Archive for Du Barry Was a Lady

The chances of anything coming from MGM are a million to one, he says

Posted in Fashion, FILM, literature, MUSIC, Politics, Radio with tags , , , , , , , , , , , on January 28, 2017 by dcairns


HULLABALOO (1940) is an odd thing. To be clear, we were only watching it for Virginia O’Brien’s debut.

Here’s the story with Virginia: when she first sang on stage she got stage fright, but carried on singing. The audience was comvulsed in hysterics at the sight of this frozen rigid, erect young girl with her eyes wide in panic, belting out her song like a song-belting machine. She liked the laughter, and incorporated the big eyes and stiff stance into her act.

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(In DUBARRY WAS A LADY, Red Skelton asks “Are you sure?” and Gene Kelly says “As sure as she’s alive!” and Red retorts “Aw, you’ll have to give me better proof than THAT!” and all the while Ginny is standing right there, and walks off mechanically as if she hasn’t registered any of it.)

But the plot in this one, though thin and constantly supplanted by random novelty acts, is interesting — it’s MGM’s response to Orson Welles’ War of the Worlds broadcast. Here, a radio novice performs a play about invaders from Jupiter and panics America. This film followed pretty swiftly on the heels of the real incident, and came out a year before the first product of the Hollywood contract Welles won with his little stunt.

How does MGM re-imagine, or de-imagine the story? Well, the whole thing must be an innocent misunderstanding. The radio performer is a talented but innocent, lovable fellow who certainly didn’t mean to start a rumpus, and certainly wasn’t attempting to prove anything. He should be played by someone cuddly, muddleheaded and appealing. Someone like… Frank Morgan!

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Interesting to see Frank Morgan co-starring here with Dan Dailey before THE MORTAL STORM and with Billie Burke after THE WIZARD OF OZ. And Morgan is pretty enjoyable  doing his schtick. It’s just pretty weird to think this was somebody’s idea of Orson Welles.

One conceit of the plot is that F.M. radio relies on F.M. being a man of a thousand voices, which the actor wasn’t. So they dub him a lot whenever he does his impressions, except occasionally — he seems to be doing Charles Boyer without the aid of a man hidden behind a curtain (EVERY film we see lately seems to have a Charles Boyer impression, and we haven’t even been looking at Pepe le Pew cartoons… YET). Since all the celebrities — Gable, Lamar, Rooney — are from the MGM stable, I assumed they were providing their own vocals, but NO — impersonators, apart from an audio clip from BOOM TOWN that allows Morgan to lip-sync to Gable, Colbert and Tracy in a clip from BOOM TOWN, thus forcing the paying audience of HULLABALOO to sit through an ad for another MGM release.

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Mad genius costume designer Dolly Tree outfits Ann Morriss as Dan Dailey’s castrating fiancee with a set of scissors hanging from her throat.

You can tell it’s an MGM film also because the comedy punches down — we’re meant to laugh at a carny who has to give away all his prizes, and a love-starved widow, and a butler who doesn’t get paid, etc. Tenor Charles Holland gets to sing two songs, but the first is Carry Me Back to Ole Virginny, because he’s black, and the second, though it’s Vesti La Giubba from I Pagliacci, he has to sing dressed as a bellhop, in case we forgot he’s black.

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Red All Over

Posted in FILM, MUSIC, Theatre with tags , , , , , , , , , , , , on January 13, 2017 by dcairns

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I had never seen a Red Skelton movie. In the clips I saw he looked kind of awful, but on the other hand, Buster Keaton liked him. A friend said, “There was talent there, but the volume switch was faulty.”

So, we got on an Esther Williams kick — there’s talent there too — which led us to run ZIEGFELD FOLLIES, which has a nice little water ballet directed by Vincente Minnelli — interesting to see how he handles it, as opposed to Busby Berkeley or Charles Walters or George Sidney. It also has Red Skelton hamming it up in one sketch (like KING OF JAZZ, it intersperses songs and sketches). The sketch is pretty unfunny, and Fiona’s immediate reaction to the mugging was revulsion. But then he actually got a few laughs, overcoming our resistance to his overkill with more overkill. Overandoverkill. And he certainly had some chops as a visual comedian.

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A gag from THE HIGH SIGN! Was Buster working as gag man at MGM in 1943? It seems likely.

So then my same friend mentions DU BARRY WAS A LADY, and that seems like a suitable medium for further investigation. If Skelton gets too much for us, we have his fellow redhead Lucille Ball, and third-billed Gene Kelly, and Tommy Dorsey and his band, and a practically juvenile Zero Mostel doing a really good Charles Boyer impersonation — not just the voice — he kinda morphs his face so as to actually resemble Boyer, albeit a pudgy, ugly Boyer.

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Too bad Zero doesn’t get to sing a note, except as part of the chorus. But maybe best of all, the film has Virginia O’Brien, singing a song not in the Cole Porter show ~

Like KISS ME KATE, this play has had considerable damage done by rewriting, moving of songs, substitution of songs. It’s verging on a revue, like ZIEGFELD GIRLS, but with just enough connective tissue to be able to call itself an actual movie. And Skelton has it dialled down slightly — he’s playing an awful obnoxious dope, though, and Skelton’s particular comic instrument does not reduce the less appealing qualities.

But — in a Twitter conversation I was just defending the musical, but saying that even the worst MGM musical will still tend to have a few jaw-dropping moments. This one has QUITE a few.

Best gag: Red wins the sweepstake, and as he passes out in shock we get the traditional newspaper montage, only each headline carries only a fragment of the story —

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