WHAT MUSICALS HAVE YOU SEEN LATELY?

[feaito]

Yesterday I revisited one film I remembered as one of my favorite musicals from my childhood: "Yolanda and the Thief" (1945), a visually dazzling film which would greatly benefit from a Blu-Ray release. As a musical director and notwithstanding that for various reasons (scores, songs, dance numbers, witty dialogue, etc.) I have always said that both "Love Me Tonight" (1932) and "Kiss Me Kate" (1953) are my favorite all-time musicals, nevertheless Vincente Minnelli is in my opinion the best director of musical pictures that ever existed -a true artist and aesthetician-
and responsible for many of my favorite musicals, of which this one is my favorite along with "The Pirate" (1948).

The use of the vibrant palette of colors displayed in this wonderful musical is one of its main assets, along with the incredible set designs, the surrealist coreographies -especially the dream sequence of Astaire's con-man, which in my opinion predates in a way the tone and style of the masterful ballet sequence of "An American in Paris" (1951)-, the undeniable chemistry between the tall, slender, redeheaded Lucille Bremer and Fred Astaire, which dance beautifully and so elegantly together.

Astaire and Frank Morgan -both superb as usual- are con-mans on the run who arrive to a ficticious South American country called "Patria" where Astaire tries to bribe naïve 18 year old heiress Yolanda Aquaviva -just out of the Boarding in School in which she was educated by nuns- (Lucille Bremer), letting her believe he is her "Guardian Angel". Mildred Natwick is delightful -as she was in "The Pirate" (1948) as well- as Yolanda's zany and eccentric aunt Amarilla. Leon Ames is also superb as a mysterious character.

The film is a feast for the eyes and the senses. A wonderful testament of Minnelli's virtuousism. And since I'm currently reading Emanuel Levy's Bio on Minnelli, very pertinent to me.

[moira finnie]

Strange. Do you feel that is a kindred connection or a dangerous blight. The story sounds like a Shakespeare Opera.

Not Shakespeare, but James M. Cain, who also wrote “Mildred Pierce” and “The Postman Always Rings Twice”.

I've always wanted to see this movie, (in part because I am a fan of Joan Fontaine--even in her la-dee-dah roles), but also because the soundtrack is such a compendium of classic operatic and popular songs. Most of all in the last few months, I've been on a Cain jag, reading his books and stories, so your post about this Mario Lanza movie interested me. James M. Cain reportedly found it amusing that his frankest novel, Serenade, was ever chosen as movie material, though I agree about the Shakespearean aspects of the plot. Warner Brothers bought Cain's novel in 1937 after it came out and sold rather well. The bold but well written book concerns a young man who is bisexual, and whose life (and singing voice) are nurtured by his conductor-socialite sponsor, Winston Hawes, who also becomes his lover. Hawes' intensity overwhelms the young singer, who leaves his mentor for Mexico after losing his voice. There the heterosexual side of his nature and his voice are both restored, courtesy of a prostitute named Juana. The opera singer and the streetwalker return to the States, where the youth rather naively asks his former lover Winston to set up a comeback at Carnegie Hall. Things go awry big time at a party given by Hawes, allowing all these principal characters to display their passionate natures--especially Juana, who takes the bull by the horns, so to speak. Btw, I think that this story had a big influence on the Bette Davis-Claude Rains-Paul Henried triangle in the movie, Deception (1946)--with the whole messy tangle of relationships tidied up somewhat for the Production Code office, while retaining the classical music milieu.

Interestingly, Cain, a writer who was always--to his disgust--categorized as a hard-boiled pulp writer, was a trained musician and had a lifelong familiarity with the music world. His avid love of music was drawn from his mother, an opera singer. However, he was discouraged from starting his own hoped-for career as a singer after Mom broke the news that his voice was not of a high enough professional caliber. (No wonder his often ruthless women characters are so honest and tough in their likes and dislikes).

Btw, one of the several reasons why this story sat on the shelf for a long time was the inability of the scriptwriters to make heads or tails out of this story while making any dramatic sense out of the characters' behavior that would be acceptable to the MPAA. Warner Brothers tried to talk their contract director Vincent Sherman into making a movie of this story in the late '40s, using Ann Sheridan as the prostitute. Sherman refused, believing that simply changing the characters to heterosexuals would not have the same psychological impact. When he was in the midst of explaining the gist of the tale to Jack Warner--who had never read the book, even though he had paid thousands for the rights--Warner suddenly burst out "Wait a minute! What the **** kind of story is that?"

Long story short, no movie was made until the time of the Mario Lanza film. I can't help wondering if that line on the poster about the "quivering excitement" of Cain's best-seller was some sort of '50s code to well read movie-goers? Reportedly, Warner Brothers' writers made it more acceptable by splitting the Winston Hawes character into two halves, played by a frosty Joan Fontaine and an only slightly epicene Vincent Price and transforming the whore, Juana (Sarita Montiel) into a Mexican madonna. I wish that this were on DVD. Maybe the Warner Archive will unearth it for us in the future.

If you're interested in reading more about this story's history in Hollywood hands, you might enjoy these books: Patrick McGilligan's Backstory I, Vincent Sherman's Studio Affairs, and Richard Barrios' Screened Out.

[Fossy]

I think that this story had a big influence on the Bette Davis-Claude Rains-Paul Henried triangle in the movie, Deception (1946)--with the whole messy tangle of relationships tidied up somewhat for the Production Code office, while retaining the classical music milieu.


I wish that this were on DVD. Maybe the Warner Archive will unearth it for us in the future.

Moirafinnie
I suppose now that you have whetted my appetite I will have to buy Deception. But I will have my revenge by telling you that Serenade is available from scootermoviesshop for $10.00

Also,your review of Serenade is probably as good as any I have ever read.

[moira finnie]

Thanks, Fossy. Have you purchased anything from that movie buff previously? I'd love to know what your comments will be on Deception. Claude Rains steals the show, imho.

[Fossy]

Yes! Moirafinnie, I have bought from scootersmoviesshop and have had no problems. I have also researched the availability of Deception and put it on the list for my next purchase, which, if my willpower holds out, will not be until November.

[feaito]

I revisited the landmark Minnelli film "An American in Paris" (1951). Since I'm reading his Bio by Emanuel Levy, I had to see it again -I hadn't seen in it in many years- and it was a complete delight all over again. Minnelli's impeccable taste: the repertoire, the sets, the costumes, the colors, the art direction, all.....superb! And the most artistically succesful musical ensemble piece ever filmed, the final AA in Paris Ballet. It's a pity Georges Guétary did not appear in more American films, he had great charm and a very fine voice and flair for comedy. One of my favorite sequences is when he, Kelly and Levant sing "By Strauss" and dance together and with the lovely Mary Young (who plays the ideal Florist) and the vivacious Martha Bamattre and Eugene Borden (the café owners). A first rate musical and one of my very, very faves.

[charliechaplinfan]

It's one of my favorites too, so many good numbers and the beautiful ballet at the end. I wish Gene Kelly had made another film with Leslie Caron, they danced together so well.

[feaito]

Yes, they had a wonderful chemistry and it is a pity that Ms. Caron did not make more musicals during the '50s...

[charliechaplinfan]

I love her in Gigi, sigh, that's another great movie.

[feaito]

Indeed and now that you mention Gigi, probably when I read the chapter devoted to that film I'll revisit it too! I was yesterday checking some info on Louis Jourdan, who has appeared in many a favorite film of mine: "Gigi" (1958), "Letter from an Unknown Woman" (1948), "Madame Bovary" (1949) et al, and I realized he's almost 90 and he has been married for 66 years to the same lady! Like his fellow compatriot Charles Boyer, he has been married to the same woman all his life, quite an achievement. Sadly, his only son committed suicide in 1981 (he shares that with Boyer too, whose only son killed himself). Reportedly Jourdan never watches his own films. I also read that after his father was arrested by the Gestapo during WWII, he and his brother joined the French Resistance/Underground. He seems to be an unassuming, down-to-earth man. I forgot to mention that I enjoyed very much him as the villainous De Villefort in Dick Chamberlain's TV Movie of The Count of Monte Cristo" and as D'Artgnan in that same actors' TV film "The Man in the Iron Mask" (1977).

[JackFavell]

I like Jourdan as a villain, he is quite good at it, and adds such style to everything he does. I cannot believe he is 90!

[charliechaplinfan]

He's still alive, I knew he stayed married to the same woman for a long time, lucky her, she must have had plenty of women pushing her out of the way at parties. To share the other coincidence of an only son killing themselves, oh, it's almost too much to bear. Both men seem among the nicest to have lived in Hollywood and to suffer that tragedy is so awful.

I think that Minelli book is going on my Christmas list.

[mrsl]

.
Feaito:

You might like to try to find a copy of Lily and/or Daddy Long Legs. I don't recall the co-star of Lily, but Fred Astaire is her co-star in Daddy Long Legs. The age difference is quite pronounced, but the dancing makes up for it.
.

[feaito]

Thanks Anne, I have both "Lili" (1953) and "Daddy Long Legs" (1955) and I enjoyed them both, especially "Lili", which has been a perennial favorite. I think I have seen all the films Ms. Caron made during the '50s including "Gaby" (1956) (a remake of Waterloo Bridge), "The Doctor's Dilemma" (1959), "The Story of Three Loves" (1953) (Episode: Mademoiselle) and "The Glass Slipper" (1955). I think she could have starred in more musicals, because she was extremely talented and charismatic. I've been trying to see again "The Story of Three Loves" (1953) and especially "The Glass Slipper" (1955), two films that were permanently aired on Public TV when I was a youngster...

[Uncle Stevie]

Last night I watched "Meet Me In Las Vegas" (1956) with Cyd Charisse and Dan Daily. This is a movie to fall in love with. Cyd is absolutely exquisitely beautiful in this movie and her dancing, both ballet and contemporary, is beyond reproach. Dan Daily is a guy you can never be angry with. He is the kind of a guy you want to be your friend. They make a perfect couple in this movie and I recommend it. Not for the play or direction but for the sheer entertainment. It is a fun movie and a great night out at the movies. You will sleep well dreaming you were either Dan Daily or Cyd Charisse, depending on your persuasion.


Uncle Stevie


I love musicals