It’s Love I’m After (1937): In Honor of Olivia De Havilland

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There is a very significant reason to be watching It’s Love I’m After at this time. Her name is Olivia de Havilland, and by some brilliant piece of Providence, she has just recently turned 104 years old! She, of course, was in her early 20s when this movie came out and what a charmer it is.

A few years before To Be or Not To Be, here is another movie hamming up Shakespeare on the stage. This time it’s Leslie Howard and Bette Davis as they act out their version of Romeo and Juliet for a rapt audience. What makes the sequence is the dueling couple whispering snide asides to one another mid-performance. Barbs about garlic breath and upstaging come out because they’re both conceited and jealously in love.

But where is Olivia in all of this? She’s up in the balcony swooning over the sublime eye candy down on the stage. She’s seen all of his performances and is positively devoted to his very essence. Her boyfriend (Patric Knowles) looks on with frustration as he’s having to compete with a rival who has never even met his girl before.

This is soon remedied when she promptly goes backstage to pay her respects. It’s all quite innocent. Basil and Joyce continue their incessant bickering from their adjoining dressing rooms, still at each other’s throats, despite the wall between them.

Then, Marcia West presents herself positively agog by the image of her idol thoroughly in the flesh before her. He’s flattered but he hardly knows what he’s doing when he accepts her compliments. Worse still, Joyce sees the young woman on her way out. Harmless or not, it adds further fuel to their relational fires.

What a delight it is to see such beloved thespians and titans of dramaturgy like Howard and Davis doing comedy, of all things, and doing it quite well in the screwball vein. After all, this would be their third picture together following Of Human Bondage and Petrified Forest. There’s no comparison.

The movie is totally overtaken by bipolar swings in fortune. First lovers’ quarrels — it’s the worst New Year’s Eve ever — then there are marriage proposals, and finally, Basil resolves to help a young fellow out.

They do have some handy support. There were few better in this department than Eric Blore, and he has a readily available supply of birdcalls and advice on his master’s matrimonial habits on the “precipice,” as it were.

Being your typically theatrical, philandering type, Basil resolves to shirk his impulses and pursue his own moral salvation. In this case, his good deed is for a lovesick fellow whose best girl is smitten with the stagebound Romeo. The actor doesn’t know it’s the same girl. How can he? No one in these movies ever stops to compare notes.

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Still, he resolves to turn up on her doorstep and rudely ruffle her illusion of him. He and his man Digges (Blore) pay a late-night housecall to the West residence. Their shouts of “ire” soon become “fire” and brief pandemonium sets in as an impromptu round of “We’re here because we’re here” comes out sounding a lot like “Auld Lang Syne.”

He schmoozes his way into the house, making himself at home in the company of the avuncular father, befuddled mother, and a gossiping sister (Bonita Granville) always peeping through keyholes. But in Marcia’s eyes, he can still do no wrong. Now he’s got quite the prompting audience, and he’s all but ready to do his part.

His bit of showmanship has him playing up his image as an egotistical malcontent tearing through the guests and their breakfast table with ferocity (and some help from the Bard). Digges does his best to complain about the lack of kippers and other inadequacies. None of it congeals as they were hoping, in fact, it has an adverse effect. Marcia agrees with his every word.

As someone fed on a steady diet of P.G. Wodehouse and Jeeves and Wooster, there’s something familiar and comforting about the picture’s comic situation. Basil is no Bertie Wooster. Digges is no Jeeves, but they are stuck in the same madcap realm of romantic entanglement mixed with comedic hijinks.

Whatever Basil tries is quite unsuccessful in quelling the ardor or the affection of Ms. West. The best-laid plans all too quickly go awry and poor Digges can do little to stop the inevitable. Joyce makes her reappearance at precisely the most inopportune time. She catches her man in the arm of another. The jealous boyfriend feels affronted as he watches his girl be ripped away from him, albeit unwittingly.

The story couldn’t look bleaker and further from its agreed-upon happy ending and yet, eventually, it comes, like any good rom-com. Don’t ask me how it happens. Maybe it’s the youthful fickleness of De Havilland’s ingenue. Perhaps cinematic serendipity gets in the way. Regardless, the partners shuffle around only to get back together with their ordained.

Leslie Howard and Bette Davis are, again, madly in love, then yelling and screaming and pushing each other across the room. Digges is busy packing the suitcases only for the contents to come tumbling out as future husband and wife make up and share a passionate embrace. What light through yonder window breaks? It is the East and Juliet is the sun! End scene.

3.5/5 Stars

 

The Bellboy (1960) and Jerry Lewis The Goofball Auteur

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The Bellboy is introduced by a witty disclaimer as a studio executive (a cameo by Jack Kruschen) explains this is a film based on fun. There is no story. No plot. Instead, it acts as a visual diary in the week of a real nut! He subsequently reels about in his chair laughing hysterically.

It breaks the normal precedence in a move Lewis may have learned from Frank Tashlin and yet it also is a clever mode of conditioning the audience. With their expectations tempered, The Bellboy is allowed to excel on its own merit as something entirely unique. That it is.

What becomes evident is that we are witnessing the beginning of the next stage of Lewis’s artistic career, effectively blurring the accepted lines between major goofball and auteur. Paramount was bucking for his next picture to be released for the summer crowds.

Being the consummate professional and insanely efficient, Lewis needed only 4 weeks (26 days of filming) to crank out the movie, while simultaneously playing the stand-up circuit. He would get the movie out in time for the summer rush, and it would continue his successes at the top of the box office.

His inspiration was the Fontainebleau Hotel in Miami Beach, conveniently located in the vicinity of his current nightclub act. It proved a ready-made environment ripe for gags of all sorts. One must only remember the red-hats in Hitchcock’s North by Northwest or the shenanigans at The Hotel Del Coronado in Some Like it Hot to see the obvious potential for comedy. Lewis even asked Billy Wilder to direct at one point. Wilder fired back with the advice that Lewis should do it himself. The rest was proverbial history.

One creative element of the palette missing: color though Lewis would rectify the situation with his next movie, The Ladies Man. For now, he has exorbitant amounts of fun with the freedom afforded him, designing a character who is a none too subtle nod to the titans of yesteryear.

His mute (and dumb) bellboy Stanley muddles his way through work at the hotel, getting pulled into all sorts of tasks. In one moment, he’s tricked into setting up a giant ballroom full of chairs. There’s one dizzying unbroken shot of Lewis charging across the floor disappearing for a solitary moment to bring back two chairs to begin filling up the space at a snail’s pace.

His colleagues are cackling at his gullibility only to peek in on his progress. The punchline being the chairs all set up immaculately. They are gobsmacked but we know better. It shows the power of a cut, where separate images are given so much meaning by even a brief disassociation. Lewis has gladly leaned into a sense of surrealism to augment his usual dopey slapstick shtick.

Another vignette follows the movie star Jerry Lewis (played by none other than Jerry Lewis) whose envoy is met at the hotel entrance by a host of gawking onlookers. His absurdly large entourage files out of his limousine and nearly suffocates him with their well-wishing. He’s had it with their constant hovering. The scene is capped with everyone cramming into the elevator together with similar absurd results. This gag might easily be a nod to The Marx Brothers and Wilder as well.

Milton Berle does his pal a favor by turning up in an isolated sequence. A moment is traded between Milton and Stanley only for the real Lewis to bump into Milton and send him for a loop. The final twist is Berle has a bellboy doppelganger of his own.

As the picture is never beholden to a plot, these loose and free situations keep on coming. Stanley might be trying to go on a dog walking detail only to get tangled up by a plethora of constricting leashes. Maybe he’s on phone duty, and it’s a bit like playing whack a mole where the call is never coming from the telephone he expects.

All the bellboys become unhinged at the sight of pretty girls, and Stanley finds himself all but maimed by an arguing couple who find a point of resolution when they join forces to beat the crud out of him. He conducts an unseen, but very raucous orchestra a la Bugs Bunny created entirely through the merits of sound design and Lewis’s own physical abilities.

My favorite sequence might be when he all but mutilates a sculpture, still wet, sitting out in the lobby for an art exhibition. Don’t ask why it was there. This is the wrong question. Just know the results are riotous.

The same might be said of Lewis all of a sudden showing up at a major golf classic just in time to flashbulb Cary Middlecoff as he’s trying to sink his climactic putt. Or he finds himself airborne and causing quite the stir after commandeering a plane.

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These digressions are nonsensical but since it’s not faulty advertising, the scenarios succeed quite spectacularly. Because Lewis has leaned into this conceit and let his zany brain run wild with all the harebrained bits he can dream up. It does feel like the Marx Brothers at their best — at least in the sense we never go to their movie for a plot. It only exists as something the gags can hang their hat on. But foregoing the normal premises for pure comedy is to Lewis’s benefit.

The legend goes Jerry Lewis asked one of his idols for advice on the script, naming his protagonist as a nod to him and even having a shuffling, bowler-wearing doppelganger appear throughout his movie. The mentor was, of course, Stan Laurel, who had all but stopped performing since the death of his inseparable partner Oliver Hardy. Lewis, for all intent and purposes, had died to his partner, Dean Martin, but reimagined himself bigger and better.

At its best, The Bellboy is an audacious experimental pantomime accentuated by surrealism liberally borrowing from the tradition of Stan Laurel and Jacques Tati. Sound plays such an important role in the comedy as do these continually incidental encounters. They become the origins of genuine laughs.

But there’s also this element of outrageous even impossible scenarios being played straight.  It probably has as much in debt to the animated logic of Bugs Bunny and Daffy Duck as it does to the aforementioned comedians. However, at the end of the day, this can only be Jerry Lewis. If I only had a modicum amount of respect for him before, my esteem for him only grows with every effort. I might relish his forefathers more, but Lewis still has some claim at comic immortality in his own right.

3/5 Stars

The Ladies Man (1961): Herbert H. Heebert

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The French (and Europe in general) have unparalleled esteem for Jerry Lewis.  It no doubt allows them to put him in conversations with their own beloved Jacques Tati as the true heirs to the Chaplins and the Keatons of comedy.

It’s no major revelation most Americans, flagged from the general populous, might scoff at such pronouncements. Because Jerry Lewis was just the comic with that obnoxious voice doing bits with Dean Martin and screwing around. Admittedly, this is my own bias acting out. He’s undoubtedly wildly popular with many.

Still, his type of comedies and routines feel like a dime a dozen. His most renowned picture, after all, is The Nutty Professor, and then his string of comedies with Martin, while successful, were never critically reputed.

What our friends across the pond take into account is how Lewis made himself into a holistic artist capable of many things — not simply performing. We saw this goofball. Whereas they rightfully recognized a visionary director, a prolific writer of material, who simultaneously helped to expand the language of film. It hardly seems like we’re talking about the same person, and yet we are.

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What he manages to accomplish starts with taking comedy back to its purest roots, making it into a totally visual experience. There’s no better example than his stark departure with Frank Tashlin: The Bellboy. The Ladies Man builds off these ideas further, nevertheless, developing them with the same persona some adored since childhood and many, like me, will grow weary of after a couple of minutes.

However, this reaction easily clouds what Lewis is actually doing. He effectively turns the American Dream into a satirical, at times, surrealist fantasy playing upon his already solidified persona and allowing himself greater verisimilitude to explore ideas around the slapstick. At its core, The Ladies Man (with no apostrophe s) is an absurd tale of emasculation.

The inciting incident occurs in a small town where Herbert H. Heebert sees his best girl kissing a mostly unseen suitor following their junior college graduation. It’s a devastating blow. He takes this as a sign he must shrug off girls forever and try and find an occupation as far away from them as possible.

Of course, there’s then nowhere else for him to end up but a giant dollhouse full to the brim with attractive, young women of all shapes and sizes. It’s inevitable. Sure enough, Herbert is hired on by a housekeeper named Katie (Kathleen Freeman) who takes all his foibles in stride. Freeman is also one of the few characters who can stand up to the antics of her leading man. The indelible image occurs when he jumps into her arms out of fright. She’s there to be a foil emblematic of all things maternal and sunshiny.

Meanwhile, the introduction of the female tenants, unbeknownst to the slumbering Herbert, plays out as an intricate morning ritual complete with a jazzy accompaniment and of course, a whole host of alluring women.

This is our first taste of the film’s obvious choreography, and it is executed on a grand scale. The dizzying set made up of rooms upon rooms, multiple stories, and spiral staircases is a veritable jungle gym for Lewis to play with. This pertains both to the actor and the director, realizing elaborate crane shots as his hapless hero is put up against this colorful, campy backdrop.

The glut of the film, by one means or another, follows his daily duties. Of course, they’re only an excuse for a range of gags. They involve a butterfly collection,  passing out the mail, and being the in-house doorman. His most daunting task is taking care of “Baby.” One minute he’s sloshing milk through the living room in a bucket, the next minute dragging a huge slab of meat to feed the beast his breakfast.

Herbert has his own breakfast sloppily fed to him in a high chair by Katie. Yes, it’s strange. It is soon overshadowed by the film’s finest cameo by George Raft, who proves his authenticity to Herbert by showing off his dancing prowess — cheek-to-cheek.

The next extended aside is the picture’s most surreal moment when Herbert enters a “forbidden room” only to encounter a willowy woman suspended from the ceiling. He starts fleeing the slinking woman in black only for Harry James’ Orchestra and a dance floor to appear, facilitating their game of cat and mouse. Any meaning is oblique at best, but that makes it no less of a mesmerizing diversion. After all, things slip back into the status quo like nothing at all.

In the last act, the house gets invaded by a television crew and even more madness commences for Herbert as he is all but forgotten amid the tumult. Everyone is just happy he’s stayed around so long to keep up on their chores. It’s one girl named Fay (Pat Stanley) who actually has concerns for him as a fellow human being. This is rare.

In the dining room one morning, she decries her housemates’ manipulative behavior because they’re selfishly thinking about what they can say to keep him constantly doing their bidding. They have no concept of his thoughts or feelings, only his usefulness to them.

However, this indictment has telling implications. If this is a film about emasculation, what do we call the underappreciated place of traditional womanhood? How is this a critique of husbands and boyfriends who spend their evenings thinking of their significant others as nothing more than objects to cater to their whims?

It’s a toxic and quite damning scenario. While the ideal might be well-meaning it only stands up to scrutiny if both partners have symbiotic, multi-faceted roles meant to support one another. In other words, there needs to be some give-and-take, some form of interpersonal connection, and autonomy.

These observations alone make it necessary for me to eat my own words and my dismissal of Jerry Lewis. Because it’s initially difficult to acknowledge Lewis as an artisan and yet watching something like The Ladies Man, it’s impossible not to acknowledge its visual strengths. Yes, a lot of it’s not altogether funny, the gags are at times downright awful, and if you don’t relish Lewis’s own persona, you’re not going to be bucking for him to do his usual shtick.

But as a social commentary, there’s a surprisingly large pool of insights. Likewise, for its visual and physical feats, Ladies Man is a minor marvel even an extraordinary one, though it loses some weight thanks to all the mediocre elements.

Still, there are a handful of scenes with visual expressions and choreographies of a truly unique caliber. It’s as if in another life with a little touch-up, this might be the Marx Brothers mixed with Tati. Likewise, Tashlin’s own cartoon-like, visual wackiness has already been nodded to out of necessity.

Admittedly, my own greatest flaw is being an American. My impressions are already unflinching. When I look at Jerry Lewis I see a multi-talented performer who nevertheless, is more of a tiresome icon than a comic delight. To paraphrase a famous axiom, a comic is never appreciated in his own country. Thankfully, Jerry has the French (and everyone else). It’s the intellectual with the absurd: a match made in heaven.

3/5 Stars

Funny Face (1957) Shows Audrey Hepburn’s Enduring Beauty

Funny_Face_1957.jpgI’m not an expert on fashion photographers, but with only a passing interest in the industry, two of the most luminous names I know are probably Richard Avedon and Bob Willougby. Their names seem to crop up more than almost anyone when you consider film stills. It’s no coincidence that they both famously did shoots of Audrey Hepburn: one of the most widely photographed women of all time.

I never realized it before, but it also seems little coincidence that Richard Avedon is fairly close in name to Richard “Dick” Avery, a fashion photographer, played by Fred Astaire in this picture. Avedon himself was an advisor on the musical even providing the now-iconic headshot of Hepburn, capturing her iconic eyes and the contours of her face.

That’s the first level of reality being reworked for a bit of frothy fantasy. We’re met in the opening minutes by a histrionic tastemaker, Magazine matriarch Maggie Prescott (an uproariously assertive Kay Thompson) who comes off a bit strong but slowly sinks into our affections. Ruta Lee is constantly scampering about with the rest of her staff, getting whisked around by Prescott’s every whim.

She champions a change in direction for Quality magazine as they’ve gotten a bit lax and set in the status quo, and so she catalyzes a pink extravaganza to shake up the fashion world. It just might work.

Astaire is as affable as ever, remaining mellow with age and yet the models he has to deal with, in his line of work, are shown to be ditzy and a dime a dozen. He proposes an even bolder deviation from the norm than Prescott. The idea: Taking a bookkeeper, frumpy and austere at first glance, and turning her into a starlet.

Hepburn makes for the sweetest intellectual, running a bookshop that gets overrun by a magazine syndicate in Greenwich Village. She’s all but lost in the fray while simultaneously giving Avery the touch of inspiration. It’s right there in her face.

As she flees from the editor’s frenzied staff of ladies, intent on finding her and making her over, it’s in the darkroom where she seeks refuge and comes face-to-face again with Avery, who lightens her spirits and makes her feel at ease. Now I can check another thing off my list, as Hepburn and Astaire share a lovely darkroom dance together, which I hardly remembered from before.

In the end, she takes a minor liking in the idea of traveling to Paris for a photo shoot, even if it’s only a means to get her closer to the philosopher that shes always deeply admired for his work with empathicalism. Apparently, it’s all the rage in some circles.

At any rate, a new kind of fashion icon is born. She’s denoted by “Character, Spirit, and Intelligence.” Imagine that. Of course, the bookish Jo Stockton doesn’t see it either. She confesses, “I have no illusions about my looks. I think my face is funny.” Upon closer observation, the near autobiographical aspects seep out again.

Because, if memory serves me right, Hepburn never considered herself attractive or glamorous, even if she was seen as such the world over. Her figure was too slight or her nose too this, and her eyes not enough that. It’s the typical human fallacy to only see the blemishes and imperfections. We either have too big a view of ourselves or too little. It takes other people to straighten us out. We see a funny face, and they see the character that dwells therein — the adorableness and glamour Audrey Hepburn personfied.

In Funny Face Hepburn also gets to relive some of her training as she initially had an extensive background in ballet and dance as a teenager. Her most visible number comprises a beatnik hangout teaming with new and peculiar forms of artistic expression. There she is right in the midst of them whipping around with a peppy hand-clapping verve that sees her arms and springy ponytail flying too.

Back on the fashion circuit, she’s turned into a stunning pink bird of paradise with the spotlight beaming down on her and everyone entranced by her pure exquisiteness. Meanwhile, Astaire gives his cane dances of old a facelift with an umbrella and overcoat, including a brief interlude as a whimsical matador.

“He Loves and She Loves” has them at their most euphoric, acting outt a wedding scene that can never be. They are co-workers and nothing more. But when the fashion gala is made a shambles of, and they have a major tiff over a certain French philosopher named Emile Flostre (Michel Auclair), it looks to be the end of the story. However, we’ve seen enough movies to know not to get up and leave in the seventh inning. There’s a comeback in the ninth.

Hepburn’s voice makes an appearance in all of its demure glory. While not spectacular in nature, I’m a proponent of hearing people’s actual voices when they’re given the task of trebling through a tune. I’m of the sentiment that I would rather hear an unadorned, even “warts and all” performance opposed to the airbrushed “dubbed” showings that were so prevalent. Hepburn was a particular casualty of this phenomenon in My Fair Lady (1964), even as her quivering rendition of “Moon River” goes down as one of the most intimate performances on film. I rest my case.

While not the most cohesive musical out there, we have enough glimmers of fun and frivolous entertainment to more than satiate our wants. Of course, our stars are two of the most sunshiny personalities the movies ever bore, and together there’s the expected amount of good-natured amiability. At least, in the end.

Likewise, Cole Porter and the rich imagery courtesy of Stanley Donen, Richard Avedon, Technicolor, et. al. make the balloons brighter and the wardrobes all the more luxuriant. A true feast for the eyes, as they say, even if the plot could be tipped over with a feather.

3.5/5 Stars

It’s Always Fair Weather (1955): A Musical For The TV Age

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Conventional wisdom tells us you don’t make a musical quite like this. It’s a bit of a nostalgia piece and already it seems like American was ready to move on with life after WWIII.

It’s relatively straightforward to assume that It’s Always Fair Weather (1955) was a harbinger of a change in appeal with the general public because if we look back to Good News (1947), that’s arguably where the run of great MGM musicals began and they could hardly be stopped. There’s nothing drastically different about the foolproof formula or the players behind the scenes, for that matter. We still have Arthur Freed, Gene Kelly, Stanley Donen, Cyd Charisse, Adolph Green & Betty Comden, as well as any number of integral folks I failed to mention.

Well, we do have one primary demarcation, deserving some acknowledgment. Here is a musical with a cynical streak — something that feels incongruous, like oil and water almost. In the opening minutes, I don’t mind saying that I was of the same sentiment. It doesn’t seem like a musical.

We have three boys marching home: Ted (Gene Kelly), Doug (Dan Dailey), and Angie (Michael Kidd), victorious from the war and frequenting the bar they always called home before. But at some point, reality hits — the emering complications at home in a drama such as The Best Years of Our Lives (1946) or an insidious film noir a la The Blue Dahlia (1946) or Act of Violence (1948).

But you see, this picture sets up its premise when the three inseparable war buddies bet the hard-bitten bartender, come rain or shine or sleet, they’ll get back together in 10 years, because they’re the real deal. Time won’t dampen their friendship.

They share a drunken cab dance, escalating in a garbage can crescendo that’s got that same panache of old. However, the merriment dies dow,n and they realize they’re civilians now. The inevitable parting arrives, and they go there separate ways. Only time will tell what happens next…

The production itself shows parallel issues involving the passage of time to mirror the plot. Even in casting. Initially Green and Comden envisioned this project as a spiritual sequel to On The Town, reteaming that film’s stars. They got Kelly, but with new leadership at MGM headed by Dore Schary, Sinatra was out and Munshin wasn’t a big enough name. Thus, we got the underrated pair of Dailey — a quality dancer in his own right, and Kidd, a workhorse choreographer, who blessed audiences with the Barn raising scene in Seven Brides for Seven Brothers, among other efforts.

Still, undoubtedly, times have changed. Behind the scenes, Kelly was chafing with Donen. I suspect because the younger man had proved he could handle a highly successful picture on his own (Seven Brides with Seven Brothers), and he would continue to do so. The cracks in the collaboration were beginning to show.

And yet even as the film settles into the contemporary era, the ensuing themes become surprisingly resonant. The day is October 11th, 1955: 10 years to the day they split up, and things couldn’t be more different.

Ted never got married after his best girl dumped him and has stayed in Chicago working the crap tables, romancing dames, and recently winding up in the boxing racket with a young bull named Kid Mariachi. Doug has done well for himself, despite giving up his passion for painting, becoming a highly lucrative television advertising man. His sponsor spots for Molly Mop (voiced by the ubiquitous June Foray) are currently all the rage.

However, though married with a comfortable life, it doesn’t take a Sherlock Holmes to tell the years have left his stomach soft and his heart hard. Meanwhile, Angie’s married too with a whole house of kids and a loving wife who helps him run his burger joint: The Cordon Bleu.

The miracle is that they all keep there promise to be there! But as the euphoria subsides, they realize they have nothing in common. Beyond that, they can’t stand each other now, and it begins to gnaw at them. They’re ready to get on with their lives and accept this is how it goes when time marches on. Fate has other ideas.

It’s one shrewd advertising executive (Cyd Charisse) who spots an opportunity to reunite the boys on live television in the popular segment featured on Madeline Bradyville’s (Dolores Gray) nationally syndicated program. Ms. Jackie Leyton takes it upon herself to get Ted to the showing and enlists her colleagues to do the same with the other men.

She really is a marvel. Heading off any of his initial amorous advances and then taking on the male initiative to his complete bewilderment. On top of that, her Encyclopedic knowledge of any number of subjects has him speechless and wows the crowd at his boxing gym. Charisse doesn’t get too much time to flaunt her skill, but nevertheless, “Baby You Knock Me Out” is a comically upbeat number that does the trick.

Though the picture was shot in widescreen, it doesn’t necessarily lead to revolutionary musical numbers. However, much like Will Success Spoil Rock Hunter? the canvass is used on multiple occasions to draw out the limitations and satirize the “idiot boxes” fast becoming all the rage in the American household.

Meanwhile, things are just not going Ted’s way. Not only is he getting emasculated by this beautiful, befuddling woman, he learns from a dumb lug that a local gangster (Jay C. Flippen) has fixed his match. Kelly fails to have a truly singular moment until he pops on a pair of roller skates. We know it when he does the same charming shoulder shrug from Singin in the Rain that we are in for an indelible moment.

Sure enough, he goes gliding around studio street corners with ease, rolling and tapping his way along gayly until his curbside antics bring everything to a standstill — the masses cheering him on. It’s one of the first signs that fortunes might be turning.

It’s Always Fair Weather gets better and better with every passing minute maybe because it doesn’t ride the disillusionment all the way to the end. Even with commercialism, advertising, corruption, and whatever else, when we get out on the other side there is an underlying satisfaction to the ending.

Dolores Gray’s humorous “Thanks but no Thanks” complete with trap doors and rocketing male suitors off the stage, is another outrageous comic aside. Then, the three old buddies are brought together as part human interest story, part ratings gimmick. We think we know how it’ll go. It spells trainwreck in big, bold letters.

Well, that’s not quite right. Instead, we get a brawl captured by the candid cameras and broadcast the country over, complete with a confession by a top-level thug. It’s uproarious, fatuous, and far-fetched, but it’s also the exact catharsis we were begging for.

It reinforces values that we desperately hoped to be true, and it does it with a wink and a smile (along with plenty of broken tables and chairs). When friendship actually meant something. There was no Facebook or Skype or any faceless form of communication. To be with those people in the same space and share memories and go through galvanizing experiences together. That was all you had and sometimes, I would take one of those types of days over a boatload of the internet age’s connections.

Because I think most of us have gotten over Television. The medium has become status quo even quaint. It’s not killing us slowly (or maybe it already has), but the web is the new frontier just waiting to be eviscerated by a musical such as this. I would gladly watch that, but of course, such a project wouldn’t have names attached to it that mean so much to me: from Gene Kelly and Stanley Donen to my new favorite star Cyd Charisse.

Maybe It’s Always Fair Weather spelled that the classical Hollywood musical, as such, was dead, but even if contemporary reception was not stellar, it comes off today as a regularly insightful musical and satire. By now, I’d probably follow Kelly and Charisse to the moon and back again anyway.

4/5 Stars

The Band Wagon (1953) with Fred & Cyd

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Some may recall the opening titles of Top Hat (1935). They play over a man’s hat only for the head under it to move as the names subside, and we find Fred Astaire under its brim in his coat and tails. Now, well nigh 20 years later, the same imagery is being called upon.

There’s an auction going on, including the sale of, of all things, a top hat evoking the same Astaire and Rogers musicals of old. It’s not in much demand as the man who formerly wore it, to much acclaim, is now a has-been. In fact, the biographical aspects of the picture are striking even when we can’t quite discern the fiction from the half-truths. Maybe that’s the key.

Already Fred Astaire himself had announced retirement several times, though one could hardly concede his career had stalled. In another bit of fitting parallelism, Adolph Green and Betty Comden penned a husband and wife duo for the storyline much like them (sans marriage). The head maestro character had some inspiration in Jose Ferrer who at the time had at least three shows on Broadway and was starring in a fourth.

The dashes of authenticity are all but undeniable as is a minor cameo by fawned-over heartthrob Ava Gardner. Consequently, I always thought the actress shared some minor resemblance to Cyd Charisse who was promoted to leading lady in this movie.

Out of these details blooms a picture that’s a fascinating exercise in touched-up reality because we see the ins and outs of a production with a behind-the-scenes narrative akin to Singin in the Rain. It makes us feel like we’re a part of something on an intimate level.

The early “Shoeshine” number with Astaire checking out a penny arcade, shows the inherent allure of a Minnelli-Astaire partnership. Because it was Astaire who made film dancing what it is, intent on capturing as much of the action in full-bodied, undisrupted takes. The focus was on the dancers, and there was an examination of their skill announcing unequivocally that there was nothing phony about them.

But as technology began to change and more complex camera setups became possible, this newfound capability was seen as an aid to the art rather than a detraction. Gene Kelly was of this thought as well. With the combination of sashaying forms and a dynamic camera, there was a greater capacity to capture the true energy that came out of dance. One could argue reality was lost, but some other emotional life force was gained.

And we see that here with Astaire grooving around past fortune-tellers and shooting galleries with the world tapping along with him. He and the real-life singing shoeshiner, Leroy Daniels, build an indisputable cadence through a momentary collaboration. It proves infectious.  Minnelli who himself had a background in set design seems most fully in his element surrounded by extras, colors, and any amount of toys to move around and orchestrate.

When Jefferey Cordoba (Jack Buchanan) finally signs on to direct and joins this dream team, he brings an endearing brand of histrionics with him. At his most quotable, he says, “In my mind, there is no difference between the magic rhythms of Bill Shakespeare’s immortal verse and the magic rhythms of Bill Robinson’s immortal feet.”

“That’s Entertainment!” captures his pure enthusiasm for the industry, giving anyone free rein to tell a story, where the world and the stage overlap and as the Bard said, all the various individuals are merely players.

However, this show previously envisioned as a happy-go-lucky musical hit parade soon takes on a life of its own, morphing into a retelling of Faust. We see Tony Hunter stretching himself as an actor, something Astaire himself was probably uncomfortable with. Likewise, he’s equally nervous about starring with Gabrielle Gerard who is a rapidly rising talent, thanks to the controlling nature of her choreographer boyfriend (James Mitchell).

Aside from her skill, her height is also something that the veteran dancer is self-conscience about. He smokes incessantly. She never does. So they each bring their insecurities and nerves to the production, erupting in a series of miscommunications during their first encounter. Still, the show charges onward regardless.

Even as the production proves to be a trainwreck and opening night approaches, it is the joint realization that they’re both out of sorts helping Tony and Gaby right their relationship. They take a ride through the park and wind up in arguably their most integral dance together.

Because it says, with two bodies in motion, what every other picture that’s not a musical must do through romantic dialogue or meaningful action. And it’s like the Astaire and Rogers films of old. Similarly, dance is not simply a diversion — something pretty to look at —  but it becomes the building blocks for our characters’ chemistry.

I find their forms marvelous together, both equally long and graceful side-by-side and in each other’s arms. The movements are so measured, effortless, and attuned, leading them right back into their carriage from whence they came.

Cordoba gets progressively carried away with his vision in what feels like tinges of The Red Shoes. Pyrotechnics and an excessive amount of props mask the core assets of the show, which are the performers themselves. What was purported to be a surefire success, just as easily becomes a monumental flop as the social elites walk out of the preview like zombies leaving a wake. Even if the image is laughable, it also acts as a reminder that all great forms of entertainment start with human beings.

“I Love Louisa” is a kind of musical reprieve as the whole gang, from the stars to the bit performers, try to shake the shell shock. The fun is put back into the players, their art, and this whole movie as Tony resolves to take their production in a new direction — as a musical revue.

I couldn’t help watching Cyd Charisse, for some reason, during the song. No, she’s not the focal point, but there she is prancing about and having a merry old time with all the extras in the background. They’re all a community of people enjoying their failure together. Bonding over it. It’s bigger than one individual. It’s easy to acknowledge The Band Wagon might be thoroughly enjoyable for these periphery elements alone.

There are a couple, dare I say, throwaway placeholders to follow. Certainly, not the best of musical team Schwartz and Dietz. But “Girl Hunt — A Murder Mystery in Jazz,” is a labyrinthian sequence capturing the essence of the dark genre through voiceover and stylized visuals being interpreted through muscular dance. There are dual roles for Charisse as the deadly female. The action culminating in a seedy, smoke-filled cafe complete with a final showdown with a femme fatale in drop-dead red.

In this redressed form, they’re a stirring success. We are reminded sentimentally that the cast has become a family and Tony is their unlikely head. There’s one rousing reprise of “That’s Entertainment!” and Fred and Cyd (not Ginger, sorry folks) share a kiss.

The Band Wagon is a testament that Astaire was far from washed up and Charisse proves herself ably by his side as one of his best co-stars.  What imprints itself, when the curtains have fallen on this backstage musical, is just how congenial it is. There are few better offerings from MGM, capable of both exuberance and something even more difficult to find these days: bona fide poise. Singin in the Rain is beloved by many and yet The Band Wagon is deserving of much the same repute, whether it’s won it already or not.

Just watch Astaire and Charisse together. Her beauty is surpassed only by her presence as a dancer. He might be 20 years older and yet never seems to break a sweat, pulling off each routine with astounding ease. Look at his elasticity in the shoeshine chair as living proof. And when they strut, extending their legs with concerted purpose, it’s immaculate. We call them routines but they are not, imbued instead with a gliding elegance that looks almost foreign to us today. There’s nothing else to be said. It’s pure class personified and they make it deeply enchanting.

4.5/5 Stars

Review: An American in Paris (1951): Gene Kelly’s Love Letter to France

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It’s no secret that Gene Kelly had a deep abiding affection for France. He was fluent in the language also becoming the first American ever bestowed the honor of arranging a show for the Paris Opera. He would be honored with the Chevalier of the Legion d’Honneur in 1960 and, of course, made a memorable appearance in Jacques Demy’s Young Girls of Rochefort (1967).

Without deep knowledge of his life, I cannot attest to whether or not this affection has roots in An American in Paris or sprouted earlier. But watching the film it’s easy to surmise it captures the unrealized dreams of Kelly’s heart. No, he was never a painter named Jerry Mulligan, but in his lifetime, he was an artist.

When we first hear his instantly placeable voice, providing genial narration, it’s not difficult to believe. Images of Parisian romantce are brought to the screen, and he recounts how he, Jerry Mulligan, went from being a G.I. to a struggling painter in love with France. He’s not the only one, as his pianist friend (Oscar Levant) is in much the same boat, though a little less jovial.

There’s an incessantly bouncy theme playing intermittently at any time our protagonist walks down an avenue with a spring in his step. Does it get a bit tiresome? Emphatically so. Still, we are reminded that Kelly is constantly on the move like a giddy schoolboy.

However, it’s a woman named Milo (as in Venus duh) who spots his work out on the street and takes an immediate liking in it. He’s not quite buying what she’s selling. First of all, no one’s ever given him a break before and secondly, she proceeds to invite him to a party that winds up being a very cozy affair: just the two of them. It’s not the type of patronage Jerry was hoping for, but her money is real enough, and he needs it.

And yet in this Parisian backlot as evoked by director Vincent Minnelli, it’s easy to envy such a carefree life full of benevolent locals, lazy cafes, and a plethora of song and dance to brighten any day. If hardship is spoken of, it’s very rarely seen in the flesh. People speak flippantly of their lack of funds or food because they always seem to get by. There’s an agreeableness to the facade.

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Gene Kelly with the kiddos is priceless. He becomes their impromptu English teacher playing a game of “Repeat After Me,” which is in the toolkit of anyone who has ever taught a language. His pupils are eager and so what’s next but introduce an American song: “I Got…Rhythm.” Though the Gershwin tune wasn’t born in An American in Paris, it became fully rejuvenated in the hands of Kelly — arguably reaching a new apex.

He makes it more than a song — a malleable plaything for he and the kids to have a bit of fun with — goofing off and prancing about like cowboys and soldiers, then swirling like airplanes for good measure. The most important artistic movement in the picture might be its finale, but the most delightful one is found right here. Because we feel our own childhood antics rushing back.

As his relationship progresses with Milo (Nina Foch), it becomes more complicated since he’s not about to be a live-in companion even as the prevailing need for money remains in the front of his mind. One evening, in particular, he spies the most beautiful girl he’s ever seen (Leslie Caron), an enchanting vision, and immediately drums up some pretense to dance with her. He comes off too strong and alienates her in the process. Not to mention the lady he came with.

One might gather that in the real world Mulligan would be rather problematic and yet Kelly’s characters never seem to exist in the real world, and so his romantic diversions are easy to dismiss. That irascible Kelly charm comes in handy.

Meanwhile, we have the stunning paradox of Leslie Caron, that talented waif-like creature with the cherub face. Effervescently youthful in one moment and yet composed with an undoubted maturity about her even as Kelly comes off as the boyish suitor. She is initially showcased in a sequence meant to describe the contours of her personality as a ballerina, and each moment fittingly paints her in contradictory shades and subjects. She is all things and then none of them.

The most formative number, in terms of the blossoming of their love, is the Gershwin classic “Our Love is Here to Stay” danced gracefully at the water’s edge of the Seine, soaked in soft lamplight. But alas, it was not meant to be. There are too many obstacles in the way, and Mulligan fades into his fantasies — Kelly’s pride and joy — a 17-minute extravaganza.

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Minnelli’s roving camera is in tandem with Kelly’s choreography. An apt illustration of how much Kelly’s work differs decidely from Fred Astaire. Ballet takes precedent in his work as much as inflections of jazz, and he was not averse to such cross-pollination as it were.

The sets are brimming with constant kinetic energy, splashes of color, and elaborate costuming with tones inspired by French masters. It devolves into a dazzling cornucopia carousel of dance, freely flowing against Gershwin’s title composition. All efforts are to elicit the French landscape with cafes, fountains, and chambers full of mirrors.

But it’s not simply a substantial musical routine dashed off or cut together from various interludes. Or if it is, then we can concede there is a certain purpose to its ebb and flow, like a dream existing in some ethereal world both of love and bittersweet uncertainty.

Kelly’s greatest gift to us as an audience is probably putting some form of physical expression to very human emotions, and he did it in a way that feels genuine and to a small degree, attainable for all of us. The love story onscreen is a fairy tale, but he is just the man capable of suspending our disbelief and charming us into fully enjoying the experience.

Perhaps he tries too hard in An American in Paris. How can you not like him? Perhaps Minnelli’s camera dances too much and Kelly and Caron, not enough. I’m not sure. But there are specific instances exceeding the constraints of straightforward narrative fluff. When it enters into the momentarily euphoric, mirthful, or even the deeply regretful. Those emotions stay with me indelibly and this is what the most earnest, most evocative movies are capable of at their best.

4/5 Stars

Summer Stock (1950): MGM on a Farm

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Idyllic imagery with dogs barking, chickens clucking, and trees rustling in the wind introduce the setting. Judy Garland can be found singing in the shower or helping in the kitchen, alongside the faithful Esme (Marjorie Main). After their hired help pulls out expectantly, the brunt of the work falls on the industrious Jane Falbury (Garland), who is not about to let their crop go unpacked, even if she has to do it herself.

The local store clerk Orville Wingait (Eddie Bracken) has harbored feelings for Jane since youth, and it’s all but settled that one day they will be betrothed. Once more the actor plays a variation on the small-town schmuck he always seemed to do for Preston Sturges in his heyday.

Except for, this time, he’s constantly being scolded and pushed around by his exacting father Jasper (Ray Collins). The elder Wingait pulls some strings to get Ms. Falbury a tractor so she can work her land without any assistance. Being the proud individual she is, Jane’s not about to let the debt go unpaid. She’s not married yet and so she’s not seeking out unsolicited favors.

The mirthful “Howdy Neighbor (Happy Harvest)” is an ode to all farmers toiling for an honest day’s work. Waving on locals with her rousing tune, Garland decked out in bibbed overalls piloting the tractor, looks the picture of a Midwestern farm girl. She’s grown up a tad since her days as Dorothy the Kansas farm girl. You would think that, apart from the marriage proposal that might be coming her way, Jane’s settled into her life.

Inevitably, something breaks into her newfound reverie. There would be no mother otherwise. Her preening sister, Abigail (Gloria DeHaven), bred at finishing schools and a little too prissy for her farm roots, comes back bringing in tow a whole troop of performers.

She’s promised them the use of her family’s barn as a home base for their roadshow. It’s just that she never thought to give her family any notice. Jane’s in for a colossal surprise when Joe Ross (Gene Kelly) and his players move in on the land as if they own the place. His cohorts include the rowdy goofball Herb (Phil Silvers) and the slightly entitled professional actor (Hans Conried), who was hired on to star opposite Abigail.

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To mollify her sister’s schoolgirl pleading, Jane finally relents letting them stay, if only they pull their weight around by helping with the daily chores. Kelly gives the gang a rousing pep talk in the kitchen after the dishes have been cleared with “Dig-Dig-Dig Dig For Your Dinner.”

It can’t be that hard. After all, many hands are meant to make light work. But Jane doesn’t have a bunch of cowhands, and the out-of-towners make a shambles of their daily tasks. Namely, Herb with his typical antics not only losing a basket full of the day’s egg crop but also managing to completely decimate Mrs. Falbury’s pristine new tractor.

With the new lodgers, there’s also an obvious conflict with the town at-large. The beloved Country Dance with rich traditions in the community’s historical society is their pride and joy. Nevertheless, the town has long forbidden theatrical performances in their backwoods society since eons ago for some unknowable, arbitrary reason, aside from the fact that they are all uncultured country bumpkins, of course.

The culture clash commences as the unwelcomed outsiders bring their hot jazz to a prim and proper barn dancing affair, with Jane caught between the factions. Her boyfriend and huffing father on one end, and the magnetic Joe on the other.

Summer Stock agreeably gives itself over to the urges of the music, culminating in a giddy dance-off between Kelly and Garland breaking any of the tension they might have on-screen for a momentary jolt of peppy All-American goodness. They’re having a grand time together, indeed, we all are, until we must return to the mechanisms of the storyline.

The pressures of Orville’s marital intentions are now full force even as Abigail quarrels with Joe over their show as he tries to bring all the pieces together. Garland belting out a love song as Kelly sits unseen in a chair, taking it in on the porch, about sums up the dynamic.

The poles are drifting apart in the form of Orville and Abigail, even as the lovers in the middle begin to feel their own form of electricity. If the film is to right itself, the change must happen right there. I’ll allow you to fill in the rest.

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A moment that many remember, for good reason, is so very simple. Kelly stands on the stage, alone, lights low, contemplating, and in those moments, he integrates the sounds around him. Soon the creak of a floorboard, an old newspaper, melded with his own whistling, taps, and a few meager piano notes, take on a life all their own.

He synthesizes them into a rhythm and out of those comes a primitive dance, seemingly built from the ground up right in front of our eyes. I’m not sure if people called Kelly a genius at this point, we still had yet to get An American in Paris and Singin’ in the Rain, but wowee he’s sure struck on something.

And what truly reveals itself is not only his cinematic charm, in such a moment, but the visible relish he seems to be having with every successive revelation. Whether he liked it or not or whether it was easy for him or not, for a suspended instance, we believe we could do this too and get the same joy.

Garland’s most iconic number “Get Happy” finds her dressed in fancier duds in a sequence that was actually shot much later and finds a trimmer and fittingly livier singer delivering one of her trademark anthems. It was the end of an era. Garland would agree to terminate her contract at MGM, and she and Gene Kelly would never work on another picture together. I gather that’s show business. It’s not quite the same as a farm.

3.5/5 Stars

Review: On The Town (1949): MGM’s New York Musical

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There is an immediate understanding that goes with the opening image of a construction worker arriving at the docks, still sleepy, as the world wakes up with him. And he does something that while still theatrical has roots in a very human urge, to bring in the new day with song.

If we look at the MGM catalog many of them have themes based around stage productions, film, or the arts. In their own way, such topics make completely logical sense as they make it much easier to transition into song and dance that feels pertinent to the performers in front of us. And yet when you think about it, at least for me, some of the most sublime of these old numbers are never connected with the big opulent stage productions being put on with giant routines.

Certainly, they are impressive for their scope and the intricacies of their execution, but where is the real magic? It’s Gene Kelly dancing in the rain because he’s in love and he’s got to articulate it. It’s Fred Astaire dancing on the ceiling overcome with joy of his own in Royal Wedding (coincidentally directed by Stanley Donen). And so when three sailors burst into view, scampering off their ship gleefully, with a whole day to gallivant around New York City, those emotions come across as incredibly genuine.

Gabey (Gene Kelly), Chip (Frank Sinatra), and Ozzie (Jules Munshin) break into a chorus of “New York, New York” no doubt heard all across town. Their subsequent adventure, tailored by the dynamic duo of Adolph Green and Betty Comden, truly is the quintessential, streamlined MGM musical.

It was plucked from the stage play dream team of choreographer Jerome Robbins and eminent composer Leonard Bernstein. The film itself was directed by Kelly and Donen who would maintain a fruitful yet increasingly bitter partnership together until It’s Always Fair Weather (1955). It’s nearly impossible to assume where one man’s influence began and the other’s ended. All we have are the results that speak for themselves.

Maybe I’m simply a sucker for ambling films like this where the prospects seem endless. Because, after an initial clip show and a decent amount of on-location footage, taking them all over, the boys finally settle on the fact that they need to find some girls while they’re in the big city.

Kelly is especially girl crazy when he spies, “Miss Turnstiles” (Vera-Ellen), plastered all over the Subway on posters, only to run across her moments later, getting her picture taken nearby. She’s quick to head off to her next engagement, and yet he’s immediately smitten and intent on reuniting with this beautiful, cultured girl who seems way out of his league.

Meanwhile, Sinatra is the one intent on seeing the sights. Much like Take Me Out to The Ball Game, he feels miscast in the naive role as their lady cabbie (Betty Garrett) chases after him, all but chauffeuring them around town free of charge as long as she’s compensated in male companionship. Poor Chip finds himself forced into the front seat constantly subjected to the lady’s amorous assaults. He’s a goner.

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As the search for the local celebrity continues, Ozzie runs into Claire (Ann Miller), a woman conducting research at the Museum of Anthropological History, ceaselessly fascinated with prehistoric man,which Ozzie seems to be a perfect descendant of. It seems like everyone else is striking it rich as Gabey searches hopefully. And in its most movie-like moment, he’s rewarded for his tireless casing of the city. Sure enough, he wanders in on her as she balances on her head as nice you please.

It turns out that Ivy Smith is more of a girl-next-door than a big-name socialite and yet when Gabey finally tracks her down, she leads him on, playing the part to impress him. They solidify their chemistry with the winsome “Main Street,” personifying a universal portrait of small-town American, pretty girls, and light-hearted, good-natured romance. Later, their swiveling and maneurving on a ballet barre somehow manages to be seamless while further instilling their relationship.

Like all fated New York romances, a rendezvous for the top of the Empire State Building is planned. It’s a party! It also provides the backdrop for the deceptively romantic “You’re Awful,” allowing Sinatra to break out of his film persona for just one moment to croon as only he can croon. Betty Garrett proves she’s far more than a cab-driving clown, with tenderness to give as well.

Now everyone is together. You have the three sailors and their three All-American gals, each wonderfully color coordinated in bright Technicolor-worthy dresses and we finally feel as if things are complete.

The sense of camaraderie by this point is undeniable, and along with the New York setting, On The Town is bolstered by such a sentiment. Not only does it mean that we have a plethora of quality performers, but there’s a sense that they’re all in on this big beautiful extravaganza together, and they all have something to bring to the party. It makes for a delightful showing.

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“You Can Count on Me,” says as much even as Gabey’s Cinderella rushes off without an explanation and his friends find it necessary to cheer him up.

“A Day in New York — A Comedy in Three Acts” seems a rather strange aside, and yet here you see an instance where Kelly (and Donen) gets to exercise a specific vision, aided by dancer/choreographers Carol Haney and Jeanne Coyne. Because this whole film is an ensemble piece and still, even this single scene shows glimpses of some of Kelly’s more inventive numbers ,which would come to fruition in the near-future. Again, deciphering the dividing line between Kelly, Donen, and the involvement of others is nearly impossible. But why bother with quibbling at this point? The results speak for themselves.

When the storyline wraps up and the three sailors have to bid adieu to their girls, the bittersweet melancholy of saying goodbye is unavoidable as is the continuity of life. Even on the way out, a new group of sailors is already bursting forth to see New York — the same crane operator observing their eagerness with a smile. The daily cycle begins again. What a city it is! Such a wonderful town. In fact, “Ol’ Blues Eyes” would sing about it again one day.

4/5 Stars

Kiss Me Kate (1953): A Musical and Meta Entertainment

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The film version of Kiss Me Kate, helmed by MGM’s perennial musical director George Sidney, is a translation of Cole Porter’s rousing Broadway success. We must play a game of two degrees of separation because the stage smash was itself a comical backstage adaptation of Shakespeare’s Taming of The Shrew. I cannot necessarily attest to where one begins and the other ends, between stage, film, and original play, since my own knowledge is shoddy at best. So I will contain my thoughts to the story at hand.

At its core are the strained relations of a formerly married couple composed of two prima donna stage performers: the devilishly handsome, barrel-chested baritone Fred Graham (Howard Keel) and his equally strong-willed, alluring, and talented ex Lilli Vanessi (Kathryn Grayson). In all regards, a match made it heaven. They undoubtedly deserve each other.

The undisputed peppiness of Ann Miller, as she bursts in on them and Cole Porter (Ron Randell), is an immediate jovial assault on their relationship as she flaunts her attributes in “Too Darn Hot” and gets a little lovey-dovey with the self-absorbed leading man. I’m not sure if any audience member is shocked when she’s seen playfully prancing about with her other boyfriend (the always impressive Tommy Rall) in  “Why Can’t You Behave?”

To needlessly mix metaphors, the production is nearly sunk before it gets off the ground. And yet a mixture of persuasion, jealousy, and the quality of the material coaxes Grayson’s character into the fragile reunion. Wunderbar!

Lilli’s rendition of “I Hate Men” proves a blatantly pointed number where on stage sentiments are mirrored in her life; she doesn’t mince words raging through the set, flinging props to her obvious satisfaction.

In fact, she’s far more suited for the flaming red wig she wears on stage than her actual modest cut. The 3-D qualities come to bear thanks to the tossing of beer steins and flower bouquets. It’s one of visual cues to suggest this very purposeful sense of the off-stage and on-stage lives merging and colliding with one another.

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We have the backroom interludes and then the continuous sequences of the performance photographed straight on until little discrepancies come into play to make everything run afoul.

Breaks in characters. Personal vendettas playing out on stage with each minor slap and smack in the stage directions supplied with ample fury from years of pent-up rage. Deviations in the actual production also come to pass. Namely, a cringe-worthy spanking as the midway curtain drops.

It’s in the intermittent period where Kate utters that immortal Shakespearian retort, “Thou Jerk.” In fact, there’s great fun to be had with this conscious collision of Old English prose and the contemporary vernacular. The number “Brush Up On Your Shakespeare” suggests as much.

Keenan Wynn and James Whitemore are brought on to thoroughly liven up the second act as a pair of neighborly enforcers sent to visit Fred in his dressing room. They go so far as becoming a part of the production as it continues to go off script and off-the-rails. Because Kate is intent on running off with her rich boyfriend Tex (a Ralph Bellamy-type), and Graham connives to keep her around, pulling the heavies into his plan.

It feels strikingly like a His Girl Friday (1940) deal as we see our leads gravitating toward others while never finding it within themselves to completely forsake their former spouses, in spite of the mutual distaste. It’s indisputable, but it also suggest the fire still kindling between them.

Hermes Pan adds to his illustrious body of work while Bob Fosse’s choreography is almost a blip on the radar. Even then,  it’s strangely singular and expressive, charting his course toward The Pajama Game and many, many more projects to come.

Meanwhile, Ann Miller’s dancing reminds us that she’s the purest performer on taps within this picture and when given free-range, she follows up her first routine with continued verve. She does feel all over the place, but that can mostly be attributed to her character. In fact, one could affirm that she rightfully earns some of the most memorable screen time based on the uninhibited vivacity she showcases.

In its waning moments, it looks like the fictional production has finally met its inevitable end: a crash-and-burn finale, as the understudy has to rush on to take the place of the departing Catherine. In an off-the-cuff moment, playing opposite his future father-in-law’s question of where his daughter might possibly be,  Fred mutters, “Right now she should be flying over Newark.”

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Thus, Kiss Me Kate, at its most inventive, is hyper-aware of its meta qualities; this story-within-a-story tracing the line between the artificial and the reality projected up on the screen that is itself a fabrication of light and images. It reaches out further than most films of this type because its original release in 3-D, while admittedly a gimmick to snag the TV generation, also accentuates this razor-thin dividing line between the cinematic space and the space that the viewer occupies.

However, ultimately the production though laced with humor and vengeful lovers, quality choreography, and flamboyant set design and costuming, comes off strangely hollow in its landing. Because the ending feels false and inherently wrong.

Here is a man who is conceited and has no sense of self-sacrifice or concern for others, as farcical as he might be. Again, we could argue that Kiss Me Kate is solely entertainment, only occupying cinematic space. And yet we brushed up against everything thus far. How are we to make distinctions? In the real world, even in the 1950s and especially now, there is no excuse for Graham.

Surely, like any person, he deserves a second chance and the grace that comes from a person willing to forgive. However, one might question the way in which Lilli flies back to him. There seems to be no regard for his past indiscretions just as there’s no conversation to be had about the flings they’ve both been having on the sides. Because Kate is herself a bit of an entitled snob. And there you have this falseness most fully realized.

Life is a lot more complicated than film reality. Kiss Me Kate cannot quite pull it off because it inserts the uncluttered, picture-perfect Hollywood framing on the storyline.

Ironically, it’s actually the performance that gets continually disrupted while so-called real-life falls into place nearly seamlessly. So in the end, it matters whether you care about making a distinction between the stage and what happens backstage in the purported reality.

Because at least we can all agree that none of it is actually before us in the flesh where real lives are at stake. We can keep it at an arm’s length and laugh along with it without allowing it to influence our perceptions of this world.

Taken as such, Kiss Me Kate is a coruscating delight bursting forth, rather agreeably, with comedy and song. It can be absorbed merely as diverting Technicolor entertainment for sure. However, when we allow it to reach out and influence our worldview in other ways that’s where we might falter.

3.5/5 Stars