... A number of artists, including Frank Sinatra, would record versions of "Bein' Green." To watch this moment, go to: https://www.youtube.com/watch? v=RIOiwg2iHio&spfreload=10

Circuit (2001)

Lifetime Movie of the Week

[21 June 2002]

Judging from the other comments on IMDb, I fear that I've seen

another film, because whatever it was *I* saw called "Circuit"

starring Jonathan Wade-Drahos wasn't anywhere near as "compelling," "objective" or "fascinating" as the film these other

people saw. This film has one of the worst scripts I've seen in

*ages*: none of the characters is interesting, you can see the plot

twists coming a mile away (and often scenes go on two minutes

past the time you've figured out what is important about the

moment), and the storyline gets wildly melodramatic. If they had

decided to play these over-the-top moments for laughs, it would

have been a great film. Now, it's deadly earnest, and deadly

period.

The film is also incredibly pedantic and judgmental. Supposedly

the circuit is supposed to be something amazing and fulfilling to

these characters (a number of them say so throughout the film),

but we never get to see anything that might indicate that. Instead,

all we see is desperation, venality and tragedy. It's like a

catechism class--anyone who takes drugs (even once!) MUST be

punished somehow!!!!

I will give credit that as a director, Dirk Shafer has gotten a bit more

visual than with his previous film "Man of the Year," and there are

some decent bits considering the low budget he had to work with.

But it can't compensate for the major problems mentioned above.

Camelot (1967)

Deadly--even with a great score...

[16 November 2000]

There's a reason why Hollywood in the late 1960s went into its worst recession since the direst years of the Depression in the 30s--it was lavishing ridiculous amounts of money on bloated musicals like this that totally *tanked* at the box office.

For some reason, the studios kept handing these big-budget adaptions of hit Broadway musicals to Joshua Logan to direct, even though they always ended up complete failures (check out the horrible use of color filters in "South Pacific" [1958], or Clint Eastwood and Lee Marvin *singing* in "Paint Your Wagon" [1969])). Like that later film, "Camelot" seems to go out of its way to cast its musical with stars who can't sing or dance to save their lives. Instead, the cast seems to be trying to tap into the interest in swinging "Mod" London of the mid-60s. (With Vanessa Redgrave and David Hennings, you have half the cast of Antonioni's "Blow Up" [1966]!) The film also tries to appeal to both a family audience *and* discerning adult viewers simultaneously. I can't imagine parents being happy about the frank earthy sexuality of "The Lusty Month of May," or the overt adultery of the plotline--but people looking for adult fare would be annoyed at the attempts at sweetness and light being thrown in as well.

Obviously, no one from either side was too happy, because this was a *big* flop for Warner Bros. when it came out. Seeing it in a *huge* theatre in 70mm may help maintain interest visually (the costumes are striking), but this will be lost if watching it on video (esp. if it's a "pan-and-scan" instead of a letterboxed version). This is a movie only for those who are die-hard musical fans that are willing to sit through anything--because this is one of the movies that effectively killed the genre's popularity.

The Story of Vernon and Irene Castle (1939)

Lesser Astaire and Rogers, which means still pretty good

[16 November 2000]

This was the last of the Astaire and Rogers films at RKO (they would reunite at MGM for "The Barkeleys of Broadway" [1949]), and represents the studio attempting to find a new way to make the duo popular. It's hard to believe, since the pair have become legends in Hollywood musical history, but by the end of the 1930s audience interest in Astaire and Rogers seemed to be ebbing. Consequently, this film feels *very* different than the rest of their films.

This is not a story of boy meets girl/boy dances with girl/boy loses girl/boy chases and chases girl/boy gets girl and dances with her again. There aren't a ton of the whimsical oddball comic supporting players. And--steady yourself--there are very few full-out major musical numbers. There is no stunning score of songs by Irving Berlin or the Gershwins.

This is because this is a musical biography about the Astaire and Rogers of the previous generation. Hence, the duo are asked not to dance in the manner that made them popular but in the manner that made *the Castles* popular, and to music that *that* couple danced to. Often, when the two dance, we are interrupted by various plot points (ie., cutting to other characters talking instead of keeping the camera on the dancers). One of the few moments where we are able to enjoy them completely is a montage sequence showing the Castles becoming the toast of the nation (with Astaire and Rogers literally dancing across a giant map of the U.S.)

The other major musical number is a solo: Ginger Rogers singing "The Yama Yama Man." Astaire was about to end his contract at RKO, but Rogers still was under contract--so the studio is plainly more interested in trying to build up Rogers for a solo career, and the film indicates this (Rogers' solo, the emphasis on her clothes and hair, etc.) Meanwhile, the film also indicates a growing awareness of the coming war, by dealing with Vernon Castle's enlistment during World War I--one of the first times Astaire had donned a uniform for the cameras (something he would do a *lot* in musicals for the next 5 years).

All in all, it's not what one usually expects from an Astaire and Rogers film, and thus suffers in comparison to "Top Hat" or "Shall We Dance," but still retains a charm and personality nonetheless.

Gold Diggers of 1937 (1936)

Lesser Berkeley, but with one really good number

[16 November 2000]

The heyday of the Warner Bros./Busby Berkeley musicals was on the wane by 1936. While the key films of the series ("42nd Street" [1933], "Gold Diggers of 1933" [1933]) dealt with putting on a show, and the numbers being parts of that show, Hollywood musicals by the mid-30s were starting to shift to "book numbers," with characters singing and dancing when they should have been talking or walking. "Gold Diggers of 1937" is an attempt by Berkeley to follow this trend, but still hang onto what had worked in the past for him. So there are book numbers and at least one major "show number." The results are middling.

Another factor that gave the WB/Berkeley musicals so much energy was the tough talk and slightly risque innuendo that was sparked by the desperation of the dark days of the Depression. By 1936, there were specific factors in place to reign this in. The Production Code was now enforced, keeping the Hollywood studios from including the overtly sexual material that livened so many of Berkeley's numbers.

Also, with Roosevelt's election to president, popular opinion swayed from cynicism and frustration to hope and support of the system. The early Berkeley films were nothing if not an expression of hard-bitten despair. In "Gold Diggers of 1937," we still have women forced to use their sexuality on oily moneymen in order to survive economically (one actually says at one point, "It's so hard to be good under the capitalistic system"--Imagine!). But, unlike the early films in the series, this film wants you to feel sympathetic for the millionaire (instead of seeing him as the oppressor).

While the studio did give the film some strong stars, the budget seems somewhat lower than usual for Berkeley musicals--except for the final musical number, "All's Fair in Love and War." It's a real stunner--surreal, amazing visuals that stand up to comparison with just about any of Berkeley's greatest numbers. It's probably worth sitting through all of the forced comedy just to get to this one number.

How to Stuff a Wild Bikini (1965)

Weak entry, but some minor interest

[9 November 2000]

This was the last of American-International's beach musicals that starred Frankie Avalon and Annette Funicello (although they'd try to continue for a few films without these two). Frankie and Annette are barely together even in the film--Frankie is more of a cameo than a major character in the plot.

Intriguingly, this musical is filled with "book numbers"--where the characters sing when they should be talking. Usually, the beach party movies just had people asking Frankie or Annette to sing at a party or at a nightclub. So, that's a change. The problem is that the songs aren't anything to write home about.

Further, the film betrays why the beach movies were losing their popularity: the surfing fad was being supplanted by a renewed interest in motorcycle culture. Only a year or two later, American-International would be making films like "The Wild Angels." This is a problem for a series where the stock antagonist, Eric Von Zipper, is a parody of Marlon Brando's biker hood in "The Wild One" (1954). The film shows a renewed interest in cycles--Annette's romantic interest, Harvey Lembeck, is an avid motorcyclist. The film tries to deal with this by transforming Von Zipper from a biker into the stereotypical 60s junior executive (a la "How to Succeed in Business"). But, you can see the structure starting to fall apart here.

There are fun moments though--particularly the opening credits (clay animation done by Art Cloakey, the creator of Gumby), and the wacky motorcycle race at the end of the film. Lastly, there's a fun cameo at the very end of the film by producer William Asher's wife...

A Song to Remember (1945)

Colorfully bad, with good music

[9 November 2000]

Knowing that this was Liberace's favorite film should give you an idea of what this film is like--in fact, his trademark candleabra on the piano was taken from one of the most memorable moments in the film.

This was a high profile production for Columbia in 1945, with lots of money thrown at the sets and costumes, and actually filming in color (remember, Columbia was still a second-rank studio during World War II--usually only spending major money on its Rita Hayworth films). Consequently, this biography of Chopin is beautiful to look at--but a bit overboard at the same time. It's certainly not minimalist!

As if competing with the lavishness of the design, the acting (particularly by Paul Muni) is waaaay over the top, and the storyline refashions Chopin's life into a very heavy melodrama. The dramatics are so ham-handed that the Harvard Lampoon in 1945 gave the film an award for the "ketchup on the keys" sequence. Possibly the most interesting aspect of the film (other than its campiness) is how this costume biography is inflected with aspects of 40s film noir. Merle Oberon as author George Sand is the film's femme fatale, potentially drawing Chopin down the wrong creative path. And, since the film was made while World War II was still being fought, the film has to make allusions to patriotic duty (especially since Chopin was Polish, and World War II officially broke out when Hitler invaded Poland in 1939).

So--you have tons of visual excess, some sumptious renditions of Chopin pieces, and a weird discussion of gender relations and wartime responsibilities. All in all, it's a wild piece of gorgeous junk.

Beach Blanket Bingo (1965)

Possibly the best of the "Beach Party" series

[19 October 2000]

This was the fourth official entry in American-International's "Beach Party" series (ie., having both Frankie Avalon *and* Annette Funicello in the cast), and shows the series at full steam, knowing exactly what works and how to play all the pieces. The score is perfect early-60s pop (with everyone singing in full reverb), and the various comedians (Paul Lynde, Don Rickles and Buster Keaton) are allowed to play off their strengths.

By this point, the series is beginning to look for new areas to explore (having already dealt with surfing, water skiing, body building, etc., in earlier entries), so that's why this "beach" film seems to be so focused on sky diving. In fact, the shift away from the beach scene to the hippie scene in the late 60s would spell the end of the series only a year or so later.

Beyond the sky diving, the film actually extends some of the supporting characters beyond the limited schtick they had been given previously. Stock villain Eric von Zipper (Harvey Lembeck) is given tons more screen time--and even gets his own musical number for the first time! And Bonehead (Joel McCrea, Jr.) not only gets his own subplot, but his story veers the film into a sort of bittersweet romance--something most people would never expect to see attempted in the broad farce that structures these films...much less pulled off!

"Beach Blanket Bingo" is no masterpiece--but, of its kind, its pretty great!

Brigadoon (1954)

The reputation of the MGM musical falters a bit here...

[19 October 2000]

Riding high on the box-office and critical success of films like "An American in Paris," "Singin' in the Rain," and "The Band Wagon," one of MGM's highly-trumpeted productions of 1954 was the film adaption of the Broadway musical "Brigadoon," with many of the artists involved in those previous hits (both in front of and behind the camera). Unfortunately, the end result did not match up with expectations--the box-office response was tepid, and critical reaction was mixed at best. (Further, this prestige musical was overshadowed by the enormous popularity of a lesser-budgeted musical released by MGM that year--"Seven Brides for Seven Brothers.")

The most common accusation for the failure of the film is that, due to budget trimming, the production was not allowed to go on location, so we get a pretty-obviously fake looking Scotland. This does create its problems, particularly because the storyline wants so much for viewers to be enchanted with the mythical Brigadoon, and it just seems like a big painted backdrop.

But the storyline itself questions just how wonderful this mystical village is, almost asking viewers to feel uncomfortable. While attempting to contrast the calm and contentment of Brigadoon with the noise and stress of New York City, the story also includes the character of Harry Beacham, a resident of Brigadoon who is frustrated and unhappy. This paints the film into an uncomfortable corner, and makes all the speeches about what a grand place Brigadoon seem like hard-sell propaganda. When Gene Kelly performs "Almost Like Being in Love," it was probably intended to echo his memorable rendition of "Singin' in the Rain"--but it comes off as someone trying a little too hard to convince us (and himself) that everything's all right (something that went on a lot in America during the 50s).

Consequently, "Brigadoon" is more interesting as an accidental reflection of the time in which it was made, than as sweet, old-fashioned musical escapism. This is not to say there aren't some decent numbers...and it's worth it to try and see it in its original CinemaScope framing.

Red, Hot and Blue (1949)

For Betty Hutton fans mainly/only

[12 October 2000]

There's not much to this film other than star Betty Hutton herself. The production values are minimal, the storyline (about a small theatre company trying to hit the big time) is simultaneously convoluted and unengaging. And your guess is as good as mine as to what the title has to do with anything (taken from a relatively successful Cole Porter stage production, there is *nothing* here by Cole Porter).

But, if you like Betty Hutton, you'll probably enjoy the film. It isn't as key a film in her career as "Annie Get Your Gun," "The Perils of Pauline," or "The Miracle of Morgan's Creek," but it certainly gives her plenty of room to showcase her manic comic ability and her own (shall we say) unique way of putting over a number. You just haven't experienced Betty Hutton until you've seen her perform a four-minute musical encapsulation of "Hamlet." Fasten your seat belts and hold onto the arm rests, because she is dialed up to eleven throughout the piece. Everytime you think she can't get anymore over the top, she manages to push even farther! This number alone makes the entire film worthy of some interest.

Irish Eyes Are Smiling (1944)

Skewed as biography, amusing as musical

[12 October 2000]

The film is part of a long line of musical biographies of songwriters that has hardly any interest in the person's actual life story. Instead, calling them biographies allows the musicals to cull songs from their catalog for various musical numbers. Still, at times, these films can be pleasant time-wasters. This one, ostensibly about turn-of-the-century songwriter Ernest Ball, is one of these pleasant but unexceptional entries.

Judging from the songs presented in the film, Ball specialized in Irish hokum ("Mother Macree" for example)--lugubrious ballads that wallowed in maternal sentimentality and dreams. Consequently, Dick Haymes portrayal of Ball presents him as a weak passive sort, who is easily pushed around. Seemingly to balance him, June Haver as his romantic interest is incredibly butch--growling, aggressive, and constantly popping people in the eye. While Haymes sings Ball's slow ballads, Haver performs peppy up-tempo numbers (that were not written by Ball). One of these underlines the reversal of gender-expected behavior: "Bessie in a Bustle." Here, Haver sings in male clothing, as various men in drag (with bustles naturally) cavort around her!

It's a pretty out-of-nowhere moment, but seems to fit the general attitude about aggressive women and passive men that's going on in the rest of the film.

Overall, it's a colorful period piece, with plenty to keep a viewer diverted for an hour and a half--and some interesting ideas if you stop to notice them. But it's no landmark musical.

First Love (1939)

Sweet little musical, great for Durbin fans

[12 October 2000]

"First Love" was a major transition for Universal star Deanna Durbin, as she was being positioned to shift from child star to engenue (something that Fox was inevitably unable to accomplish with Shirley Temple at the same time). While the film is not an overblown epic, it's lavish in the details, and carefully produced to give the whole piece a maximum of charm. To today's audiences, it might be a bit saccharine, but if you can dial down the cynicism of our age, the film's positive points grow.

Durbin plays much more subtly in this film than she had in many of her earlier films--signalling that she was now "maturer" instead of being a juvenile whirlwind ball of energy like she had been in "Three Smart Girls" and "100 Men and a Girl." Her beau, played by an impossibly young (and almost scarily good looking) Robert Stack, gives Durbin her first screen kiss--a source of major publicity for the film at the time.

The story is an updated Cinderella/screwball comedy, which nevertheless allows Durbin's character to break out into a few operatic arias throughout the film (this also takes some getting used to for modern audiences). The most memorable part of the film, suitably, happens during "the ball," where Durbin and Stack dance for the first time. Employing a charming idea, a shot of a crowded dance floor dissolves to a shot of just the duo dancing, to imply how the pair are so involved with each other that the rest of the world has faded away. If you like stuff like this, then you'll revel in the rest of the film.