itsmits Reviews

Naughty Marietta (1935)

For your enjoyment, Nelson and Jeanette !

[10/10 · 2 March 2007]

"Naughty Marietta" is acknowledged to be the initial memorable pairing of Nelson Eddy and Jeanette MacDonald in the still popular field of operetta and light opera.

The terrible oppression of the Depression decade was relieved by the happy smiling Shirley Temple, the Dick Powell/Busby Berkeley musicals, and the screwball comedies of Irene Dunne, Cary Grant, William Powell, Rosalind Russell, Carole Lombard, et al.

But the happy pairing of Nelson and Jeanette with their glorious duets and individual performances of the music of Victor Herbert, Rudolph Friml and Sigmund Romberg appealed to the many who found much solace in the sound of two balanced voices joined in melodic songs. Jeanette MacDonald had already made many musicals with Maurice Chevalier and Ramon Navarro but the music of Victor Herbert seemed to afford the opportunity for her to display her particular talents to advantage.

While still a princess in Europe, she has a chance to sing the lilting "Chansonette". And as the boat leaves France for the new world, "Prayer" includes strains of the popular "Yesterthoughts". In the new world, Nelson Eddy has an opportunity to introduce himself with the famous "Tramp, Tramp, Tramp" rouser. Later, around the campfire, he does a marvelous job with "The Owl and the Polecat". Two lovely ballads that Victor Herbert provided are also included. " 'Neath the Southern Moon" and "I'm Falling in Love With Someone". Jeanette also has an opportunity to shine with the "Italian Street Song".

But, of course, the song that everyone remembers is "Ah, Sweet Mystery of Life" which develops over the life of the picture from the beginning scenes with Jeanette's teacher in Paris to the final scenes in the New World when it becomes a soaring duet.

If operetta or light opera music is not your cup of tea, this movie may not have much appeal for you. Admittedly, this is the music of a century ago. But there are many movie viewers who do savor this type of music and for them, "Naughty Marietta" is a real treat. It even has delightful moments of comedy with Frank Morgan,Elsa Lanchester and Edward Brophy.

Both for insight into film history, music history and just plain entertainment, this movie is an enjoyable diversion. An hour and a half or so in today's busy world is not too much to expend for a bit of nostalgia. If you do discover a 'new world' , there are many other treats awaiting you. "Naughty Marietta" was only the first in a long series of films such as Rose Marie"; "New Moon" "Maytime"; "Girl of the Golden West"; etc.

Twenty Million Sweethearts (1934)

The Golden Age of Popular Songs

[8/10 · 24 February 2007]

The adolescent who viewed this movie in 1934 could not possibly have guessed that he would be viewing it again more than seven decades later. The 'hit of the day', "I'll String Along With You" by Dubin and Warren which was introduced in "20 Million Sweethearts" is as fresh as ever today. Dick Powell who was often paired with Ruby Keeler in the memories of many, actually made more musical movies with other female stars such as Joan Blondell, Marion Davies, Rosemary Lane, Priscilla Lane, Gloria Stuart, Ann Dvorak, Doris Weston, Anita Louise and Josephine Hutchison.

If a decade is to be characterized by a single male singer, it would be difficult to find a more industrious actor-singer than Mr. Powell. Bing Crosby was also popular but the many others who tried never seemed to appear as often as did Dick Powell.

In this low budget movie, which did not have the huge production numbers associated with Busby Berkeley, a fast paced simple plot with many sparkling musical numbers made it a success. Of course, the presence of the gifted Ginger Rogers as a co-star helped immensely. ( This was before she was to star in "Top Hat")

A stalwart supporting cast of Pat O'Brien, Allen Jenkins, Grant Mitchell and Joseph Cawthorn carried the story. This was backed up with many numbers by the original Four Mills Bros. "Out For No Good" rendered by the four together with Powell is a real treat. Sadly, a scant two years later, John Jr expired suddenly and John Sr was prevailed upon to 'fill in'. Thus it is that the quartet was to consist of a father and three sons for the major part of its successful career.

The Radio Rogues bring back memories of other stars of the era with their great imitations of Ben Bernie, Kate Smith, Joe Penner, Morton Downey, to mention a few.

If this movie appears on your TV schedule, by all means, grab the opportunity to look behind the scenes of how the major entertainment media of the 30's, radio, operated and enjoy the music.

First Love (1939)

Universal's golden goose becomes a golden swan

[9/10 · 31 December 2006]

If you are fortunate enough to be blessed with a golden goose, you take very good care of it. The lovely singing sensation from Winnipeg was leaving her adolescent years behind and developing into an extremely attractive young woman when Universal dared to expose her to 'her first screen kiss'. The story didn't have to have great lines; just a happy ending. "Cinderella" updated was deemed sufficiently safe.

Hollywood discovered that in the middle of the Depression, movie fans loved to escape into the swank life of millionaires with large mansions requiring equally large servant staffs. Thus, our Cinderella had only to endure the acid tongue of Helen Parrish who seemed to make a small career of being mean to Deanna Durbin a la Jane Withers and Shirley Temple. With only one evil stepsister (first cousin in this instance)with whom to contend, our heroine had two good fairies. One was the finishing school principal, Kathleen Howard, and the other was the butler played ably by Charles Coleman. Other recognizable supporting cast members included Mary Treen, Frank Jenks, Eugene Palette and Thurston Hall.

There are four numbers which Miss Durbin sings in "First Love".

"Home, Sweet Home" is sung by the graduating heroine at the request of her classmates.

"Amapola" is sung at the occasion of her first encounter with the servant staff at Uncle Jim's mansion.

The piece de resistance which captures Prince Charming's attention at the ball is s Strauss medley strung together seamlessly into what sounds like a single song but consists of brief melodies from "The Gypsy Baron"(Schatz waltz); "Roses From the South"; a third melody unidentifiable at this writing; and an orchestral finish with "Voices of Spring". Lyrics were provided by Ralph Freed and musical direction by Charles Previn who conducted many of Deanna Durbin's recordings for Decca.

The final piece is 'One Fine Day' from Madame Butterfly which has been done by other sopranos such as Grace Moore and Rise Stevens but not with the intent and purpose of a good fairy to win the hearts of a panel of judges nor more surprisingly, with a happy ending which Puccini certainly never intended.

If you want realism, then this would certainly not be your cup of tea but if you are even considering a Deanna Durbin movie, then you are probably not in that group. If you want to learn more about this amazing screen star who rivaled Shirley Temple and Judy Garland as an international box office draw, this is the movie you should see as she gave up her perky adolescent ways from her first five movies and moved into the ranks of an adult star. If you have the opportunity to see this film, don't miss it but hold onto your heart!

Lost Angel (1943)

The Lost Angel is found

[9/10 · 20 December 2006]

This film was a great starring vehicle for the enormous talent of Margaret O'Brien as a child actress. With no singing nor dancing ability on which to rely, she stole your heart with her acting.

James Craig and Marsha Hunt were the romantic leads with creditable performances. Craig as the link to the real world for the heretofore sheltered 'angel', was entirely believable. Marsha as a nightclub singer and jealous competitor for Craig's attention also sang "I've Got You Under My Skin" although the soundtrack seemed to go awry at one point during her performance on the last occasion this viewer enjoyed the movie.

The supporting cast was strong with Philip Merivale, Henry O'Neill, Donald Meek, Keenan Wynn, Sara Haden, and Elisabeth Risdon among many.

This movie stands out as a winner among the many Margaret O'Brien movies shown on TV. It would be a shame to miss it.

The Powers Girl (1943)

An undiscovered nugget waiting to be found

[7/10 · 20 December 2006]

It's difficult to comment on a movie seen more than six decades ago but a couple of memories do stand out.

Peggy Lee has a chance to demonstrate her unique style of singing in "The Lady Who Couldn't Believe In Love's In Love".

Dennis Day is at his best singing "You're Out Of This World".

And finally, there are the jitterbugs being driven to demonstrate their best moves during a rain while Benny Goodman and the orchestra jam. This scene is often used when 'big band' specials are presented but seldom credited to this movie.

The story is not memorable but the music presented is worth the effort to see it. It would be an unexpected treat if it were available for the viewing public.

Rosalie (1937)

Not a bullseye but definitely on target

[8/10 · 19 December 2006]

Music historians have indicated that the title song from "Rosalie" was not a favorite of Indiana born Cole Porter. It is reported that the head of the studio had Mr. Porter rewrite the lyrics a half dozen times before finally accepting the submitted version for production. It has also been reported that the polish which characterized the composer's work seemed to lose its luster with each rewrite. A comparison of the final product with other gems from his repertoire would seem to prove the point. Nevertheless, with the haunting "In The Still Of The Night", Cole Porter performed the magic of producing a classic standard in consecutive years in consecutive films having given us "I've Got You Under My Skin" in "Born To Dance" in 1936.

Although it has been seven decades since MGM produced this musical, memory has not dimmed the vision of the Hungarian beauty Illona Massey in a debut appearance on the Hollywood screen. The soundtrack listing credits her with a performance of a number entitled "Spring Love Is In The Air". Alas, the copy of the movie which I viewed did not include this number. She did co-star with Nelson Eddy in a subsequent movie called "Balalaika" and her voice was pleasant although not memorable.

The excellence of the supporting cast with all their comedic skills could not lift this movie to the level of 'blockbuster' but no self respecting Eleanor Powell nor Nelson Eddy fan would dare skip this movie.

Three Godfathers (1936)

A western reminiscent of Damon Runyon

[18 December 2006]

The 1936 version of "The Three Godfathers" may be compared to the 1948 remake in somewhat the same manner as the 1940 "Love Affair" is often compared to the 1957 "An Affair To Remember". A black and white classic is remade in Technicolor with the advantage of advanced technology. Here the comparisons part company. The director of the original film gave way to a much more noted director and the lead role gave way to a much bigger box office draw. The biggest divergence came with the climax. This 1936 version opted to remain faithful to the author. The later version appeared to succumb to preview popularity.

When one mentions the name Chester Morris, most old timers will respond with 'Boston Blackie'. But with this role and his subsequent appearance in the classic "Five Came Back", he has managed to edge into the book of classics.

Lewis Stone and Walter Brennan play wonderfully off of each other although the former seems to have the lion's share of lines.

Irene Hervey is the brief love interest. Miss Hervey was known more popularly as Mrs. Allan Jones, the mother of Jack Jones.

Sidney Toler appears briefly prior to his succession to the role of Charlie Chan.

This film does not have the grittiness of the 1930 "Hell's Heroes" nor the slickness of the 1948 version but because of its tautness and faithfulness to the author's intent, it is a very satisfactory experience. One is left with a feeling of 'all's right with the world'. To fully appreciate P.B. Kyne's novella, watch this version before the 1948 version and also the 1930 version('Hell's Heroes') if you can catch it.

Angels with Dirty Faces (1938)

Much more than run of the mill

[18 December 2006]

The popularity of this film is evidenced obviously by the abundance of comments elicited. Considering the passage of time since it was first introduced to the public, this is a tribute to its durability through at least three generations. This octogenarian never ceases to be amazed at the whimsy of fate; the vagaries of chance which can play havoc with one's life or raise it to unbelievable heights. Maybe that is why the most memorable line from the film was from the advertising department. The billboard campaign mounted by Warner Bros. proclaimed to one and all, ' Last one over the fence goes to the electric chair !! '

As it did in "Manhattan Melodrama" some four years before, chums of boyhood remain friends for life despite the divergent paths decreed by fate. And the fact that the viewers comments are not overwhelmingly of one persuasion is a good indication that the final production is a work of art. The artist wants the viewer to form his own opinion of the final scene. Miss viewing this at your own loss.

College Holiday (1936)

Little known 'inside story'.

[7/10 · 17 December 2006]

It has been a full 70 years since I was fortunate enough to see this film. Fortunately, others have been able to recall much of the more salient facts including the story and performances. I was lucky enough to have a couple of older brothers who had the foresight to buy a recording of the lovely ballad "I Adore You" and although it is a 78, I have been able to recall the typical 1930's love song.

One comment I noticed was the description of a sequence as being 'far-fetched'. This was when Leif Erickson and Marsha Hunt had been thwarted several times by intrusions when attempting to kiss. They finally solved the problem by diving into the water and consummating their osculation before surfacing.

The significance of this was that it was an attempt of the producer to emulate a very popular advertising campaign at the time by a swimwear manufacturer (Either Jantzen or Catalina)in which the kiss under water was the center of interest. It was a very popular picture ad in Esquire magazine as well as other magazines of the day.

Gold Diggers of 1935 (1935)

A masterpiece from Busby Berkeley

[10/10 · 11 December 2006]

Three production numbers with the finale being the apotheosis of group tap dancing. The 'Lullaby of Broadway' production number will probably never be duplicated. If one considers the time when this musical was produced, the effect of the Winifred Shaw special(Dick Powell actually finishes off the song)is a wonderful example of encapsulating the fast paced life of the Broadway of the 30's. "I'm Going Shopping With You" is a catchy tune but not of classic standards. Still the production of this number is entertaining.

"The Words Are In My Heart" does not start out well when first introduced by Dick Powell while sitting in the parked speedboat. Notice the strain on his voice in the line '. . .the moon above makes the mu-sic'. Very strident. He improves on this when he gets an opportunity to sing it again. '. . mu-sic' is much less strained. The production of this number with the pianos, however, is extremely enjoyable. The pianos seem to glide effortlessly across the floor and manage to mesh perfectly. Remember, this was done before computers and much hydraulic equipment. So how was this accomplished? If one looks closely under the pianos nearest the screen, unmistakably you will see a pair of black trousered legs propelling the outline of each piano as it glides into place. Imagine the hours of preparation and drill it took to perform this feat to produce the effect seen on the screen. That's how it was in the Depression 30's. This writer must confess that the visibility of the trousers was not noticeable until pointed out on a program discussing the film within the last couple of years. It certainly was not noticeable to the 12-year old who was fortunate enough to view this classic when it first appeared in the middle of the Depression 30's. These musicals helped to make the Depression bearable.

3 Godfathers (1948)

A Different Western

[7/10 · 11 December 2006]

The 1948 version of this Peter B. Kyne novella is a change from the 1930 and 1936 versions. Comparisons with the 1936 version have been made but like athletic performances in different eras, comparisons of movies made in different eras are often like the proverbial 'apples and oranges' comparisons. The opinion of the viewer also changes with the advent of maturity.

Although I never saw the original silent version 'Marked Men'(1919), I have had the opportunity to view the 1930 version 'Hell's Heroes' with Charles Bickford, Raymond Hatton and Fred Kohler,the 1936 version with Chester Morris, Lewis Stone and Walter Brennan, and the 1948 version with John Wayne, Pedro Armendariz and Harry Carey,Jr. The 1936 version was viewed when I was a teenager. The story by Peter B. Kyne was also read at that time. It left an indelible mark until the last decade or two when both the 1930 and 1948 versions were seen.

Unlike most viewers, I am disappointed that the 1948 version settled for a 'happy ending'. I feel that it destroyed the author's intent. John Wayne's demise in this 1948 movie might have affected the box office draw but it remains a disappointment to this movie fan that the author's ending was changed. I thought the point of the drinking of the poisoned water was to focus on the hero's conversion. It is not the first time that the author's intent has been subordinated to please the public but in this case, wasn't the point of this story about making the ultimate sacrifice?

This should not detract from Wayne's performance which was excellent. The film is still well worth seeing and enjoying.

Hell's Heroes (1929)

Necessary foundation for subsequent remakes

[10/10 · 11 December 2006]

In childhood, my interest in cowboys centered around Fred Thomson and his horse Silver King. I did not pay much attention to the villains but I remembered that Fred Kohler was usually the leader of the 'black hats'. Raymond Hatton was only known then as the erstwhile partner of the popular comedy team of Raymond Hatton and Wallace Beery. Some time within the last five years or so, my constant monitoring of old time movies presented on TV resulted in my capturing 'Hell's Heroes'. What a discovery it was for me!

I had always remembered "The Three Godfathers" with Chester Morris, Lewis Stone and Walter Brennan from my teenage years. In fact, it had driven me to the local library to read the original story by Peter B. Kyne.

One would never have guessed that Charles Bickford would be the hero of this 1930 movie but he filled the role admirably. With the aforementioned Fred Kohler and Raymond Hatton in the supporting roles, the 'three godfathers' were a formidable thespian trio. This film, produced when it was without today's modern advantages, is an excellent model of fine early movie-making. And it should certainly be seen to get insight into the technological advances that subsequently resulted in the 1936 version with Chester Morris, Lewis Stone and Walter Brennan, as well as the Technicolor version in 1948 with John Wayne, Harry Carey, Jr. and Pedro Armendariz.

The strength of the novella by P.B. Kyne is evident through all three versions. If this title appears on your TV schedule, don't let the date of 1930 scare you away. The writing of screenplays by different persons may alter the end result but a strong well written story with excellent acting will always produce an enjoyable film. You might be surprised how dry your throat is at the end of this picture but you will also be strangely satisfied with the ending.

The Great Victor Herbert (1939)

Susanna Foster Hits a High Note.

[8/10 · 10 December 2006]

I cannot argue with other comments that the story line focuses more on the romance between the Mary Martin and Allan Jones characters, much in the manner of "Showboat", than on the life of Victor Herbert. But in the 1930's, would that have been a box office draw? Instead of the Life of VH, perhaps it should have been the Music of VH. There is an abundance of this.

For me, the thrill of the movie came near the end of the movie when Susanna Foster sings "Land of Romance". It has been over a decade since I caught this movie for a second time at a local 'old movies' theater. At first the audience was stunned; then it burst into spontaneous applause. I remember the shivers running up and down my spine. My trivia memory recalled the information provided to an inquiring public by a local journalist when the movie first came out back in the late 1930's. 'That note hit by Miss Foster was a far F above high C.'

She may not have had four octaves a la Yma Sumac but the then teen-ager certainly had a range!

The Fleet's In (1942)

Full of laughs and hummable music. See it if you can.

[8/10 · 7 December 2006]

It took almost 65 years from my first viewing of this musical to the recent viewing when I managed to acquire a DVD of "The Fleet's In". Can't think of another musical in which such disparate performances of classics appear in the same movie. "Tangerine" was identified with Helen O'Connell for her entire career. "Arthur Murray Taught Me Dancing In A Hurry" was never associated with anyone but the irrepressible Betty Hutton. Although Dorothy Lamour was not as closely identified with the classic "I Remember You", it was the third standard that emerged from this low budget musical. The marvelously funny Lorraine and Rognan were to appear in only one more performance recorded on film ('Salute For Three' in 1943)

Gil Lamb may not have been a believable threat to Eddie Bracken but his many and varied comic abilities were superlative such as his 'harmonica' routine. Enough of his work was included to make the 'trip home' delightful. (You CAN go home again for old movies) If the opportunity ever arises, leap at the chance to see this WWII movie.

Something in the Wind (1947)

A surprisingly deft comedy by Deanna Durbin.

[8/10 · 5 December 2006]

I recently purchased this DVD as part of a six movie pack. I wished to review "Something In The Wind" because I had focused on Donald O'Connor too much. I was pleased to note that Deanna Durbin was an accomplished light comedy actress in addition to her vocal talents. The ease with which she performed her first song in this movie as a disc jockey is an excellent example of her innate acting ability.

The role played by John Dall seemed too far removed from his role in "The Corn Is Green". There seemed to be little chemistry between Durbin and Dall.

Donald O'Connor was polished as usual but then he had been in movies for over a decade by this time having debuted with Bing Crosby and Fred MacMurray in "Sing You Sinners". It was interesting to realize that the zany short routine he did for Deanna was the groundwork for his 'Make 'Em Laugh' routine in "Singing In The Rain".

Although the impact of "100 Men And A Girl" was never realized again, Deanna Durbin left an enjoyable body of work in her career in Hollywood. There were five or so as a young teen-ager beginning with "Three Smart Girls", "100 Men And A Girl", "Mad About You", "That Certain Age" and Three Smart Girls Grow Up".

With the advent of "First Love" (her'first screen kiss')and pairing with Bob Stack, she began to leave the adolescent stage. Her subsequent movies showed that she had acting ability in addition to her juvenile charm and appealing voice. She did not experience the awkward stage of Shirley Temple and graduated smoothly into adult roles. She may not have been another Irene Dunne nor Rosalind Russell but her comedy was enjoyable and her vocalization always pleasant albeit somewhat schmaltzy to some.

The Williams Bros received billing in this movie but it would be difficult to pick out which one was Andy.

For those not fortunate enough to have grown up in the Deanna Durbin 'saves Univeral Studio' era, this movie is one fine example of how she did it. Light but very entertaining.

Love Affair (1939)

The original version of this classic is still the best

[10/10 · 5 December 2006]

I have watched the three versions of this movie plus the related "Sleepless In Seattle" several times. I find that the original 1939 is the most pleasing from the standpoint of story exposition as well as portrayals. The crucial piano performance by Maria Ouspenskaya and accompanying vocalization by Irene Dunne seems to me to be the heart of the relationship that develops between Terry and Michel. To appreciate Ouspenskaya's performance, one only has to view "Waterloo Bridge" with Vivien Leigh and Robert Taylor to see the range of her acting skills. "Plaisir D'Amour" is actually a ballad written in 1798. It can often be heard as background music in many movies as well as in other versions.(Listen to Elvis sing 'Take My Hand')

"Wishing" seems to be more consistent with the story line than does its counterpart in "An Affair to Remember". (Maybe that's why it earned an Academy Award nomination in the competitive year of "Over The Rainbow".) The Terry McKay quote regarding '. . .is either illegal, immoral or fattening.' was actually Alexander Wolcott, wasn't it? In the remake, Leo McCarey had the advantage of newer technology and Technicolor but how can you improve on a masterpiece?