Petrushka

I saw this movie as a Russian speaking teenager in Boston, but it couldn't have been further away from anything truly Russian. I had already studied a lot of Russian music and dance and so was anxious to see a film about one of my favorite composers: Nicholi Rimsky Korsakov. I couldn't have been more disillusioned. The Rimsky Korsakov that I knew from pictures in books wore glasses and had a long beard though he could have looked a bit like Jean Pierre Aumont when he was young. He certainly was in the Russisn navy and did travel all over the world but his life was absolutely nothing like that portrayed in the film. Even so, that's Hollywood and it was enjoyable though hilarious. Eve Arden couldn't have been worst cast, though I always loved her witty remarks and wise cracks in all her movies. But as a Spanish Duena? And wearing a Mantilla? Really! Yvonne De Carlo was surely beautiful but a dancer? Never. And who on earth did her choreography? I understand dummying down choreography for non dancers to be able to do, (called sham dancing) but surely it could have been a bit more inventive than this. Then, low and behold, she is dancing as Prima Ballerina at the Bolshoi Theater no less. OK, when in doubt, use a tambourine. Forget that Scherezade (only in the Ballet Russe repertory and not until 1920) as a ballet was never given at the Bolshoi in Moscow until the 1980s. And as Prima Ballerina in this silly version, (not even in toe shoes) she meets Rimsky (presumably during intermission) on the front steps of the Bolshoi wearing wedgies in the Moscow snow. AND, who on earth was the kid dancing with her on stage? Was it her little sister or the grand daughter of one of the producers from a local dancing school? Neither one would be allowed to even set foot on the stage of the Bolshoi let alone dance, even back during that time; 1880 or thereabouts. Brian Donlevy strutting around in a dance belt, puffing out his bare chest. Is this what one reviewer here was referring to as homo erotic? I suppose so, for 1947, but he sits in a box at the Bolshoi where he wouldn't have even been allowed past the front entrance, cigarette and all. But actually, I really love this movie for all its silliness and somehow I even managed to get it on tape, possibly it was shown on TV back during the 1980s. It's time I take another look at it. Yvonne De Carlo went on to be a star on Broadway and of course as Lily Munster on TV. Jean Pierre later married Maria Montez. Could that be right??? An added note: Years later, while in Moscow, I saw a Soviet version of Rimsky's life. Much more authentic of course with wonderful actors and in gorgeous Soviet color but of course no equal to MGM's production values. I think it was just called "Rimsky Korsakov's Life". They also did one on "Mousorgsky" another Russian composer. That was during Soviet times. I don't think Russian film industry would attempt such films now.

I saw this film when I was a child when my sister (who happened to be a lifelong fan of Nelson Eddy) took me on the train into Boston to the Keith Orpheum Theater for a morning showing. So I sat beside my big sister while she was in heaven watching Nelson Eddy. I never thought that much of him as an opera singer but the opera they were doing was impressive for me, even at that age and I knew it was not a real opera but one made up by the studio using Tchaikovsky's symphonic music. I liked the acrobats in the opera scene and when Nelson used his whip to capture the leading soprano. I already knew Russian language so I understood the words they were singing and that Nelson pronounced them correctly. Then of course there was the marvelous Claude Rains. Not until years later when I got older did I really appreciate his wonderful acting ability. I also wondered how they could reproduce the Paris Opera house. I knew of course it was a studio set but was it a permanent theater on the lot at Universal or just the inside with dressed up extras as audience? These were the questions from a child's mind and I went home dreaming about it; not so much the story but the technical aspects of it all - like, how could the phantom carry a grand piano all the way down to those caverns far below the opera house. I have seen the film several times since then and I must say it holds up extremely well. Gorgeous Technicolor and atmosphere throughout. I've heard that the theater still exists on the Universal lot and was used in some other films. I wonder if it still is there, or was it burned down in the fire of 2007 that swept through and destroyed so much of the Universal lot. Maybe someone knows.

Contrary to most, I must say I did like this movie. At first I thought I wouldn't as it seemed just a documentary, but after a while it became engrossing. Maybe because I started out in show biz myself and in these regional type of productions too, so it all came back as realistic to me. I wouldn't have thought Jeff Goldblum could pull it off as a song and dance man, after seeing him in The Fly and Jurassic Park, but he did rather well, I thought. Maybe a bit too much mugging off stage as well as on, but on the whole, viewable and he worked very hard on this. I wondered what is it with the gum chewing all the way through? The movie gave a true sense of theater life on the amateur, regional level, and I suppose, other than Jeff and Ed Begley, none were Union and so were not paid, certainly not the children. I noticed the choreographer, who also acted a bit, is uncredited, yet every child no matter how insignificant is sure to be named. That's Civic Theater for you! Oh, he is listed on the movie credits at end of film but not on this site, but they often don't give the choreographer credit and if they do it's listed even below the location driver! Not fair at all! I well remember the film of Music Man with Robert Preston but could never figure out how 76 trombones would fit on any stage! But with a bit of stagecraft they did. I saw Music Man back during the 70s in the London West End with Van Johnson (sadly now (December 2008) gone at age 92) in the lead role.