Image via WikipediaHappy Birthday, Doris!
We love you!
Showing posts with label Doris Day. Show all posts
Showing posts with label Doris Day. Show all posts
Sunday, April 3, 2011
Happy Birthday, Doris!
Image via WikipediaHappy Birthday, Doris!
We love you!
Saturday, April 2, 2011
Doris Day to turn 87 on Sunday, April 3rd
My favorite film star will turn 87 tomorrow. This fantastic lady, who usually stays as far away from the spotlight as possible, has confirmed that she will "call in" to the local Monterey Bay radio station that traditionally honors her every year on her birthday with hours of music, fan calls, and tribute. This year's broadcast will be the 5th annual Doris Day Birthday Celebration, and will run from 8am-12pm Pacific Standard Time on KIDD 630-AM.
Cover of Doris DayMs. Day typically connects with the station at least once during that time to thank her fans (she calls them friends) and chat with the DJs. Fans are welcome to call 831-375-6300 to wish Ms. Day a happy birthday.
It is always a delight to hear her voice and the spunky laughter that still bubbles from her ever-lovable personality.
Click here and here for more information about this broadcast.
Cover of Doris DayIt is always a delight to hear her voice and the spunky laughter that still bubbles from her ever-lovable personality.
Click here and here for more information about this broadcast.
Sunday, January 16, 2011
CMBA Hitchcock Blogathon: The Man Who Knew Too Much
I am honored to be taking part in the Classic Movie Blog Association's Hitchcock Blogathon - its largest blogathon yet. I'm not alone. In all there are 20 classic movie blogs covering a wide variety of Hitchcock masterpieces, staples, and lesser-known jewels; look to the bottom of this post for a full listing of all of the reviews and where they can be found. I look forward to reading each of them myself. I'm bound to learn a lot!
When I opened the invitation to participate in the blogathon, I didn't even have to think about which movie I would review. If you've been with this blog from the beginning, or know me personally, then you know that I adore Doris Day. Jimmy Stewart doesn't hurt either. So The Man Who Knew Too Much it is. Now, I've seen this film a number of times over the years, and it is one of my favorites to show friends who know nothing about Day and little about Hitchcock. But I knew that for a review of this kind I needed to watch it again and pay more attention to the details I had never focused on before. While I was at it, I figured I might as well start by viewing the original Man Who Knew Too Much made in Britain by Hitchcock in 1934. By Turner Classic Movies' account, this was the film that launched Hitchcock into the uninterrupted string of successes that made him world renowned.
It was a fascinating experience, mostly. The audio quality of my copy is not exactly stellar, so I'm not sure I caught more than 80% of what was said, but that could also be due to the plethora of distractions that were assailing me as I watched. Incidentally, distractions do not affect me while I am watching the 1956 version with Doris Day, but more on that later.
The 1934 version is notable, not so much for its story line or action, but for the performance delivered by Peter Lorre and the way in which Hitchcock framed the tension and suspense with dry and ironic humor interspersed throughout. As per Hitchcock's style, this humor is subtle, mostly visual, and it is entirely up to the viewer to take it or leave it. Peter Lorre, who is legendary in his creepiness and strangeness, doesn't disappoint in his role as the spy ringmaster. As always, I found him intriguing. But much of the rest of the film fell flat for me.
The plot is this:
A family vacationing in Switzerland is drawn into a spy caper when the wife becomes privy to the dying breaths of an operative who has uncovered an assassination plot against an important official. When their daughter is kidnapped to keep them quiet, her father and family friend go into the spy business themselves to recover her. Unfortunately, the child is a brat with whom it's hard to sympathize, and the film ends in a long shootout that lost my interest.
In my opinion, Leonard Maltin had it backwards when he said that this version was the most exciting. Apparently, Hitchcock agreed with me. As he stated in an interview:
In 1956, the famed director was ready to begin the remake of The Man Who Knew Too Much he had been planning since 1941. It was the only time he ever remade one of his own films. Having recently visited Morocco himself, the wheels of Hitchcock's unmatched morbid imagination began revolved around the idea of placing the plot in precisely that part of the world. The result was a American couple sucked into the dangers and excitement of espionage in Marrakech, rather than a British couple drawn into similar adventure in Switzerland. The new plot involved a woman of musical talent as the wife and mother, and because of this Hitch had his mind set on Doris Day from the beginning.
The project, originally retitled Into Thin Air, took shape under the supervision of both Hitch and Jimmy Stewart from the production end, with John Hayes and Bernard Herrmann on the scripting and musical ends. Hermann may be seen conducting the orchestra himself in the famous Royal Albert Music Hall scene at the end.
It was Jay Livingston and Ray Evans, however who were responsible for the Oscar-winning song that is to this day an integral part of Doris Day's image: "Que Sera, Sera" (though in those days it was officially, "Whatever Will Be, Will Be"). The tune, sung with such heartfelt emotion and capability by Doris Day, remains for me one of the highlights of the film.
According to Paramount production files, the project ended late and over-budget, but has grossed substantially more than it cost and gave Stewart and Day the never repeated opportunity of working together under the direction of one of the most brilliant and famous movie masterminds in history. The result is splendid.
Hitch's 1956 Man Who Knew Too Much, is, in a word, deft. It accomplishes the blend of adventure, intrigue, suspense, and humor that the earlier version hinted at but did not expertly combine. Sold by the excellent performances from all the actors involved, but particularly by Doris Day, the film not only distinguishes itself as a class act thriller, but also comes in as a fairly good musical in some respects.
Here's the plot if you're unfamiliar:
Dr. and Mrs. Ben McKenna (Stewart and Day) are touring Morocco with their little boy Hank when they become acquainted with a mysterious Frenchman by the name of Louis Bernard. Their acquaintance is short but perplexing, with Bernard's odd and inquisitive behavior troubling Mrs. McKenna, formerly Jo Conway, the celebrated stage artist. The next day, while they are exploring the market place with a British couple they've befriended, the McKenna's are witness to Bernard's public murder, and Ben is the sole hearer of Bernard's last words. It isn't long before Hank is kidnapped and used to keep Ben silent about what Bernard told him. Ben tracks the kidnappers to London and the McKennas pursue them there. Once arrived, they decline to cooperate with Scotland Yard in fear of Hank's safety, and set off on their own to save Hank and stop an assassination attempt at the same time. The climax is a supreme combination of good music, high suspense, and dramatic accomplishment.
The film as a whole is also a telling demonstration of Hitchcock's genius and the extent to which he developed his own talents in the time between the two versions of the film (besides the general improvement in technology and methods). We see his mellow, dry humor lightly sprinkled throughout the film, deftly weaved in among the threads of tension and suspense. Particularly in the final moments Hitch seamless transitions from the emotional high of the conclusion to a very funny and similarly short moment that immediately precedes the credits.
Cultural depictions and foreign language are also used to much better effect than in the first film, with the foreign setting elevated the expectation and dread of the viewer. Priceless cinematic moments in which little movements and subtle staging say much more than lines being uttered are also highlights. Watch for the scene where Ben is called away from his interrogation with the French police to take the call from the kidnappers. Pay special attention to the small movements of his fingers and those of Drayton as they make a follow-up phone call. The import of those movements and the way in which they are framed by the camera is outstanding.
In the end I always come back to the performance by Doris Day, however. The scene in which Ben gives her the news of their son's kidnapping is of Oscar calibre, in my opinion. Also impressive is the way in which she can intone such meaning and foreboding into the simplest of lines. Listen carefully when she has the following exchange with Ben early in the film:
Ben: "What does that mean?"
Jo: "It means that Mr. Bernard is a very mysterious man."
Ben: "I have nothing to hide."
Jo: "I have a feeling that Mr. Bernard has."
Such simple words packed with such foreshadowing.
I hope you'll find time to fit this movie into your schedule soon. It's worth your while. As always your comments and feedback are welcome her at Reel Revival. Enjoy those films!
Check out these other Hitchcock Blogathon reviews at the blogs of other Classic Movie Blog Association members:
The Birds – Classic Film & TV Café
Dial M for Murder – True Classics: The ABCs of Film
The Lady Vanishes – MacGuffin Movies
Lifeboat – Classicfilmboy’s Movie Paradise
Marnie – My Love of Old Hollywood
Mr. and Mrs. Smith – Carole & Co.
North By Northwest – Bette’s Classic Movie Blog
Notorious – Twenty Four Frames
The Pleasure Garden – Thrilling Days of Yesteryear
Rear Window – Java’s Journey
Rebecca – ClassicBecky’s Film and Literary Review
Rope – Kevin’s Movie Corner
Shadow of a Doubt - Great Entertainers Media Archive
The 39 Steps – Garbo Laughs
Three Classic Hitchcock Killers – The Lady Eve’s Reel Life
Torn Curtain - Via Margutta 51
The Trouble with Harry – Bit Part Actors
Vertigo – Noir and Chick Flicks
The Wrong Man – The Movie Projector
When I opened the invitation to participate in the blogathon, I didn't even have to think about which movie I would review. If you've been with this blog from the beginning, or know me personally, then you know that I adore Doris Day. Jimmy Stewart doesn't hurt either. So The Man Who Knew Too Much it is. Now, I've seen this film a number of times over the years, and it is one of my favorites to show friends who know nothing about Day and little about Hitchcock. But I knew that for a review of this kind I needed to watch it again and pay more attention to the details I had never focused on before. While I was at it, I figured I might as well start by viewing the original Man Who Knew Too Much made in Britain by Hitchcock in 1934. By Turner Classic Movies' account, this was the film that launched Hitchcock into the uninterrupted string of successes that made him world renowned. It was a fascinating experience, mostly. The audio quality of my copy is not exactly stellar, so I'm not sure I caught more than 80% of what was said, but that could also be due to the plethora of distractions that were assailing me as I watched. Incidentally, distractions do not affect me while I am watching the 1956 version with Doris Day, but more on that later.
The 1934 version is notable, not so much for its story line or action, but for the performance delivered by Peter Lorre and the way in which Hitchcock framed the tension and suspense with dry and ironic humor interspersed throughout. As per Hitchcock's style, this humor is subtle, mostly visual, and it is entirely up to the viewer to take it or leave it. Peter Lorre, who is legendary in his creepiness and strangeness, doesn't disappoint in his role as the spy ringmaster. As always, I found him intriguing. But much of the rest of the film fell flat for me. The plot is this:
A family vacationing in Switzerland is drawn into a spy caper when the wife becomes privy to the dying breaths of an operative who has uncovered an assassination plot against an important official. When their daughter is kidnapped to keep them quiet, her father and family friend go into the spy business themselves to recover her. Unfortunately, the child is a brat with whom it's hard to sympathize, and the film ends in a long shootout that lost my interest.
In my opinion, Leonard Maltin had it backwards when he said that this version was the most exciting. Apparently, Hitchcock agreed with me. As he stated in an interview:
"Let's say that the first version was the work of a talented amateur and the second was made by a professional."
In 1956, the famed director was ready to begin the remake of The Man Who Knew Too Much he had been planning since 1941. It was the only time he ever remade one of his own films. Having recently visited Morocco himself, the wheels of Hitchcock's unmatched morbid imagination began revolved around the idea of placing the plot in precisely that part of the world. The result was a American couple sucked into the dangers and excitement of espionage in Marrakech, rather than a British couple drawn into similar adventure in Switzerland. The new plot involved a woman of musical talent as the wife and mother, and because of this Hitch had his mind set on Doris Day from the beginning. The project, originally retitled Into Thin Air, took shape under the supervision of both Hitch and Jimmy Stewart from the production end, with John Hayes and Bernard Herrmann on the scripting and musical ends. Hermann may be seen conducting the orchestra himself in the famous Royal Albert Music Hall scene at the end.
It was Jay Livingston and Ray Evans, however who were responsible for the Oscar-winning song that is to this day an integral part of Doris Day's image: "Que Sera, Sera" (though in those days it was officially, "Whatever Will Be, Will Be"). The tune, sung with such heartfelt emotion and capability by Doris Day, remains for me one of the highlights of the film.
According to Paramount production files, the project ended late and over-budget, but has grossed substantially more than it cost and gave Stewart and Day the never repeated opportunity of working together under the direction of one of the most brilliant and famous movie masterminds in history. The result is splendid.
Hitch's 1956 Man Who Knew Too Much, is, in a word, deft. It accomplishes the blend of adventure, intrigue, suspense, and humor that the earlier version hinted at but did not expertly combine. Sold by the excellent performances from all the actors involved, but particularly by Doris Day, the film not only distinguishes itself as a class act thriller, but also comes in as a fairly good musical in some respects.
Here's the plot if you're unfamiliar:
Dr. and Mrs. Ben McKenna (Stewart and Day) are touring Morocco with their little boy Hank when they become acquainted with a mysterious Frenchman by the name of Louis Bernard. Their acquaintance is short but perplexing, with Bernard's odd and inquisitive behavior troubling Mrs. McKenna, formerly Jo Conway, the celebrated stage artist. The next day, while they are exploring the market place with a British couple they've befriended, the McKenna's are witness to Bernard's public murder, and Ben is the sole hearer of Bernard's last words. It isn't long before Hank is kidnapped and used to keep Ben silent about what Bernard told him. Ben tracks the kidnappers to London and the McKennas pursue them there. Once arrived, they decline to cooperate with Scotland Yard in fear of Hank's safety, and set off on their own to save Hank and stop an assassination attempt at the same time. The climax is a supreme combination of good music, high suspense, and dramatic accomplishment.The film as a whole is also a telling demonstration of Hitchcock's genius and the extent to which he developed his own talents in the time between the two versions of the film (besides the general improvement in technology and methods). We see his mellow, dry humor lightly sprinkled throughout the film, deftly weaved in among the threads of tension and suspense. Particularly in the final moments Hitch seamless transitions from the emotional high of the conclusion to a very funny and similarly short moment that immediately precedes the credits.
Cultural depictions and foreign language are also used to much better effect than in the first film, with the foreign setting elevated the expectation and dread of the viewer. Priceless cinematic moments in which little movements and subtle staging say much more than lines being uttered are also highlights. Watch for the scene where Ben is called away from his interrogation with the French police to take the call from the kidnappers. Pay special attention to the small movements of his fingers and those of Drayton as they make a follow-up phone call. The import of those movements and the way in which they are framed by the camera is outstanding. In the end I always come back to the performance by Doris Day, however. The scene in which Ben gives her the news of their son's kidnapping is of Oscar calibre, in my opinion. Also impressive is the way in which she can intone such meaning and foreboding into the simplest of lines. Listen carefully when she has the following exchange with Ben early in the film:
Ben: "What does that mean?"Jo: "It means that Mr. Bernard is a very mysterious man."
Ben: "I have nothing to hide."
Jo: "I have a feeling that Mr. Bernard has."
Such simple words packed with such foreshadowing.
I hope you'll find time to fit this movie into your schedule soon. It's worth your while. As always your comments and feedback are welcome her at Reel Revival. Enjoy those films!
Check out these other Hitchcock Blogathon reviews at the blogs of other Classic Movie Blog Association members:
The Birds – Classic Film & TV Café
Dial M for Murder – True Classics: The ABCs of Film
The Lady Vanishes – MacGuffin Movies
Lifeboat – Classicfilmboy’s Movie Paradise
Marnie – My Love of Old Hollywood
Mr. and Mrs. Smith – Carole & Co.
North By Northwest – Bette’s Classic Movie Blog
Notorious – Twenty Four Frames
The Pleasure Garden – Thrilling Days of Yesteryear
Rear Window – Java’s Journey
Rebecca – ClassicBecky’s Film and Literary Review
Rope – Kevin’s Movie Corner
Shadow of a Doubt - Great Entertainers Media Archive
The 39 Steps – Garbo Laughs
Three Classic Hitchcock Killers – The Lady Eve’s Reel Life
Torn Curtain - Via Margutta 51
The Trouble with Harry – Bit Part Actors
Vertigo – Noir and Chick Flicks
The Wrong Man – The Movie Projector
Monday, December 13, 2010
The time has come for Moonlight Bay!
Image via WikipediaFour words. I love this movie. This is a good movie. It is fun, it is clean (thank goodness for old films), and it is spectacularly cute. And I'll tell you why.
First, Doris Day's chemistry with the leading man is memorable. This was the third film Doris made with Gordon Macrae, and it was such a hit that Warner Bros. immediately started the wheels turning on its sequel, By the Light of the Silvery Moon. Day and MacRae made a great couple, not only for their stunning good looks, but also by the amazing quality of their voices. As we know, Doris Day was one of the greatest actresses to ever open her mouth on film; mixed with MacRae's majestic baritone, the sound is nearly too good to tolerate.
Second, the cast is an all-around A Team effort. Leon Ames (we'll see him again next week in Meet Me in St. Louis), Rosemary DeCamp, Billy Gray, Ellen Corboy, and the unforgettable Mary Wickes round out the cast of characters like a match made in heaven. Few child actors were as capable as Billy Gray, and the calibre of Ames, DeCamp, and Corboy was matched by few projects. Actually, given the build-up to production, it is a surprise to me that Warner Bros. would make such a cast investment in Moonlight Bay. I suspect that with gaining the rights to make these films out of the Penrod stories, the studio was interested in trying to replicate a little of the success Meet Me in St. Louis had enjoyed. If you are familiar with both movies, you will see the similarities between them.
Third, the story itself is sugary and frivolous, but it manages to work in sincere moments of joy, heartache, lesson-making, and sentiment. We see summer, fall, winter, and spring in a home where a girl grows from a tomboy to a feminine woman, while her family takes on changes of small and great significance (a new home, new neighbors, a world war) and remains remarkably the same.
Fourthly, this movie is not about Christmas, but it features some lovely Christmas moments. We get to hear two lovely Christmas songs: "Hark, the Herald Angels Sing," and "Merry Christmas All." There are lights, and snow, and angel's wings, and all of the jolly things we associate with Christmas. And Doris Day is there throughout.
What more could you need?
Tuesday, September 28, 2010
Biopics Two Ways
A little time ago my husband and I watched a film that I had brought home from the library. It was a biopic, a dramatized biography. If you are familiar with biopics as a genre, you probably already know that they may or may not have a strong relationship to the facts of the people they are about - so watcher beware: "biopic" does not mean bona fide biography!
This particular biopic, Lillian Russell, starred Alice Faye in the title role with Don Ameche, Henry Fonda, Edward Arnold, and Warren William helping out in supporting roles. And did she ever need help. Here I was, having read all these rave reviews about Lillian Russell being one of the greatest musicals ever made, blah blah blah, and my frown just kept getting fiercer as the minutes on the DVD counter piled up. Now, I haven't had much experience in Alice Faye movies, but I can tell you that after watching this one, I'm not sure I'll accumulate it.
Apparently, A&E said this of Alice Faye in a documentary: "She rose from the mean streets of New York's Hell's Kitchen to become the most famous singing actress in the world. When the pressures of fame became too much, she had the courage to leave Hollywood on her own terms." That's quite a claim to make, quite a glowing recommendation of talent and magnetism. The most famous singing actress in the world? I dispute this claim. I'll bet you $23.80 (as Nancy Drew would say) that more Joes on the street will recognize the name Judy Garland than Alice Faye. Just sayin'.
Then there's this (gathered from her IMDB webpage): "She introduced almost twice as many 'Hit Parade' songs in her movies (23) as each of her closest competitors: Judy Garland (13), Betty Grable (12) and Doris Day (12)." Strange. I admit that I don't know how to go about verifying this claim, so I'll just grant it. I say, "If Alice Faye generated more hits on the Hit Parade, it was because the Parade itself was more of a hit in her time than it was in Grable's and Day's, and because the songs themselves were already good." From the performance I witnessed in Lillian Russell, I can't see that Faye is equipped to make a hit out of any song.
So this is amounting to a very harsh review of Miss Faye's performance. It wasn't going to be until I read all of these claims about her being the best and most famous. I don't want to seem vindictive here, but because of my previous ignorance about Alice Faye I was planning on graciously dismissing her disappointing performance as the result of a bad day or out-of-control B career. If she just didn't have it, I wasn't going to ridicule her for it. But after seeing the wide acclaim and these praises, I must make some objections.
Plot
The film is based on the story of Lillian Russell, the (truly) famous musical star who tenaciously pursued fame and sensation at the turn of the century. Lillian is an innocent young woman who longs for a career on the stage and disobeys her suffragette mother to pursue it by singing in Tony Pastor's theater. Immediately upon performing in public for the first time, legions of rich men line up at her door and send her flowers, jewels, and gifts of all kinds. She forgets all about a shy newspaperman (Fonda), who was to be her true love, and marries her pianist/composer, the tight-strung Edward Soloman (Ameche), much to the chagrin of two other rich men who think they are poised to marry her. Soloman botches her London debut by having a fight with the producers, then works himself to death writing an opera for her, literally. So she goes home to the states and is eventually reconciled to her long lost newspaperman, whom she marries.
Alice Faye turns in a singularly dull and emotionally cardboard performance. She plays the initial innocence well, but misses the ambition, misses the passion, misses the determination, misses the greed, misses the pain of losing a husband, and misses the pluckiness one would imagine she should be expressing. She is a flat actress in a three-dimensional role. Don Ameche is decent, Henry Fonda provides some relief by acting well, and Edward Arnold is fun as Diamond Jim. The real star of the show, however, is Helen Westley, who plays Lillian's spunky grandma. Her performance is not only enjoyable, but also rich and dynamic. If you ever watch this film, look for her.
The Truth
Of course, Lillian Russell bears little resemblance to Lillian Russell. We can always expect the classic biopics to clean up reality, even if in modern film they fabricate sordid details. A modern production would gobble this story up, because the real Lillian Russell was as famous for her extravagance and loose living as for her beauty and stage talent. She married four times, but had an appetite for sensation that led her to make use of many more men than that. Her large appetite also extended to food, and she was known to be able to eat as much or more than any man. Her only child, conceived out of wedlock, died after being stuck with a diaper pin by his nanny. The pin apparently punctured the poor little baby's stomach. It is not my impression that Miss Russell suffered much grief.
Her career, though, was magnificently successful, spanning four decades and unprecedented popularity. So immense was her popularity that her's was the first voice to be carried cross county via a telephone line when Graham Bell introduced long distance service. She also had an interesting second career as a columnist and activist after retiring from the stage. She even went on diplomatic missions. Marie Dressler was quoted as saying of Russell, "I can still recall the rush of pure awe that marked her entrance on the stage. And then the thunderous applause that swept from orchestra to gallery, to the very roof."
Analysis
What is truly frustrating about this film, however, is not the story, but Miss Faye's inadequacy of voice. To put it very simply: it is boring. Not bad, not off-key, not terrible, just boring and flat. This sabotages the effect of the entire film. It is difficult to suspend disbelief and get carried away in her stardom and magnificence when you're not sure how she could have a singing career in the first place. Add to this my befuddlement about Miss Faye's own personal acclaim as a great singer and I am speechless.
Did you notice the dull look in her eyes? It's there for the whole film.
My husband hasn't seen many classic biopics, maybe one other, so by the end of this I was desperate to show him a really good one to make up for it. My solution to the problem? I'll See You in My Dreams, starring Doris Day, who was apparently so outgunned by Faye on the Hit Parade. When it comes to proven talent and real performance though, there is no comparing Faye to Day. Rhyme. Anyway, judge for yourself.
These might help you make a decision too.
My point? Doris Day knew how to do it, and do it she does in I'll See You in My Dreams. I think it's a delightful film, and that's more than my bias talking. Everything about the film, from the direction to the cinematography, has a gentle way of rolling the story along while allowing the audience to enjoy all of its treats for the senses, from the deep shadows in the ragtime room, to the fabulous quality of Day's voice, to the endearing acting of Danny Thomas.
Plot
The film tells the story of Gus Kahn, great lyricist of the stage and screen, who put words to a whole age of American music. From "Pretty Baby" to "It Had to Be You," Kahn penned the lyrics to many of the songs we still recognize as greats today. His wife, Grace, wrote the music for many of them, too. This biopic chronicles, with surprising accuracy, the time from Grace and Gus's meeting through their partnership, marriage, separation, reconciliation, and to the end of Gus's career. It is about a timid guy who can't quite seem to say "I love you" unless it's through a song, and the strong woman who made and then almost destroyed his career unwittingly. It introduces themes of leadership in the home, raises questions about the line to be drawn between pushing someone toward greatness and controlling his life, and delicately expresses the importance of those three little words. It is more than entertainment, it is interesting.
I encourage everyone to give it a spin sometime.
Basics
Directed by Michael Curtiz (also director of Doris's first film, Romance on the High Seas) and supported by greats like Frank Lovejoy, Patrice Wymore, James Gleason, and Mary Wickes, it is well worth the 110 minutes it takes.
And then tell me, am I right or am I wrong?
(you are also more than welcome to defend Alice Faye if you so choose)
This particular biopic, Lillian Russell, starred Alice Faye in the title role with Don Ameche, Henry Fonda, Edward Arnold, and Warren William helping out in supporting roles. And did she ever need help. Here I was, having read all these rave reviews about Lillian Russell being one of the greatest musicals ever made, blah blah blah, and my frown just kept getting fiercer as the minutes on the DVD counter piled up. Now, I haven't had much experience in Alice Faye movies, but I can tell you that after watching this one, I'm not sure I'll accumulate it.
Apparently, A&E said this of Alice Faye in a documentary: "She rose from the mean streets of New York's Hell's Kitchen to become the most famous singing actress in the world. When the pressures of fame became too much, she had the courage to leave Hollywood on her own terms." That's quite a claim to make, quite a glowing recommendation of talent and magnetism. The most famous singing actress in the world? I dispute this claim. I'll bet you $23.80 (as Nancy Drew would say) that more Joes on the street will recognize the name Judy Garland than Alice Faye. Just sayin'.
 |
| Judy Garland |
So this is amounting to a very harsh review of Miss Faye's performance. It wasn't going to be until I read all of these claims about her being the best and most famous. I don't want to seem vindictive here, but because of my previous ignorance about Alice Faye I was planning on graciously dismissing her disappointing performance as the result of a bad day or out-of-control B career. If she just didn't have it, I wasn't going to ridicule her for it. But after seeing the wide acclaim and these praises, I must make some objections.
Plot
_01.jpg) |
| Alice Faye as Lillian Russell |
Alice Faye turns in a singularly dull and emotionally cardboard performance. She plays the initial innocence well, but misses the ambition, misses the passion, misses the determination, misses the greed, misses the pain of losing a husband, and misses the pluckiness one would imagine she should be expressing. She is a flat actress in a three-dimensional role. Don Ameche is decent, Henry Fonda provides some relief by acting well, and Edward Arnold is fun as Diamond Jim. The real star of the show, however, is Helen Westley, who plays Lillian's spunky grandma. Her performance is not only enjoyable, but also rich and dynamic. If you ever watch this film, look for her.
The Truth
 |
| The real Lillian Russell |
Her career, though, was magnificently successful, spanning four decades and unprecedented popularity. So immense was her popularity that her's was the first voice to be carried cross county via a telephone line when Graham Bell introduced long distance service. She also had an interesting second career as a columnist and activist after retiring from the stage. She even went on diplomatic missions. Marie Dressler was quoted as saying of Russell, "I can still recall the rush of pure awe that marked her entrance on the stage. And then the thunderous applause that swept from orchestra to gallery, to the very roof."
Analysis
What is truly frustrating about this film, however, is not the story, but Miss Faye's inadequacy of voice. To put it very simply: it is boring. Not bad, not off-key, not terrible, just boring and flat. This sabotages the effect of the entire film. It is difficult to suspend disbelief and get carried away in her stardom and magnificence when you're not sure how she could have a singing career in the first place. Add to this my befuddlement about Miss Faye's own personal acclaim as a great singer and I am speechless.
Did you notice the dull look in her eyes? It's there for the whole film.
My husband hasn't seen many classic biopics, maybe one other, so by the end of this I was desperate to show him a really good one to make up for it. My solution to the problem? I'll See You in My Dreams, starring Doris Day, who was apparently so outgunned by Faye on the Hit Parade. When it comes to proven talent and real performance though, there is no comparing Faye to Day. Rhyme. Anyway, judge for yourself.
These might help you make a decision too.
My point? Doris Day knew how to do it, and do it she does in I'll See You in My Dreams. I think it's a delightful film, and that's more than my bias talking. Everything about the film, from the direction to the cinematography, has a gentle way of rolling the story along while allowing the audience to enjoy all of its treats for the senses, from the deep shadows in the ragtime room, to the fabulous quality of Day's voice, to the endearing acting of Danny Thomas.
Plot
 |
| Doris Day as Grace LeBoy Kahn and Danny Thomas as Gus Kahn |
I encourage everyone to give it a spin sometime.
Basics
Directed by Michael Curtiz (also director of Doris's first film, Romance on the High Seas) and supported by greats like Frank Lovejoy, Patrice Wymore, James Gleason, and Mary Wickes, it is well worth the 110 minutes it takes.
And then tell me, am I right or am I wrong?
(you are also more than welcome to defend Alice Faye if you so choose)
Thursday, June 17, 2010
Lullaby of Broadway
I know of no better way to start out on this adventure than with a Doris Day film, and this is one of her most delightful. So let's get one thing straight right away: I am a Doris Day fan. I love Doris Day. She is my favorite. My absolute favorite. If you hang with me through my future posts, I guarantee that you will see this enthusiasm coming through on a regular basis.
It was a beautiful time in a beautiful place, and when you've grown up admiring Doris Day, there's no better place to be.
And if you're not familiar with America's Sweetheart, Lullaby of Broadway
is a good place to jump in. Made in 1951, Lullaby was a Warner Brothers Technicolor spectacular, and a beautiful one at that. Starring Gene Nelson alongside Doris Day, with S.Z. Sakall, Billy De Wolfe, Gladys George, and Florence Bates, this film is like a ride on a cloud. It's just that smooth, fluffy, and relaxing.
The Plot:
Silly and oh so fun. Melinda Howard (Day) is a small-time theatrical performer who has been living overseas. She is returning to the States to see her mother, Jessica Howard (George), when she meets dancing star Tom Farnham (Nelson) on the boat. Melinda believes that her mother is a successful Broadway star, the toast-of-the-town, like she was in the old days. She is unaware that Jessica has fallen onto bad times, hit the bottle, and is now performing at third-rate joints in-between drinks. This is because Jessica has falsified her correspondence to Melinda, using the address of the finest house in town as her mailing address because she is in cahoots with the down-and-out acting pair Lefty and Gloria (De Wolfe and Triola) who work there as the butler and maid. Melinda arrives at the home expecting to be welcomed with open arms by her mother. Lefty and Gloria hide her in the servant quarters, where she takes up residence unbeknownst to the owners, Mr. and Mrs. Adolph Hubbell (Sakall and Bates). When Melinda and Adolph collide late that night as Melinda explores the house, Mr. Hubbell is brought into Lefty's confidence and mixed up in the scheme of trying to hide from Melinda her mother's condition and hide Melinda from Mrs. Hubbell.
What follows is zany, if predictable, with Melinda breaking out into show business and landing the leading role in a musical opposite Tom Farnham, with whom she has fallen in love. Mixed up in the action are allegations of an affair between Melinda and Mr. Hubbell, the comical antics of Lefty and Gloria, and a sweet reunion between Melinda and her mother.
Highlights:
Two words: music and dancing. Doris is dancing straight out of the gate, with a top hat and tails version of "Just One of Those Things." From there the songs keep coming and don't stop 'till end credits:
- "You're Getting to Be a Habit with Me"
- "Somebody Loves Me"
- "I Love the Way You Say Goodnight"
- "Please Don't Talk About Me When I'm Gone"
- "In a Shanty in Old Shanty Town"
- "Zing! Went the Strings of My Heart"
- "You're Dependable"
- "We'd Like to Go on a Trip"
- and of course, "Lullaby of Broadway"
Another huge plus is the supporting cast. Sakall added a gloriously delightful kick to everything he appeared in, and his mannerisms will have you laughing as he seeks refuge from his battleax wife, the ever-reliable Florence Bates. Billy De Wolfe also puts in another great performance as a scheming shirker and wins favor through his tender care of Jessica throughout her time of trouble. Anne Triola is fun as Gloria as well.
Conclusion:
"Such a great movie," my husband said. He doesn't know he's being quoted, so I'll tell you what else he said. "I haven't seen a Doris Day movie I didn't like. Or a Cuddles [Sakall] movie." Check this one out and you'll quickly understand why.
Enjoy!
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