7 reviews
SWEETHEART OF THE CAMPUS (Columbia, 1941), directed by Edward Dmytryk, is one of many quickie musicals Columbia churned out during the 1940s, particularly those starring Ann Miller and/or the now forgotten name of Jinx Faulkenberg, just to name a few. However, the sole interest to this musical programmer is watching Ruby Keeler making her final starring screen appearance, her first since MOTHER CAREY'S CHICKENS (RKO, 1938), and whose glory days at Warner Brothers, which began with her successful entrance in the classic 42nd STREET (1933), and, nine movies later, the curtain coming down with READY, WILLING AND ABLE (1937).
In SWEETHEART OF THE CAMPUS, Keeler plays Betty Blake, a tap dancer and sole female member of Ozzie Nelson's band. The stranded troupe, engaged to perform at a night spot near Lambert Tech College, encounter Mrs. Minnie Sparr Lambert (Kathleen Howard), whose sole purpose is to close down the college, which is in financial ruin. However, with the help of Harriet Dale (Harriet Hilliard), who stands up against the snooty Mrs. Lambert, she comes across an idea by having Ozzie Nelson and his musical troupe put on a publicity campaign to interest new students by enrolling at the college themselves. In hope to double the enrollment, the gang get to perform on W.O.O. radio station, television and host student dances in a gymnasium as well as open a nightclub on the campus. Along the line, Harriet finds herself falling in love with Ozzie (thus the beginning of Ozzie and Harriet), while Betty finds herself choosing between accepting a part in a Broadway musical or giving it up for the love of Terry Jones (Gordon Oliver), a college man.
For the musical program, which takes up more screen time than the actual storyline, the songs include: "Beat It Out," "Tap Happy" (by Jacque Press and Eddie Cherkov); "When the Glee Club Swings the Alma Mata" (by Charles Newman and Walter E. Samuels); "Where is Where" (by Jacques Krakeur/ sung by Harriet Hilliard); "Tap Happy" "Tom-Tom, the Elevator Boy" (sung by the Four Spirits of Rhythm); Tap dancing specialty number; "Here We Go Again" (sung by Hilliard); "Beat It Out" "Here We Go Again" (reprise by Hilliard); tap dance number; "Tom-Tom, the Elevator Boy" and "Tap Happy" (finale with Keeler).
For Ruby Keeler's swan song, SWEETHEART OF THE CAMPUS found her singing voice, for the first time on screen, dubbed by another vocalist. The tune titled "Tap Happy," a song better suited for Keeler's talents, for which she taps her way through this production, from night clubs to inside a jail cell. Harriet Hilliard, who would find fame a decade later opposite her off-screen husband, Ozzie Nelson, in the long running television series, THE ADVENTURES OF OZZIE AND HARRIET, vocalizes pleasantly to "Here We Go Again." As in with her performance in her debut film, FOLLOW THE FLEET (RKO Radio, 1936), starring Fred Astaire and Ginger Rogers, Hilliard plays a somewhat plain-jane character with glasses, who grooms to an attractive woman after removing the glasses, only to see for herself the attention she gets from Ozzie. And speaking of television, SWEETHEART OF THE CAMPUS takes an early inside look into TV production, not in sit-coms or variety shows that would become popular a decade later, but in musical programming featuring band playing, singing and dancing.
Also seen in the supporting cast are Columbia contract players of Don Beddoe as Sheriff Denby; Byron Foulger as Doctor Bailey; and George Lessey as Doctor Hale.
The movie itself isn't great, but is certainly watchable during its brief 67 minutes. There are no real production numbers to speak of, none in the Busby Berkeley manner of lavishness, but only a handful of peppy songs 1940s style, many done in brief followed by a series of montage sequences. But all in all, this movie is a rare find. One of its sporadic television presentations in recent years happened to be on cable's Turner Classic Movies during its early years on the air in 1994, when the station itself presented its limitation of several Columbia programmers of the 1930s and '40s, some starring Ann Miller prior to her MGM years.
To get an inside look into the life and career of Ruby Keeler herself, watch the documentary titled, RUBY KEELER: THE QUEEN OF NOSTALGIA (1998), which occasionally plays on Turner Classic Movies. The documentary as a whole doesn't go too much into depth in regards to her movie career, by which very few clips from her movies are shown, but into detail about a young dancer from Canada, who, by chance, begins her career by performing in night clubs, Broadway musicals, her long but unhappy marriage to legendary entertainer Al Jolson which started her to a movie musical career that barely lasted a decade, then to lengthy interviews by some of her grown children from her second and happy marriage (to John Lowe), along with some rare home movies of her family, and a look into the private life of a former hoofer who went into retirement after being voted on screen as SWEETHEART OF THE CAMPUS. (**)
In SWEETHEART OF THE CAMPUS, Keeler plays Betty Blake, a tap dancer and sole female member of Ozzie Nelson's band. The stranded troupe, engaged to perform at a night spot near Lambert Tech College, encounter Mrs. Minnie Sparr Lambert (Kathleen Howard), whose sole purpose is to close down the college, which is in financial ruin. However, with the help of Harriet Dale (Harriet Hilliard), who stands up against the snooty Mrs. Lambert, she comes across an idea by having Ozzie Nelson and his musical troupe put on a publicity campaign to interest new students by enrolling at the college themselves. In hope to double the enrollment, the gang get to perform on W.O.O. radio station, television and host student dances in a gymnasium as well as open a nightclub on the campus. Along the line, Harriet finds herself falling in love with Ozzie (thus the beginning of Ozzie and Harriet), while Betty finds herself choosing between accepting a part in a Broadway musical or giving it up for the love of Terry Jones (Gordon Oliver), a college man.
For the musical program, which takes up more screen time than the actual storyline, the songs include: "Beat It Out," "Tap Happy" (by Jacque Press and Eddie Cherkov); "When the Glee Club Swings the Alma Mata" (by Charles Newman and Walter E. Samuels); "Where is Where" (by Jacques Krakeur/ sung by Harriet Hilliard); "Tap Happy" "Tom-Tom, the Elevator Boy" (sung by the Four Spirits of Rhythm); Tap dancing specialty number; "Here We Go Again" (sung by Hilliard); "Beat It Out" "Here We Go Again" (reprise by Hilliard); tap dance number; "Tom-Tom, the Elevator Boy" and "Tap Happy" (finale with Keeler).
For Ruby Keeler's swan song, SWEETHEART OF THE CAMPUS found her singing voice, for the first time on screen, dubbed by another vocalist. The tune titled "Tap Happy," a song better suited for Keeler's talents, for which she taps her way through this production, from night clubs to inside a jail cell. Harriet Hilliard, who would find fame a decade later opposite her off-screen husband, Ozzie Nelson, in the long running television series, THE ADVENTURES OF OZZIE AND HARRIET, vocalizes pleasantly to "Here We Go Again." As in with her performance in her debut film, FOLLOW THE FLEET (RKO Radio, 1936), starring Fred Astaire and Ginger Rogers, Hilliard plays a somewhat plain-jane character with glasses, who grooms to an attractive woman after removing the glasses, only to see for herself the attention she gets from Ozzie. And speaking of television, SWEETHEART OF THE CAMPUS takes an early inside look into TV production, not in sit-coms or variety shows that would become popular a decade later, but in musical programming featuring band playing, singing and dancing.
Also seen in the supporting cast are Columbia contract players of Don Beddoe as Sheriff Denby; Byron Foulger as Doctor Bailey; and George Lessey as Doctor Hale.
The movie itself isn't great, but is certainly watchable during its brief 67 minutes. There are no real production numbers to speak of, none in the Busby Berkeley manner of lavishness, but only a handful of peppy songs 1940s style, many done in brief followed by a series of montage sequences. But all in all, this movie is a rare find. One of its sporadic television presentations in recent years happened to be on cable's Turner Classic Movies during its early years on the air in 1994, when the station itself presented its limitation of several Columbia programmers of the 1930s and '40s, some starring Ann Miller prior to her MGM years.
To get an inside look into the life and career of Ruby Keeler herself, watch the documentary titled, RUBY KEELER: THE QUEEN OF NOSTALGIA (1998), which occasionally plays on Turner Classic Movies. The documentary as a whole doesn't go too much into depth in regards to her movie career, by which very few clips from her movies are shown, but into detail about a young dancer from Canada, who, by chance, begins her career by performing in night clubs, Broadway musicals, her long but unhappy marriage to legendary entertainer Al Jolson which started her to a movie musical career that barely lasted a decade, then to lengthy interviews by some of her grown children from her second and happy marriage (to John Lowe), along with some rare home movies of her family, and a look into the private life of a former hoofer who went into retirement after being voted on screen as SWEETHEART OF THE CAMPUS. (**)
- bkoganbing
- Sep 3, 2007
- Permalink
- mark.waltz
- May 30, 2018
- Permalink
At first I thought this film would be dull. It was actually enjoyable. Ruby Keeler actually shocked me. She was very spunky, energetic, even sexy in this role. Its funny because if you look at her "A" movies she wasn't as spunky and sexy- She was good in those roles but too natural. Maybe, she felt comfortable in this role, even though it was a B movie and not considered much. Sweetheart of the Campus is a swing movie. Ruby Keeler seems at ease in this role, and at age 31. She is just as fast and rhythmatic as ever. Ozzie Nelson is very talented swingmaster and his wife Harriet has a wonderful voice. She's a great Big Band vocalist. I love those deep, husky, voices. But this film is fun. Of course it isn't as good as 42nd Street, Colleen, Gold Diggers of 1933, and Footlight Parade, But its enjoyable. But, Ruby Keeler really surprised me. I guess she wanted to give her all for her last film. Maybe, if she would of had the same screen presence as she did in this film, she would of continued to be successful in A pictures. Ruby Keeler makes this movie enjoyable. She's really a great tap dancer. People underestimate her dancing. If you get a chance to see this film, you'll see she's good and she should be ranked with Ann Miller, Eleanor Powell, and Ruby Keeler. I don't know what got into her in this film but she was SWINGIN. One thing that help Ruby Keeler to success is her naturalness and her presence. She has a presence, you can't help but look at her. Ruby dances quite a lot in this film and she lip-syncs to a song called Tap Happy- which I think would of suited her voice fine but instead the studio dubbed her voice. But whoever is singing the song has a nice voice. But that's another funny thing. Ruby Keeler never was dubbed in her "A" pictures. But for a "B" movie she's dubbed. But anyway its a fun film when you find this, you'll love it. I still do. They just don't make movies like this anymore.
- msladysoul
- Sep 23, 2003
- Permalink
While she wasn't always the best singer and dancer in the world, Ruby Keeler was still a charming performer who put a smile on one's faces. She starred in a lot of great films, and even her lesser efforts (of which 'Sweetheart of the Campus' falls under) have enough pros to make them watchable.
'Sweetheart of the Campus' (or 'Broadway Ahead') is no '42nd Street', 'Footlight Parade' or 'Goldiggers of 1933', 'Dames' is also excellent, and is along with 'Ready, Willing and Able' a lesser film in her filmography, but it is not by all means a bad film. Keeler herself is incredibly charming and has a very natural presence, while Harriet Nelson shows off some powerhouse vocals.
Kathleen Howard is strong support. The production values are wonderfully glossy, especially the photography which sees many pleasing shots. The songs are pleasant enough if not classics, the best being "Here We Go Again" and in particular "Tap Happy".
However, even for a musical, the story can barely sustain the just-over-an-hour running time (very short for a musical, but it feels stretched here), that's how paper thin it is, and veers on the wrong side of the dumb and nonsensical. The script is also pretty flimsy, and Ozzie Nelson is so low key that one can mistake him for having little personality let alone charisma.
When it comes to the choreography, it's pretty routine stuff and doesn't have much imagination and not enough energy. The best of the lot in this regard is "Tap Happy", which does have some exuberance. Keeler was dubbed here and the difference is both noticeable and jarring, her vocalist does a very good job and is admittedly an infinitely better singer but it is difficult to believe that the sound is coming out of Keeler.
All in all, good final starring role for Keeler that deserved a better film than this watchable but somewhat average offering. 5/10 Bethany Cox
'Sweetheart of the Campus' (or 'Broadway Ahead') is no '42nd Street', 'Footlight Parade' or 'Goldiggers of 1933', 'Dames' is also excellent, and is along with 'Ready, Willing and Able' a lesser film in her filmography, but it is not by all means a bad film. Keeler herself is incredibly charming and has a very natural presence, while Harriet Nelson shows off some powerhouse vocals.
Kathleen Howard is strong support. The production values are wonderfully glossy, especially the photography which sees many pleasing shots. The songs are pleasant enough if not classics, the best being "Here We Go Again" and in particular "Tap Happy".
However, even for a musical, the story can barely sustain the just-over-an-hour running time (very short for a musical, but it feels stretched here), that's how paper thin it is, and veers on the wrong side of the dumb and nonsensical. The script is also pretty flimsy, and Ozzie Nelson is so low key that one can mistake him for having little personality let alone charisma.
When it comes to the choreography, it's pretty routine stuff and doesn't have much imagination and not enough energy. The best of the lot in this regard is "Tap Happy", which does have some exuberance. Keeler was dubbed here and the difference is both noticeable and jarring, her vocalist does a very good job and is admittedly an infinitely better singer but it is difficult to believe that the sound is coming out of Keeler.
All in all, good final starring role for Keeler that deserved a better film than this watchable but somewhat average offering. 5/10 Bethany Cox
- TheLittleSongbird
- Nov 7, 2016
- Permalink
The title "Sweetheart of the Campus" refers to the Ruby Keeler character -- and this movie might have been better if it had focused solely on Ruby, who looks great and taps up a storm.
Instead, we see way more of Ozzie and Harriet, and neither lights up the screen. Harriet simply doesn't have much of a voice, and Ozzie has neither voice nor personality.
If the entertainment had been more entertaining, you might not care so much about the nonsensical plot.
So watch this one only if you'll take a "swing music" film any way you can get it.
Instead, we see way more of Ozzie and Harriet, and neither lights up the screen. Harriet simply doesn't have much of a voice, and Ozzie has neither voice nor personality.
If the entertainment had been more entertaining, you might not care so much about the nonsensical plot.
So watch this one only if you'll take a "swing music" film any way you can get it.
- TomInSanFrancisco
- Sep 20, 2007
- Permalink
Okay, I tuned in to see the 1950's favorite white bread couple before they hit the big time. Not surprisingly, Ozzie is his usual low-key amiable self, while Harriet warbles a few tunes and shows some spunk as a put-upon secretary. The plot's a familiar one from the time— a hep-cat swing band tries to loosen up the college fuddy-duddies led by an impressively uptight Kathleen Howard. Keeler injects some spark with her shapely toe-tapping, but Ozzie's band gets little solo time, and truth be told, he was wise to go into radio sit-com. (Under that easy-going exterior was a really shrewd businessman as his years of radio & TV production demonstrate.)
The most memorable part may be a really early look at television and a receiver set I wish we saw more of— both real curiosities that the movie surprisingly makes very little of. At some 60-minutes and with Keeler as the only 'name' star, the movie's nothing more than a pleasant little programmer that I suspect Columbia used to demote Keeler after her A-picture career—she made no more for some 30-years. All in all, it's the kind of material Rooney and Garland could explode the screen with; at the same time, this version manages a mild 'pop'.
The most memorable part may be a really early look at television and a receiver set I wish we saw more of— both real curiosities that the movie surprisingly makes very little of. At some 60-minutes and with Keeler as the only 'name' star, the movie's nothing more than a pleasant little programmer that I suspect Columbia used to demote Keeler after her A-picture career—she made no more for some 30-years. All in all, it's the kind of material Rooney and Garland could explode the screen with; at the same time, this version manages a mild 'pop'.
- dougdoepke
- Mar 14, 2011
- Permalink