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Reviews
Hollywood Canteen (1944)
Memory Lane Milestone
Was awaiting assignment at Ft. Douglas, Utah when the movie of the week was "Hollywood Canteen". 'Don't Fence Me In' and 'Sweet Dreams, Sweetheart' became instant hits for me. The former became an instant hit for a smaller group during the Evacuation of the Pacific Coast. 68 years later, watched a tape of the movie again after also watching "Stagedoor Canteen". Having become a movie fan before starting kindergarten, have seen and forgotten many movies. The 'Canteen' movies plus "Thank Your Lucky Stars" and "Follow the Boys" are among those always remembered. Would agree with Ann Sheridan (the OOMPH girl) that the story was unlikely. Would agree that Janis Paige did herself proud with her performance. Am grateful to reviewer Dr Fox for setting the record straight for John Garfield. Feel that endings for the 'Canteen' pictures were actual and real for many GI's. I speak, of course, of the bittersweet partings, not of the 'movie star' involved. If you survived WWII or would like to learn more about it, see it ! !
First Love (1939)
Heart Warmer
Reviewers before me have ably stated the performers and crew who have contributed to this timeless presentation of the Cinderella story.
I join with a previous enthusiast who identifies the Strauss medley sung by Miss Durbin at the Royal Ball as being singularly excellent. The third melody which was unidentifiable at that time turns out to be a waltz from Strauss' little known operetta "A Night in Venice". Thus we have: 'Life is sweet and gay. . .' the Schatz waltz from the "Gypsy Baron"; 'This is Maytime. . . .' from the "Southern Roses"; and finally, 'Spring in my heart.. . .' from " A Night in Venice". It is the 'Gondellied' or Venetian Boat Song from that operetta. And yes, the accompaniment flourish at the end includes a few bars of the '1001 Nights' from the "Gypsy Baron" before finishing with 'Voices of Spring'. The medley has been seamlessly sewn together by Hans J. Salter, and Ralph Freed supplied the lyrics. A joy to listen to.
The success of the movie is first and foremost the performance of Deanna Durbin, of course, but turning her rendition of "One Fine Day" into a happy ending is to be recognized as an achievement by the producers and writers. All in all, a movie for everyone.
Las Vegas Nights (1941)
Glimpses of Stars To Be
Saw this movie in July, 2008 for the first time. The details of the plot and the cast have been fairly well reviewed by an earlier viewer. It is a matter of interest to see Frank Sinatra and Jo Stafford next to each other with the Pied Pipers while he is doing the solo portion of their hit record, the classic "I'll Never Smile Again" by Ruth Lowe.
Buddy Rich and Ziggy Elman manage to display their artistry first in the classic "Song of India" which Tommy Dorsey recorded. Later on, in a forgettable "Trombone Man" number, Buddy Rich again displays his skill.
Lillian Cornell as one of the three sisters, Mildred, sings two numbers. The first is the lilting "The Lamp On the Corner" made popular in an earlier movie "Tropic Holiday" by the famed tenor, Tito Guizar. This was a 1938 movie starring the then popular Dorothy Lamour. The Tito Guizar number was written by Ned Washington and Augustin Lara and it was a pleasure to hear it again after seven decades.
"Dolores" gets a comical treatment as a popular ballad of the period.
Wheeler still shows the skill of a veteran comic although one longs for an appearance with his one time pal, Woolsey. Hank Ladd does very well as the oily villain and bears a surprising resemblance to Walter Abel at times. Phil Regan could sing but doesn't in this film.
Somewhat historic and nostalgic if you can recall Las Vegas and the early years of the Big Band era before WWII.
Man Hunt (1941)
Could it have happened?
I was two years out of high school when I first saw this movie in 1941. I had not seen enough movies to appreciate what a great director Fritz Lang was. I had not read "The Rogue Male" from which the movie plot had been taken.
I found a tape copy of the movie among my brother's effects and hastened to view the movie again. I was not disappointed and the opening scenes and the final scenes were as I had remembered them, 67 years later. Otherwise, I enjoyed the movie as though it were new. The haunting background of the ballad of the time "A Nightingale Sang In Berkeley Square" was so appropriate and evocative of those moments in history.
I had only remembered the three leads, Walter Pidgeon, Joan Bennett and George Sanders. I had quite forgotten about John Carradine and Roddy McDowall. Perhaps these were not Academy Award performances but the picture taken in its entirety should probably rank as a classic in the manner of such excellent pictures as "Detour"; "D.O.A.", "The Hitch Hiker", etc. Especially, this picture should be presented for the public's enjoyment whenever WWII is the topic. It didn't have to resort to gunfire and personal heroics on the battlefield or in the air or on the ocean. Walter Pidgeon, of course, was to give us Mr. Miniver not too many years later. Joan Bennett was surprisingly efficient as a young lady of the streets. And George Sanders was his usual excellent self, this time as a German. He was remarkably believable as a Brit or as a German in any movie in which he appeared. Those who only know that John Carradine was the father of David and Keith would enjoy seeing from whence they gained their acting skills. He was a villain par excellence.
Despite its age, "Man Hunt" should be presented on one of the Movie channels such as TCM or AMC to afford an eager audience a glimpse of how excellent WWII movies could be without a lot of visual violence, but with excellent acting and a masterful director.
Metropolitan (1935)
The 'greatest' American baritone of the 20th century?
The passage of time could not be emphasized more emphatically than with the recent reissue by TCM of the 1935 rarity, "Metropolitan". The passing of the beloved American 'hometown' coloratura Beverly Sills may have prompted TCM to resurrect the more noted of the two movies made by the American 'hometown' baritone, Lawrence Tibbett. (The other movie was "Under Your Spell".) He was a product of Bakersfield, California.
It is unfortunate that the name has been so easily overlooked by many who may have been born ten years too late to enjoy his voice. It is incomprehensible today why such a magnificent voice coupled with a winning personality could not have resulted in a longer illustrious career for Mr. Tibbett, especially in the burgeoning Hollywood industry. It would certainly have helped to maintain a treasure trove of history for music lovers. Suffice it to say that this film does its best to rectify this oversight.
Mr. Tibbett provides us with a clear illustration of the power of his vocal abilities and also of his masterful interpretation of any piece be it operatic aria, Negro spiritual, or drawing room favorite.
In this 1935 movie he presents 'Largo al Factotum' from "The Barber of Seville"; 'The Toreador Song' from "Carmen" and the prologue from "I Pagliacci", 'Si Puo'. The second of a trilogy of spirituals by the noted composer, Jacques Wolfe, 'De Glory Road' is interpreted beautifully by Mr. Tibbett. And to accommodate the hoi polloi, the wonderful soliloquy of a British veteran of old Burma as imagined in a familiar poem by Rudyard Kipling and set to music by Oley Speaks, ' On the Road to Mandalay' is given its definitive interpretation by the greatest American baritone. (Paul Robeson is not considered here only because he was deemed to be a bass-baritone and did not have the opportunity to sing at the Met)
Both Virginia Bruce and even Alice Brady had creditable voices in their brief stints but were no match for Mr. Tibbett. MGM gave Miss Bruce the opportunity to display her musical ability further in the 1936 Eleanor Powell movie, "Born To Dance". She is the one who had the honor of introducing the Cole Porter classic 'I've Got You Under My Skin'. Also, as a nod to her pulchritude, she was the crowning model in the extravagant 'A Pretty Girl is Like a Melody' production number with the spiraling staircase in the 1936 "The Great Ziegfeld". Yes, she was the one at the top.
Alice Brady found that comedy was more rewarding for her in Hollywood than was music and enjoyed a long and illustrious career accordingly
Those of you who may have difficulty recalling the American baritones of yesteryear will be instantly and pleasurably reminded if you are fortunate enough to catch a viewing of "Metropolitan" on TCM.
Reveille with Beverly (1943)
Take a 'swing' down the memory lane of WWII
Just took another trip down memory lane by watching the 1943 movie, "Reveille With Beverly". A few of the details had been forgotten over the 64 years since the original viewing but the music was remembered! The reprise of the records which were so popular at that time and which kept wearing out turntable needles was a joy to the ears. The Mills Bros. (with John Sr instead of the original John Jr) were a soothing sound. Count Basie was a must with his 'One O'Clock Jump'. Bob Crosby with bassist Bob Haggart and drummer Ray Bauduc gave us "Big Noise From Winnetka". Then Duke Ellington and his great organization gave us his theme song, 'Take the A Train'. Frank Sinatra gave us a production staged rendition of ' Night and Day'. That is to say, it featured many violinists and pianists of gowned femininity. But the arrangement was the record which was so popular on a 78. Ella Mae Morse with the backing of Freddie Slack and his orchestra gave us the 'Cow Cow Boogie' in her own inimitable way. Finally the Radio Rogues were brought in to give us a smorgasbord of various popular radio performers of the time and of the past. There were the usual imitations of 'Lum and Abner'; 'Amos and Andy'; Kate Smith; Ben Bernie; Red Skelton; etc. Ann Miller finished up with a production number which was strapped by budget. If you like swing and remember WWII, this is a delight.
The Gay Desperado (1936)
Leo Carillo and Nino Martini. What a pair !
This movie is a gem from United Artists. Leo Carillo is magnificent in his leading role. Mischa Auer is almost unrecognizable with a clean-shaven face. The preservation of Nino Martini's voice is a rare treasure for tenor aficionados of the Depression years. This is the movie that gave us his trademark song "The World is Mine Tonight". In addition, he throws in "Celeste Aida".
The movie is fast paced and never lags. Mamoulian richly deserved his award for direction.
The careful recovery of the film rewards the viewer with a blotch-free version which is easy on the eyes despite many outdoor scenes at night.
A young Ida Lupino is a treat for the eyes and even Chris Pin Martin (billed as Chris King Martin for this movie) makes an appearance.
This movie is an unexpected treat from the 1930's. If you have the chance, take the time to enjoy this Hollywood musical.