Deanna Durbin was one of Universal's most successful stars in the late 1930s and 1940. Her films usually showcased her vocal talents as well as her ability to play light comedy. This picture deviated slightly from the formula. The story would give the actress a chance to play a more mature romance in Technicolor and it would also place her in a western setting.
CAN'T HELP SINGING was the only project in which Miss Durbin appeared in Technicolor. Also, it had the largest budget of any motion picture Universal had made up to this time. In other words, it was big and important in every way imaginable. But I think the smaller, more whimsical elements of the story are what make it so much fun to watch.
The comedy is very well played-- I would even go so far as to say the humorous moments are as painstakingly choreographed as the musical numbers. There's a smooth and airy feel to the proceedings that carries the story along from one grand show-stopping number to the next.
Another thing that works in the production's favor is that Durbin is obviously quite happy while making this film. From her very first moment on screen singing the title song in a carriage, she is full of joy. In previous films, her leading men tend to be comedians, but this time around she's paired with Robert Paige who did plenty of musicals at Universal.
Comic relief duties are handed over to Akim Tamiroff and Leonid Kinskey. They are a pair of lovable crooks who tag along as our heroine joins a wagon train out west. Supposedly these roles were originally planned for Abbott and Costello, the studio's other big moneymakers. But there was a disagreement about billing; and the duo did not want to be regarded as playing supporting roles.
I'd say the three roles are fairly even in terms of screen time but of course Durbin gets to play the love story and sing, so it really does become her movie. Nonetheless Tamiroff and Kinskey are able replacements for Abbott and Costello. In fact Tamiroff's performance probably couldn't have been topped.
The film was shot largely in Utah. The producers chose Utah because of the scenery and the lack of modern technology in its remote outdoor settings. Capturing these glorious landscapes are panoramic shots of the wagon train, as well as some excellent tracking shots.
There's a sequence where Durbin wanders off and performs a song in a forested area. It reminds me of the opening number in THE SOUND OF MUSIC and is probably the highlight of the film. With our star actress singing and relating to her natural surroundings, it's so sublime that you can't help loving it.
CAN'T HELP SINGING was the only project in which Miss Durbin appeared in Technicolor. Also, it had the largest budget of any motion picture Universal had made up to this time. In other words, it was big and important in every way imaginable. But I think the smaller, more whimsical elements of the story are what make it so much fun to watch.
The comedy is very well played-- I would even go so far as to say the humorous moments are as painstakingly choreographed as the musical numbers. There's a smooth and airy feel to the proceedings that carries the story along from one grand show-stopping number to the next.
Another thing that works in the production's favor is that Durbin is obviously quite happy while making this film. From her very first moment on screen singing the title song in a carriage, she is full of joy. In previous films, her leading men tend to be comedians, but this time around she's paired with Robert Paige who did plenty of musicals at Universal.
Comic relief duties are handed over to Akim Tamiroff and Leonid Kinskey. They are a pair of lovable crooks who tag along as our heroine joins a wagon train out west. Supposedly these roles were originally planned for Abbott and Costello, the studio's other big moneymakers. But there was a disagreement about billing; and the duo did not want to be regarded as playing supporting roles.
I'd say the three roles are fairly even in terms of screen time but of course Durbin gets to play the love story and sing, so it really does become her movie. Nonetheless Tamiroff and Kinskey are able replacements for Abbott and Costello. In fact Tamiroff's performance probably couldn't have been topped.
The film was shot largely in Utah. The producers chose Utah because of the scenery and the lack of modern technology in its remote outdoor settings. Capturing these glorious landscapes are panoramic shots of the wagon train, as well as some excellent tracking shots.
There's a sequence where Durbin wanders off and performs a song in a forested area. It reminds me of the opening number in THE SOUND OF MUSIC and is probably the highlight of the film. With our star actress singing and relating to her natural surroundings, it's so sublime that you can't help loving it.