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What’s Old Is A New Release Again (2022) Roundup Featuring… W. C. Fields

Welcome back to my new “Whats Old Is A New Release Again Roundup” series! This time around, I’m focusing on titles released in 2022 featuring W. C. Fields, whether they be on DVD, Blu-ray or 4K UHD. Short of something having been released that has escaped my notice (which is always possible), this post should essentially be completed now (outside of adding links if and when I do full reviews for any of these films). So, let’s dig into some of W. C. Fields’ films that have seen a new release in 2022, which includes You’re Telling Me! (1934), Man On The Flying Trapeze (1935) and You Can’t Cheat An Honest Man (1939)!

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Table Of Contents

Coming Up Shorts! with… Sprucin’ Up (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 16 minutes, 58 seconds)

The kids are all complaining about how their mothers make them clean themselves up. However, when a new truant officer (and his beautiful daughter) move in, everybody changes their tune! This one was decent (although a bit of a letdown after the last few). Mostly, the fun is watching Spanky (George McFarland) and Alfalfa (Carl Switzer) competing for the affections of the new girl, but it also gets old fast as they get on the father’s bad side. It’s not terrible, as I’ve certainly seen far worse shorts than this. It’s just not one that leaves me with a strong desire to rewatch it as soon as possible.

Coming Up Shorts! with… Little Papa (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 19 minutes, 41 seconds)

Spanky (George McFarland) and the Gang want to play football, but he’s forced to babysit his younger sister. Hoping that she will be less trouble if she is asleep, Spanky and Alfalfa (Carl Switzer) try to find ways to make her sleepy. This one was fairly amusing. Admittedly, it’s really a two-joke short, with Spanky first trying to wear his sister out (and getting tired himself), and then he and Alfalfa try to quietly sneak out of the bedroom (and fail to do so) after she is fast asleep. Still, it was entertaining and left me laughing, so it would be worth seeing again!

Coming Up Shorts! with… Little Sinner (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 17 minutes, 31 seconds)

Spanky (George McFarland) was just given a new fishing pole for his birthday, and he wants to try it out! However, it’s Sunday, and all the other kids warn him against skipping Sunday School (but he ignores them, to his regret). This one was a lesser short, in my opinion. It certainly had its moments, especially with all the stuff that goes wrong for Spanky as he attempts to go fishing. It goes a little off the rails for the last few minutes as Spanky and his compatriots Buckwheat (Billie Thomas) and Porky (Eugene Lee in his debut as the character) find themselves stumbling upon a baptism ceremony for blacks during an eclipse, with the kids getting scared by the spirited members. Those last few minutes drag this short down (and certainly aren’t politically correct nowadays, either), which is more or less why this one didn’t work quite as well for me.

You’re Telling Me! (1934)

  • Plot Synopses: Optometrist and inventor Samuel Bisbee (W. C. Fields) is in trouble with his family. His daughter, Pauline (Joan Marsh) wants to marry Bob Murchison (Larry “Buster” Crabbe), but his high society mother (Kathleen Howard) won’t hear of it. Samuel tries to sell his puncture-proof tire to the National Tire Company, but a mix-up in cars results in his sale falling through, leaving him pondering suicide by taking iodine. He decides against it, and ends up “helping” another passenger who had some iodine (but was NOT considering suicide). That passenger turns out to be the princess Marie Lescaboura (Adrienne Ames), who decides to help him out after hearing his story. Will things turn out all right for Samuel and his family with the princess’ help, or will his family be forever ashamed of him?
  • Film Length: 1 hour, 6 minutes
  • Extras: “Wayne And Shuster Take An Affectionate Look At W. C. Fields” Vintage Documentary, Trailers for The Old-Fashioned Way (1934), You Can’t Cheat An Honest Man (1939), The Bank Dick (1940), My Little Chickadee (1940) and Alice In Wonderland (1933)
  • Format: Blu-ray
  • Label: Kino Lorber Studio Classics
  • My Rating: 10/10
  • Quick Comments
    • On The Movie Itself: Check overall impressions.
    • On The Transfer: According to the Blu-ray case, this transfer comes from a new 2K master. Quite simply stated, this transfer looks quite good! It really shows off the detail in the picture. There is some minor damage in the form of scratches, dust and debris, but it’s not so bad as to mar an otherwise fantastic release!

Man On The Flying Trapeze (1935)

  • Plot Synopses: Although he caught a pair of burglars in his cellar, Ambrose Wolfinger (W. C. Fields) finds himself in jail briefly for making liquor without a permit. While he’s in jail, his brother-in-law Claude Neselrode (Grady Sutton) steals Ambrose’s ticket to a big wrestling match. On the advice of his daughter, Hope (Mary Brian), Ambrose decides to take the afternoon off from work to try to see the match anyway. However, when asking his boss for the afternoon off, he lies and says that his mother-in-law had died and he was going to her funeral. He gets the afternoon off, but will he manage to see the wrestling match (or survive when his wife and still-alive mother-in-law find out about his lie)?
  • Film Length: 1 hour, 6 minutes
  • Extras: “Wayne And Shuster Take An Affectionate Look At W. C. Fields” Vintage Documentary, Trailers for The Old-Fashioned Way (1934), You Can’t Cheat An Honest Man (1939), The Bank Dick (1940), My Little Chickadee (1940) and Alice In Wonderland (1933)
  • Format: Blu-ray
  • Label: Kino Lorber Studio Classics
  • My Rating: 9/10
  • Quick Comments
    • On The Movie Itself: Check overall impressions.
    • On The Transfer: According to the Blu-ray case, this transfer comes from a new 2K master. Like You’re Telling Me!, this one looks pretty good as far as detail is concerned. Again, not all the scratches, dirt and debris have been dealt with, but what’s there doesn’t really interfere with enjoying the movie itself.

You Can’t Cheat An Honest Man (1939)

  • Plot Synopses: Circus owner Larson E. Whipsnade (W. C. Fields) has been keeping a promise to his late wife to put his kids through college. However, the circus is losing money as a result, and he has to stay on the move to keep ahead of his creditors. Larson’s daughter, Victoria (Constance Moore) has fallen for ventriloquist Edgar (Edgar Bergen), even though he and his dummy Charlie McCarthy can’t stand Larson. However, with the circus close to being taken over by its creditors, Victoria feels she must do her part by marrying the wealthy Roger Bel-Goodie (James Bush). Will true love win out, or will Victoria marry a man she doesn’t care for to help her father out?
  • Film Length: 1 hour, 19 minutes
  • Extras: Audio commentary by Filmmaker/Historian Michael Schlesinger, Trailers for You Can’t Cheat An Honest Man (1939), The Old-Fashioned Way (1934), The Bank Dick (1940), My Little Chickadee (1940), Alice In Wonderland (1933), The Ghost Breakers (1940) and Murder, He Says (1945)
  • Format: Blu-ray
  • Label: Kino Lorber Studio Classics
  • My Rating: 10/10
  • Quick Comments
    • On The Movie Itself: Check overall impressions.
    • On The Transfer: According to the Blu-ray case, this transfer comes from a new 2K master. Again, this one looks pretty good. There are some scratches and other debris to be found, but nothing serious. Likely to be the best this movie will look, and I have no problem with that, as good as it came out!

My Overall Impressions

Like with the other entries in my “What’s Old Is A New Release Again Roundup” series that have focused on my “Stars/Screen Teams Of The Month,” I’m sticking to comments about my stars (in this case, comedian W. C. Fields). In these three films (You’re Telling Me!, Man On The Flying Trapeze and You Can’t Cheat An Honest Man), W. C. Fields is up to a lot of his usual antics. In all three films, he plays a father to a very loving daughter. The earlier two films have him married to a nagging wife (of varying degrees), and have him resorting to booze a bit more. In You’re Telling Me!, the film’s memorable moments include his drunken entrance to his home at the start of the film, him buying an ostrich for his wife as an “apology pet” and the golfing sketch that ends the film. For Man On The Flying Trapeze, the whole opening sequence, in which Field’s character Ambrose is first being admonished by his wife to hurry up and come to bed (while he slowly takes off his socks and neatly folds them up) before she pushes him to get up and go after some burglars in the cellar, is quite funny, as is a later sequence in which he keeps receiving tickets from different policemen for being parked in a “no parking zone,” even though he was asked by one to pull over. You Can’t Cheat An Honest Man has some unforgettable moments, mostly within the running feud between Fields’ Whipsnade and Edgar Bergen’s dummy Charlie McCarthy (capitalizing on the “feud” between them on the radio show “The Edgar Bergen And Charlie McCarthy Show”) plus his daughter’s engagement party (in which he tells stories about some rattlesnakes, which keep causing the hostess to faint, as she fears snakes) and also him partaking in a heated game of ping pong. While these films are humorous throughout due to W. C. Fields, I personally consider these to be some of his strongest moments in each.

Well, now that I’ve commented on all of these films, I’ll give you my rankings on these releases, from highly recommended (1.) to least recommended (3.):

  1. You Can’t Cheat An Honest Man (1939)
  2. You’re Telling Me! (1934)
  3. Man On The Flying Trapeze (1935)

With this group of films, it really does come down to what I think of the movies themselves as to which I would recommend. Transfer-wise, they’re all pretty similar, with each sporting a new 2K scan that contains some scratches and other debris in small amounts. So, the films themselves are the thing. I admit, even though I recommend it the highest, You Can’t Cheat An Honest Man has the most politically correct issues, with Edgar Bergen’s dummy Charlie McCarthy wearing blackface briefly (in order to cover up a black eye), not to mention Eddie Rochester’s stereotyped character. Apart from those two issues, though, it really was the most hilarious, especially with Edgar Bergen and his dummies Charlie McCarthy and Mortimer Snerd adding to the fun. The other two films are generally quite good (with the golf sketch alone in You’re Telling Me! making that film worth seeing). Man On The Flying Trapeze does feel the weakest overall as a film, but it’s still strong enough that I could recommend that film just as easily as the other two. So, I certainly suggest giving all three a try, especially on Blu-ray!

TFTMM Presents “Star Of The Month (November 2022)” Featuring W. C. Fields

We’ve finally made it to November, which means that it’s time for my last (for now) “Star Of The Month” feature! This time, I’m focusing on one of the great screen comedians, W. C. Fields!

Table Of Contents

Quick Film Career Bio

Birth: January 29, 1880

Death: December 25, 1946

On January 29, 1880, William Claude Dukenfield was born to James Lydon Dukenfield and Kate Spangler Felton in Darby, Pennsylvania. As a kid, he reportedly didn’t get along very well with his abusive father, sometimes running away from home. He had very little education, getting taken out of school by his father to help sell produce from his vegetable cart. At the age of nine, he saw a juggling act and became determined to become a juggler himself. However, since he tried to use vegetables as juggling props, he got in trouble with his father, and ran away for good at the age of eleven. Now on his own, he also became proficient at billiards, hustling others to make money. He continued to work on his juggling, working at an amusement park in Norristown, PA and later on the pier in Atlantic City, NJ. Developing bits of comedy to go with his juggling, he took to the vaudeville stage. He soon became a headliner, and eventually made his debut on Broadway in the show The Ham Tree in 1905. After more success over the next decade, he became a part of the Ziegfeld Follies in 1915, using his skills with billiards in a comedy sketch that went over well with audiences. He stayed with the Follies through 1922, then followed that up in 1923 with a starring role in the musical comedy Poppy on stage.

W. C. Fields had already made his film debut before starring in the Ziegfeld Follies, doing the short comedies Pool Sharks and His Lordship’s Dilemma in 1915. Due to his work onstage, those were his only appearances on film for nearly a decade. He came back to the movies in 1924 for a part in the film Janice Meredith. He made two films for director D. W. Griffith (one of which, Sally Of The Sawdust, was an adaptation of Poppy) before signing with Paramount Pictures. He made a series of silent comedies for Paramount at their Astoria studio until they closed their New York branch in 1927 (at which point he went to Hollywood). There, he made three more silent features before sound technology really took over. Throughout most of his silent films, he had worn a fake black mustache, and he briefly carried it over into his first sound short The Golf Specialist (1930). He tried a more realistic mustache for his first full sound film, Her Majesty, Love (1931), but then completely ditched it for the remainder of his career.

The Golf Specialist (1930) was one of several shorts that he did for producer Mack Sennett as he made the switch to the talkies, and these shorts helped him to maintain his popularity. He signed again with Paramount Pictures, and became established as a major movie star with the film International House (1933). He kept himself busy with a number of films over the next two years, including It’s A Gift (1934) and You’re Telling Me! (1934), and an appearance in the Dickensian David Copperfield (1935). However, the activity proved to be too much for him, as he fell ill from influenza and suffered from back trouble. The situation grew even worse when his friends Will Rogers and Sam Hardy passed away in short succession, resulting in Fields suffering a complete breakdown. After nearly nine months, he was offered the chance to recreate his famous stage role for Poppy (1936). His health was still on edge, and the death of yet another friend (Tammany Young) pushed him too far again, resulting in him staying in hospitals and sanitariums for a time. In the latter part of 1937, he was again given the chance to return to the screen for The Big Broadcast Of 1938 (1938). He didn’t get along with the film’s director, Mitchell Leisen, and, upon finishing the film, he found himself out of work.

With his health also keeping him offscreen, W. C. Fields found work on the radio, appearing on various programs. In particular, he became a regular with ventriloquist Edgar Bergen and his dummy Charlie McCarthy on The Chase And Sanborn Hour, where audiences laughed at his “feud” with Charlie McCarthy. Fields was offered the role of the Wizard in The Wizard Of Oz (1939), but he turned it down and signed with Universal Pictures, where he made You Can’t Cheat An Honest Man (1939), which took advantage of his radio feud with Charlie McCarthy. He followed that up by starring in My Little Chickadee (1940) with Mae West (with whom he co-wrote the film), and then The Bank Dick (1940) (which would become one of his most popular films). He had been fighting to get his own way on script and co-stars, and managed to succeed for Never Give A Sucker An Even Break (1941). That turned out to be his final starring role, as his health deteriorated enough that he could only do guest shots in various films, including Follow The Boys (1944), Song Of The Open Road (1944) and Sensations Of 1945 (1944) (the latter of which was his last film). With his vision and memory going, he was reduced to making radio appearances, up through March 24, 1946. He spent most of the last two years of his life at the Las Encinas Sanatorium in Pasadena, California. He died from a gastric hemorrhage on Christmas day (a holiday he pretended to hate) in 1946.

My Own Feelings On W. C. Fields

Honestly, I’ve at least known of W. C. Fields for most of my life, although for most of my early years, I mainly knew him through the caricatures in many Disney and Looney Tunes cartoons. I never saw any of his live-action films until I saw The Big Broadcast Of 1938 (1938) almost twenty years ago. I admit, I didn’t really take to him that much from that film. Mississippi (1935), the second film of his that I had the opportunity to see, was the first time that I really started to appreciate his comedy. However, it took a number of years before I really sought out any more of his films. Mostly, it was the announcement for his silent films It’s The Old Army Game (1926) and Running Wild (1927) coming out on Blu-ray when I really developed an interest in him as a comedian. In the time since, I’ve enjoyed seeing more of his films as they’ve made their way to Blu-ray. So I certainly look forward to seeing a few more of his films for the first time in preparation for this month!

Filmography

This is a list of all the films that I personally have reviewed from his filmography so far. Obviously, I will be adding to it throughout the month of November, and it is my plan to add to it as I review more and more of his films even beyond this month’s celebration.

It’s The Old Army Game (1926)

Running Wild (1927)

Alice In Wonderland (1933)

The Old-Fashioned Way (1934)

Mississippi (1935)

My Little Chickadee (1940)

Never Give A Sucker An Even Break (1941)

Entries For This Month

Thoughts From The Music(al) Man –

W. C. Fields Roundup

The Old-Fashioned Way (1934)

My Little Chickadee (1940)

Thoughts From The Music(al) Man (2022) on… Angels With Dirty Faces (1938)

Like Doris Day with our look at Lullaby Of Broadway (1951) earlier this month, we’ve been a little overdue for another James Cagney film. And what better way to come back to him than with one of his more famous gangster films, Angels With Dirty Faces (1938), also starring Pat O’Brien!

Coming Up Shorts! with… Teacher’s Beau (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 19 minutes, 3 seconds)

The Gang’s teacher, Miss Jones (Arletta Duncan) announces that she will get married, and that they will have a new teacher for their next year, Mrs. Wilson. Not wanting a new teacher, the Gang try to find ways to break up the engagement. This was yet another hilarious short. Most of the fun stems from the ways that Spanky (George McFarland) tries to interfere, only for his plans to backfire. In particular, him and Alfalfa (Carl Switzer) trying to dress up as a “rival” (who doesn’t fool the fiancé for one minute) really left a strong impression on me. To a large degree, this one feels fairly similar to the earlier talkie School’s Out (1930), but it still feels fresh enough (and funny enough) that I would gladly watch it again!

Coming Up Shorts! with… Out Where The Stars Begin (1938)

(Available as an extra on the Angels With Dirty Faces Blu-ray from Warner Archive Collection)

(Length: 19 minutes, 15 seconds)

A Broadway dancer (Evelyn Thawl) has come out to Hollywood to get into the movies. With the help of a makeup man (Jeffrey Lynn) and the director’s assistant (Charley Foy), she becomes the movie’s prima ballerina. This was a fun little musical short. The music itself is fun (although not exactly memorable), with a dance sequence that takes up the majority of the short. Mostly, it’s entertaining seeing some of the various stars and movie sets of big 1938 films in 3-strip Technicolor. I know I enjoyed it enough to see it here and there!

Coming Up Shorts! with… Porky And Daffy (1938)

(Available as an extra on the Angels With Dirty Faces Blu-ray from Warner Archive Collection)

(Length: 7 minutes, 32 seconds)

Daffy Duck is a boxer being managed by Porky Pig. When Porky sees an ad offering money to somebody who can beat the champion rooster, Porky immediately gets Daffy in the ring! This rather fun short was from the era when Daffy was still relatively new, and very, very zany. In this short, most of the humor is derived from the wacky ways that Daffy tries to fight with the rooster. That’s not a problem for me, as I always enjoyed Daffy, regardless of how screwy he could be (and here, he IS screwy), so I don’t mind coming back around to this one as well!

And Now For The Main Feature…

Two young kids, William “Rocky” Sullivan and Jerry Connolly, try to steal some fountain pens from a train car, but Rocky is caught when they try to evade the police. Jerry wants to come forward to help Rocky out, but Rocky insists that Jerry should clam up. Fast forward nearly fifteen years, and Rocky has been through reform school and spent several years behind bars. Upon being released from prison, Rocky (James Cagney) returns to his old neighborhood, where his friend Jerry (Pat O’Brien) is now a priest and trying to keep the local kids out of trouble. At Jerry’s insistence, Rocky finds a place to stay in a boarding house, where he runs into another old friend, Laury Martin (Ann Sheridan), whom he takes an interest in. Rocky’s next order of business is to see his lawyer, Jim Frazier (Humphrey Bogart) (who had insisted that Rocky take the fall for a robbery the two of them were involved with while promising Rocky that he would get his share of the money when he got out of prison). Jim, now working for gangster Mac Keefer (George Bancroft), doesn’t have the money readily available, and offers to get it together within the week. After leaving Frazier’s office, Rocky runs into some local boys, who pick his pockets. However, he follows them to their hideout (which also used to be HIS hideout when he was younger), where they learn just who he is. He quickly gains their confidence, and helps Jerry to get the kids to behave (although Jerry wonders whether Rocky will end up being a bad influence for the kids). On his way home, some thugs sent by Frazier attempt to kill Rocky, but he turns the tables on them. Afterwards, Rocky kidnaps Frazier and, in the process, also gets his hands on some information that Mac and Frazier were using to blackmail the city officials. With Frazier in his hands, Rocky demands a ransom from Mac of nearly $100,000. After giving him the money, Mac then tries to have Rocky arrested, but finds out from a newly freed Frazier that Rocky has the blackmail information. As a result, they drop the charges, essentially making Rocky another partner. Rocky tries to give some of the money to Jerry to help build a gym, but Jerry wants nothing to do with the tainted money. In fact, he warns Rocky that he’s going to go after all the gangsters in town, including Rocky himself. Jerry’s efforts start to gain traction, leaving Mac and Frazier trying to figure out how to get rid of both him and Rocky. Rocky manages to put an end to their plan (and to them as well), but is caught by the police. Will Rocky continue to be a hero to the end for the boys (as a gangster), or will Jerry be able to show them that Rocky’s way is wrong?

In the mid-1930s, James Cagney had a big contract dispute with Warner Brothers when he sued them for pushing him to do more films in a year than he was willing to do. While the court case went on, he made some movies for Grand National Pictures. Writer and director Rowland Brown came up with the story for Angels With Dirty Faces and, after pitching it at some of the various studios, was able to sell it to Grand National Pictures, who wanted Cagney to do it. However, Cagney had tried to avoid becoming typecast in tough guy roles and took on Something To Sing About for the smaller studio (with the film underperforming at the box office). With the lawsuit getting resolved and Cagney coming back to work for Warners, he brought the story with him (which the studio decided to buy). For the role of Rocky Sullivan, James Cagney (who had grown up on the Lower East Side of New York) was inspired by a drug-addicted pimp he had known (who particularly inspired some of Rocky’s mannerisms and the phrase “Whaddya hear? Whaddya say?”) as well as his childhood friend Peter “Bootah” Hessling (who was convicted of murder and executed in the 1920s). It all worked out well for Cagney, as the picture itself was a big hit, and his performance resulted in his first Oscar nomination.

It’s taken me a long time to finally get around to seeing Angels With Dirty Faces. I’ve known of the film for a long time (especially having grown up with the first two Home Alone films and their title spoofs of the “movies” Angels With Filthy Souls and Angels With Even Filthier Souls that Macaulay Culkin’s Kevin McCallister watched), and the combined star power of James Cagney and Humphrey Bogart made the film an attractive one. However, apart from a clip used in the TCM Scene It? DVD game, I’ve never had the chance to see the movie until this last year. Quite simply stated, it lived up to (and beyond!) my expectations. James Cagney alone carries the movie as a tough gangster who still has a soft spot for his old friend Jerry Connolly (played by Cagney’s offscreen friend Pat O’Brien) and the church. From start to finish, I was mesmerized by him! The ending for his character is ambiguous, and, although it was likely demanded by the Hays Office as part of the Production Code in force at the time, it still feels genuine to me. And, although it’s still early in his career, Humphrey Bogart also leaves a strong impression as a lawyer who thinks he can outwit Cagney’s Rocky (yet is caught every time). The movie kept me on the edge of my seat frequently, especially when the thugs came after Rocky and again when the police were hunting him down. This film is considered a major classic, and I definitely think it deserves that status! I personally might go so far as to call it my favorite gangster film, so I have no hesitation in giving it some of my highest recommendations! Seriously, go see it as soon as possible!

What’s Old Is A New Release Again (2021) with… Angels With Dirty Faces (1938)

This movie is available on Blu-ray from Warner Archive Collection. The transfer comes from a 4K scan of the original nitrate camera negative. It’s a typical Warner Archive release. In short, beautiful picture quality with the level of detail being shown off perfectly, and all the dust, dirt and debris has been removed. It’s a perfect release for a (in my opinion) perfect movie, and it’s highly recommended!

Film Length: 1 hour, 37 minutes

My Rating: 10/10

List Of Actor/Actress Filmographies/Collections

Footlight Parade (1933)James CagneyEach Dawn I Die (1939)

Stand-In (1937)Humphrey BogartThe Maltese Falcon (1941)

Ann Sheridan – Dodge City (1939)

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Thoughts From The Music(al) Man (2022) on… International Lady (1941)

Today, we’re here to look at a 1941 spy thriller called International Lady starring George Brent, Ilona Massey and Basil Rathbone!

Coming Up Shorts! with… Beginner’s Luck (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 18 minutes, 38 seconds)

After having Spanky (George McFarland) recite for some of her lady friends, Spanky’s mother decides to enter him in an amateur talent contest. However, Spanky has no desire to win, and enlists the Gang’s help to sabotage his performance. It’s yet another short focused on Spanky, and the results are once again hilarious! Spanky brings the fun, whether dealing with a meddlesome parrot or doing his recitations (especially when he defends himself against everything the Gang was throwing at him). Of note with this short is the debut of future Our Gang star Carl “Alfalfa” Switzer (although not as the character he would become known for). I laughed from start to finish on this one, which in my book makes it worth recommending (and I’ll certainly be coming back to it whenever I can)!

And Now For The Main Feature…

During the London bombing by the Nazis, Tim Hanley (George Brent) runs into concert singer Carla Nillson (Ilona Massey), and invites her to a bomb shelter/nightclub. There, they run into music critic Reggie Oliver (Basil Rathbone), who joins them. However, Tim and Carla had been followed there by somebody, and Tim decides to go down to the police station with the man to do something about it. There, he is joined by Reggie, and it is revealed that neither Tim nor Reggie are who they claimed to be. Tim (who had claimed to be a lawyer working with the U.S consulate) was actually an FBI agent while Reggie was from Scotland Yard, and they were both with Carla because she was suspected of being part of a ring of saboteurs trying to stop American planes from being shipped to England. However, the two men can’t quite agree on how to handle the case, resulting in Tim trying to sneak Carla off to Lisbon (without Reggie), where he helps her get a visa to America. While in Lisbon, Carla sneaks away to meet with members of the sabotage ring to get her new “music” (which is the code for the organization). Tim had seen her sneak away and tried to follow, but the cab he tried to take quickly lost sight of her. Reggie joined them after they got back together, and the three finished out the trip to the U.S. together. Once in the country, Carla went her way to the home of chocolate magnate Sidney Grenner (Gene Lockhart) (who was also the head of the ring of saboteurs) to prepare for his radio program (where they would use the music to communicate with the other members). At the party being held for Carla’s “concert,” Reggie goes undercover as a waiter, and snoops around while everybody is listening to Carla sing. He overhears a telephone conversation between Grenner’s “butler” Webster (George Zucco) (who is an expert marksman) and another member of the ring. After the concert, Tim finds Carla’s sheet music, and, discerning the existence of a code on there, he writes it down to pass off to another agent. When Webster sees Tim alone in the garden, he is suspicious and takes a shot at Tim (but doesn’t kill him on purpose). Carla discovers that Tim is an FBI agent, but she doesn’t reveal it to anybody else until after Tim has left the premises. With time running out as the saboteurs follow through with their plans to destroy all the planes being sent to England, Reggie works hard to crack their code. But will he succeed in time? And will Carla’s feelings for Tim stop her from continuing to take part in the sabotage (or will she let Tim get killed)?

Honestly, I hadn’t heard of this film at all until it was announced for a Blu-ray and DVD release from ClassicFlix (but more on that in a moment). I’ve come to enjoy trying out the different films that ClassicFlix has been putting out, so I was willing to give it a try (and the presence of Basil Rathbone in the movie certainly didn’t hurt its appeal). In general, the film turned out to be better than I had anticipated. I found the film’s way of showing the saboteur’s code being sent while Ilona’s Carla was singing to be an interesting way of portraying it. I have mixed feelings about George Brent’s performance, as I don’t think he fully works as the leading man in this film, yet I like his relationship with Basil Rathbone’s Reggie, as the two almost work well as a comedy team (with their main comedy bit being the language difference between British and American slang). Even apart from his dealing with George Brent’s Tim, Basil Rathbone really carries the film, especially when he is in disguise at the party (which is almost hard to notice at first unless you are really looking for it, which is saying something). You won’t really find a lot of tension here (especially since this is considered a spy thriller), and you won’t find much in the way of shootouts. Still, I found it to be a very entertaining film (and one I’m glad to have seen), and I think it’s worth giving a chance!

What’s Old Is A New Release Again (2021) with… International Lady (1941)

This movie is available on Blu-ray and DVD from ClassicFlix as part of their Silver Series line of releases. According to a post by the founder of ClassicFlix on one of the forums I frequent, their original plan was to release the film on DVD only, but they were given an HD master by the owner that was good (but not quite good enough for their main line of releases, and would be too expensive of a proposition for them to do a new and better master). Having seen it now myself, I’m still very impressed with a picture that looks quite good, with very little damage evident, and a fairly sharp picture throughout. Overall, it’s a very good transfer given a pretty good release on disk. Given that it’s part of their “no frills” Silver Series, there are no extras beyond a few trailers for some of ClassicFlix’s other releases, and there are no subtitles for those who need them (but dialogue is still relatively easy to understand the majority of the time).

Film Length: 1 hour, 42 minutes

My Rating: 8/10

List Of Actor/Actress Filmographies/Collections

Jezebel (1938) – George Brent – Tomorrow Is Forever (1946)

Balalaika (1939) – Ilona Massey

The Mark Of Zorro (1940) – Basil Rathbone – The Adventures Of Ichabod And Mr. Toad (1949)

The Sea Wolf (1941) – Gene Lockhart – Going My Way 1944)

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Thoughts From The Music(al) Man (2022) on… Lullaby Of Broadway (1951)

It’s been a while since I’ve watched (and reviewed) any of Doris Day’s films, so I’m back today for her 1951 musical Lullaby Of Broadway, also starring Gene Nelson!

Coming Up Shorts! with… Anniversary Trouble (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 5 (1935-1936) from ClassicFlix)

(Length: 19 minutes, 22 seconds)

Spanky (George McFarland) has been elected the treasurer of the Gang’s club (“Ancient and Honery Order of Wood Chucks Club, Inc.”) and the Gang have decided to trust him with the money. However, it’s also his parents’ wedding anniversary, and the envelope containing the Gang’s money has gotten mixed up with his father’s gift to his mother. This one was absolutely hilarious from start to finish! Much of the humor is derived from Spanky being called to go see his father at the office (since his parents thought he stole their envelope) while the Gang waits for their money (since they disbanded the club and want their money back). One of Spanky’s methods in trying to get away is questionable for modern audiences, since he tried to don blackface to disguise himself as Buckwheat in an attempt to get away. Still, the short was an entertaining twenty minutes that I wouldn’t mind seeing again and again!

And Now For The Main Feature…

American entertainer Melinda Howard (Doris Day) has been in Europe for a number of years, but she’s earned enough that she decided to come home to New York City to surprise her mother, Jessica Howard (Gladys George), whom she believes to be the toast of Broadway. When she arrives at her mother’s mansion, Melinda meets the butler, Lefty Mack (Billy De Wolfe), who is also a friend of her mother’s. A surprised Lefty lies, telling her that her mother is on tour with a show, and is renting the place to brewer Adolph Hubbell (S. Z. Sakall) and his wife, Anna (Florence Bates). The truth is that Jessica has fallen on hard times as a result of her alcoholism, and the mansion is owned by the Hubbells. Lefty gives Melinda a place to stay in the servants’ quarters, and lets Mr. Hubbell know what’s going on. Since Mr. Hubbell is throwing a party that many Broadway performers have been invited to, Lefty hopes to get Jessica there to briefly see Melinda. At the party, Broadway producer George Ferndel (Hanley Stafford) tries to convince Mr. Hubbell to invest in his show. Mr. Hubbell refuses to do so because his wife is insisting that he not do so, and because Ferndel won’t let him do anything more than pay for the show. Meanwhile, one of Ferndel’s stars, Tom Farnham (Gene Nelson) (whom Melinda had unknowingly met on the boat to America) tries to spend time with Melinda (who was more open to him at the party than she had been on the ship). Melinda is disappointed when her mother doesn’t show at the party (because she had been hospitalized for drinking too much, although Melinda was told that she had to stay with her “show”), and vows to stay until she gets a chance to see her mother. With the food bills at the Hubbell household rising while Melinda stays, Lefty makes a suggestion that Mr. Hubbell should take her out to a restaurant, where she would be noticed by Ferndel (and also prove that Mr. Hubbell was not too old-fashioned to be involved in show business). As a result, she now has a part in the new show, with the opportunity to spend more time with Tom. Trouble arises when Mr. Hubbell spends too much time with Melinda and everybody else misconstrues their relationship. Things come to a head right before the show opens, when Mrs. Hubbell finds out about Melinda spending so much time with Mr. Hubbell, and she decides to divorce her husband. With everything falling apart, will Melinda be able to see her mother and perform in the show, or will she pack up and go back to Europe?

While actress Doris Day had originally planned to come to Hollywood as a dancer, a car crash ended that dream (resulting in her focusing on her singing instead). However, as she started to become a big star at Warner Brothers, she worked with dancer Gene Nelson and his wife Miriam to get back into dancing shape for her first starring role in Tea For Two (1950). With that film proving to be successful, she was paired up again with Gene Nelson for Lullaby Of Broadway. Gene’s promotion to leading man was mostly the result of him winning the 1950 Golden Globe for Best New Star (in Tea For Two) (that, and his Tea For Two co-star Gordon MacRae was proving to be an uncooperative contract player at Warners). Once again, Doris worked with Gene and his wife on the routines for Lullaby, including dancing on the staircase for the title number, which made her nervous. Onscreen, that nervousness didn’t show, and the film proved to be yet another hit for Doris Day and Warner Brothers.

I’ve had the opportunity to watch Lullaby Of Broadway a couple times this year (hadn’t seen it prior to the recent Blu-ray release), and it’s one that I will gladly admit to enjoying! Most of the fun is seeing a lot of the cast of the previous year’s Tea For Two together again (minus Gordon MacRae, as I mentioned before). The film is full of memorable tunes (culled from the catalog of music owned by Warner Brothers at the time), including the title tune, “You’re Getting To Be A Habit With Me,” “Just One Of Those Things,” “I Love The Way You Say Goodnight,” and several others. Doris Day is in fine voice for all of her songs, and she proves once again that she can dance, whether alone or with Gene Nelson! Honestly, the only complaint I have on her dancing is the slow motion section that ends “I Love The Way You Say Goodnight” (I think Fred Astaire and Ginger Rogers are great enough as a team to pull it off slow motion dancing in Carefree, but Doris isn’t as good technically, so it shows off her faults a bit more). As for her co-star Gene Nelson, I like him, but I’m not sure he fares as well as a leading man for two reasons: 1) he is fairly obviously dubbed on his singing voice (by Hal Derwin) and 2) compared to his earlier roles in The Daughter Of Rosie O’Grady (1950) and Tea For Two (1950), his dancing here seems “tamer,” lacking some of the acrobatic stuff and lifts he did before (which, in this case, makes him more like your average dancer as opposed to being a standout like he was in those earlier two movies). Apart from those two complaints, I’m good with him. S. Z. “Cuddles” Sakall is fun as always, and Billy De Wolfe is funny in what feels like a rare role (for him) as a decent guy, especially when he does the comic routine to the song “You’re Dependable” with Anne Triola as the maid (and his girlfriend) Gloria Davis. I’m not quite as fond of this film as the earlier Tea For Two, but it’s still an entertaining musical with some fun music and dancing! As I said, I’ve already had fun watching it a few times in the time that I’ve had it on disc, and I certainly would recommend it!

What’s Old Is A New Release Again (2021) with… Lullaby Of Broadway (1951)

This movie is available on Blu-ray and DVD from Warner Archive Collection. I haven’t been able to find anything specific about what was used for the transfer on the Blu-ray, but it’s still a typical Warner Archive release of a 3-strip Technicolor film. In short, the color looks great, and the picture has been cleaned up of all dust and dirt. However, this is a rare instance where I do have a complaint about the transfer, and that’s with some of the audio. The main problem is that the tap sounds for some of the dances (particularly Gene Nelson’s dance number “Zing! Went The Strings Of My Heart”) don’t quite sound right, as if that part of the audio wasn’t done right (similar to what I’ve heard was the problem on the initial pressing of Kino Lorber Studio Classics’ 2022 Blu-ray release of Blue Skies before that was corrected with a subsequent pressing). Since I only first saw this film through the Blu-ray, I have no idea whether that was something new or whether it’s always been that way. If it is a new problem for the Blu-ray, I wouldn’t say that it’s anything major (and, as far as I know, there has been no movement towards Warner Archive fixing it, which doesn’t surprise me after all the issues that they’ve had behind the scenes throughout the pandemic), so I still think that this release is worth it.

Film Length: 1 hour, 32 minutes

My Rating: 9/10

List Of Actor/Actress Filmographies/Collections

Tea For Two (1950)Doris DayOn Moonlight Bay (1951)

Tea For Two (1950) – Gene Nelson

Tea For Two (1950) – S. Z. “Cuddles” Sakall

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Coming Up Shorts! with… The Little Rascals: The ClassicFlix Restorations, Volume 4

Welcome back for another full post of Coming Up Shorts! This time, I’m going with the Hal Roach theatrical shorts featuring The Little Rascals, and some of their shorts from 1933-1935 that have been released together on disc in The Little Rascals: The ClassicFlix Restorations, Volume 4.

Here’s a list and quick plot description for each of the shorts included in this set (for my comments on the individual shorts, click on the title to go to my previous reviews):

  1. The Kid From Borneo (1933) (Length: 18 minutes, 47 seconds)
    • Dorothy (Dorothy DeBorba), Dickie (Dickie Moore) and Spanky’s (George McFarland) mother has received a letter from her brother stating that he is in town with a carnival and wants to meet the kids. The kids go to the carnival, but they mistake the “Wild Man From Borneo” (their uncle’s “sideshow attraction”) as their uncle.
  2. Mush And Milk (1933) (Length: 18 minutes, 18 seconds)
    • The gang are all stuck at a boarding school run by a cranky old lady (Louise Emmons). Her husband, Cap (Gus Leonard) promises to give the kids a better life when his back pension comes through.
  3. Bedtime Worries (1933) (Length: 20 minutes, 23 seconds)
    • Spanky’s (George McFarland) father (Emerson Treacy) has just been promoted to head shipping clerk, and has decided that Spanky must now sleep on his own. However, Spanky has a lot of trouble getting to sleep on his first night alone.
  4. Wild Poses (1933) (Length: 18 minutes, 31 seconds)
    • Spanky’s (George McFarland) parents decide to have his picture taken. However, after listening to the other kids from the Gang who tag along, Spanky refuses to sit for a picture!
  5. Hi’-Neighbor! (1934) (Length: 17 minutes, 54 seconds)
    • Jerry (Jerry Tucker), the new kid in the neighborhood, has his own small fire engine (and the envy of the Gang). However, he doesn’t want to share it with them, leading them to put together their own fire engine.
  6. For Pete’s Sake! (1934) (Length: 18 minutes, 6 seconds)
    • Wally (Wally Albright) and the Gang try to fix up a doll for Marianne (Marianne Edwards), but a bully breaks her doll. So the Gang tries to get her a new doll, but they have to deal with the bully and his father to get it.
  7. The First Round-Up (1934) (Length: 18 minutes, 46 seconds)
    • The Gang all decide to go camping at the nearby Cherry Creek. However, when night falls, the kids all start to reconsider the idea.
  8. Honky-Donkey (1934) (Length: 16 minutes, 42 seconds)
    • Little rich boy Wally (Wally Albright) wants to play with some poor kids, and hangs out with the Gang. When they’re chased off the vacant lot that they’re playing on, Wally decides to bring them (and their pet donkey) to his home.
  9. Mike Fright (1934) (Length: 17 minutes, 26 seconds)
    • The “International Silver String Submarine Band” (that’s the Gang) auditions as part of an amateur radio talent contest against a bunch of other talented kids.
  10. Washee Ironee (1934) (Length: 16 minutes, 38 seconds)
    • Rich boy Waldo (Wally Albright) tries to get into a football game with the Gang, and ends up falling in the mud. His mother is throwing a society party (at which she expects him to play the violin), so the Gang tries to help wash out his clothes.
  11. Mama’s Little Pirate (1935) (Length: 18 minutes, 6 seconds)
    • Upon listening to his father read about the discovery of pirate treasure in a cave, Spanky (George McFarland) decides to lead the gang on a treasure hunt in a cave. However, his mother is opposed to the idea and orders him not to go.
  12. Shrimps For A Day (1935) (Length: 20 minutes, 42 seconds)
    • The Gang are taken to a party hosted by the sponsor for their orphanage, where an adult couple finds a lamp and wishes to be kids again. They are mistaken for being part of the group of orphans, and are brought back to the orphanage.

With thirty-three talkie shorts from the Our Gang/ The Little Rascals under their belts, the Hal Roach series continued to make changes as they kept plugging along. Longtime Our Gang director Robert McGowan (who had been with the series essentially since the beginning) had tired of doing the series and wanted to leave for a few years, but his departure kept getting delayed as the studio couldn’t come up with a replacement for him. The Hal Roach studio tried to change up the series, including shrinking the cast down to a small handful to appease McGowan (with Dickie Moore, Bobby “Wheezer” Hutchins and Dorothy DeBorba leaving after Mush And Milk), but McGowan finally had enough and left after directing Wild Poses. As a result, the series went on hiatus for four months. When they came back, they had a new director (Gus Meins) and several new cast members, including Wally Albright (who only lasted for a handful of shorts), Scotty Beckett and Billie Thomas (“Buckwheat”).

As I said in my previous reviews of Volume 1 ( which contained the shorts 1929’s Small Talk through 1930’s A Tough Winter), Volume 2 (1930’s Pups Is Pups through 1931’s Dogs Is Dogs) and Volume 3 (1932’s Readin’ And Writin’ through 1933’s Forgotten Babies), these shorts are still new to me. For me, the shorts included in this fourth volume continued to be as much fun (if not more!) as the earlier talkie shorts. George “Spanky” McFarland continues to be the main appeal here, and the two shorts that showcase him (Bedtime Worries and Wild Poses) left me laughing pretty steadily. Of course, the introduction of Scotty Beckett really added something as well, essentially making the two of them a comedy team that worked quite effectively (especially in The First Round-Up). Mike Fright, Mama’s Little Pirate and Shrimps For A Day also left me in stitches throughout, making them worth seeing again and again! Not every short in this set is perfect, as The Kid From Borneo and Washee Ironee in particular are both dated in some of their stereotyped depictions. Still, the rest of the set more than makes up for it, which makes this fourth volume of Our Gang shorts highly recommended in my book (and I certainly look forward to seeing more with the fifth volume)!

As I mentioned in my reviews of the earlier volumes, ClassicFlix announced (in late 2020) that they had licensed the Little Rascals shorts, and planned to restore the talkies (and the silents if the talkies sold well enough, which it sounds like they have). The film elements for many films and shorts originally produced by Hal Roach’s studio have changed hands a number of times over the years, and haven’t been as well preserved as most would hope. ClassicFlix tried a crowdfunding campaign to help fund the restorations for the Little Rascals series, but that ended up falling short. Still, they went through with their plans to restore the shorts, and, much like the first three sets, these shorts look fantastic (some minor damage is still present, but is BARELY noticeable)! This set doesn’t necessarily give any hints as to what film elements were used like the first one did (beyond the comment on the disc case about scanning from original Hal Roach 35mm film elements), but the results speak for themselves (and if you don’t believe me, I included some of the YouTube clips posted by ClassicFlix at the bottom of the post so that you can get a better idea)! Once again, the team at ClassicFlix have put a lot of hard work into restoring these, and I would certainly recommend this fourth volume (plus the first three as well, if you haven’t gotten them already)! With the fifth and sixth sets already released (thus completing all the talkies before MGM took over the series), we only await the arrival of the silents in 2023 (some of which will be on Blu-ray while others will be DVD-only due to the quality of the available elements)! In the meantime, there will also be The Little Rascals: The Complete Collection Centennial Edition on Blu-ray (or DVD) from ClassicFlix. This set will include all the talkie shorts included in the six volumes (although it will be condensed onto five discs instead of six) plus a bonus disc of extras (that bonus disc will also be available separately, and will come with a six-disc box for all those that previously bought the individual volumes, although it won’t be available through Amazon until after its release date).

The Little Rascals: The ClassicFlix Restorations, Volume 4 is available on Blu-ray from ClassicFlix. The whole set has a runtime of three hours, thirty-eight minutes.

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Film Legends Of Yesteryear: Screen Team & “Musical Screen Teams (September 2022)” featuring… Give A Girl A Break (1953)

We’re back for my second and final entry for my Musical Screen Teams blogathon! This time, we’ve got another film from 1953, Give A Girl A Break, starring Marge and Gower Champion, along with Debbie Reynolds!

Coming Up Shorts! with… Mama’s Little Pirate (1935)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 4 (1933-1935) from ClassicFlix)

(Length: 18 minutes, 6 seconds)

Upon listening to his father read about the discovery of pirate treasure in a cave, Spanky (George McFarland) decides to lead the gang on a treasure hunt in a cave. However, his mother is opposed to the idea and orders him not to go. This was yet another entertaining entry in the series. Most of the fun is in watching Spanky try to be smart about how they are exploring the cave, only to have things go completely wrong (with his friend Scotty there to tell him off ahead of time). The over-exaggerated giant (as played by R. E. “Tex” Madsen) adds to the fun when he encounters the kids. I know I enjoyed this one, and look forward to seeing it again!

And Now For The Main Feature…

Rehearsals for the show Give A Girl A Break have begun under director and choreographer Ted Sturgis (Gower Champion), but they’ve hit a snag. Their big star, Janet Hallson (Donna Martell), is angry with Ted for not fawning over her after she performed a number, and demands an apology. His half-hearted apology doesn’t convince her, and she decides to walk out on the show. Without a star, producer Felix Jordan (Larry Keating) suggests they go to Ted’s former dance partner, Madelyn Corlane (Marge Champion), but Ted dislikes the idea, since he is still mad at her for walking out on him. Instead, he suggests putting an ad in the paper, in an attempt to give somebody new a chance to make good. The next day, a great many young hopefuls show up, hoping to get the newly vacant part. Among that group are Suzy Doolittle (Debbie Reynolds), whom Ted’s assistant and gofer Bob Dowdy (Bob Fosse) quickly takes a shine to, and Joanna Moss (Helen Wood), who catches the eye of the show’s composer, Leo Belney (Kurt Kasznar) (since he had seen her dance before at a recital). Both of them are told to come back the next day to audition for the part. When Ted comes up to Felix’s office, he finds Madelyn there, who is also told to come back the next day to audition. That evening, Suzy rehearses at her mother’s insistence instead of going on a date with Bob (although he is understanding, and walks her home from the dance studio). Joanna goes back to her apartment to share the news with her husband, Burton Bradshaw (Richard Anderson), who also has his own news about a potential job that may take him elsewhere. Madelyn tells her boyfriend, Anson Pritchett (William Ching), about the audition, but he convinces her to withdraw. When Ted learns about Madelyn pulling out, he goes to see her and help her get past her fears. The next day, all three women audition, and Felix finds himself unsure as to which one to pick. With the other three men all equally adamant that their girl should get the role, who will win out in the end?

Give A Girl A Break ended up being far different from its initial conception. Originally, the film was to potentially star the likes of Judy Garland, Fred Astaire, Gene Kelly and Ann Miller. However, much was changing in Hollywood at that time, as musicals were falling out of favor with audiences while television’s popularity continued to rise. As a result, the cast consisted of husband-and-wife dance team Marge and Gower Champion, Debbie Reynolds, and newcomer Bob Fosse. While there was still some big talent behind-the-scenes that had contributed to the film (such as composer Burton Lane and lyricist Ira Gerswhin, director Stanley Donen and screenwriters Frances Goodrich and Albert Hackett), they weren’t enough to save the film. The movie lost money at the box office, effectively ending whatever chance the Champions had of becoming big stars (and didn’t do Bob Fosse any good as a movie star, either).

I first saw the film most of a decade ago. At the time, I was coming off of discovering the dance team of Marge and Gower Champion via Lovely To Look At (1952) (to be fair, I had previously seen them in the 1951 Show Boat, but their appearance there didn’t have anywhere near the impact that Lovely To Look At did in my estimation). In Give A Girl A Break, they have two dance routines together, set to the songs “Challenge Dance” and “It Happens Every Time.” In general, their “Challenge Dance” seems to be what they are known for here, as it feels like the better promoted dance of the two. Personally, I don’t care for it that much, and prefer “It Happens Every Time.” Admittedly, the lyrics to “It Happens Every Time” are quite forgettable (not helped by the fact that Gower’s singing voice was VERY obviously dubbed for this song, in spite of him actually singing for an earlier song in the film). The music, however, is quite memorable, and sticks with me long after I finish watching the film. Their dance is equally enjoyable, with them swinging around on a set full of poles. The whole song makes me think of their dance to the instrumental version of “Smoke Gets In Your Eyes” from Lovely To Look At. I wouldn’t put “It Happens Every Time” on the same level as that one, but it certainly left an imprint on me.

As for the rest of the movie, I think it’s a lot of fun. Realistically, I think that Bob Fosse is what really makes this film. He has three songs and dances, “Nothing Is Impossible” with Gower Champion and Kurt Kasznar, and “In Our United State,” which is used for two different partnered routines with Debbie Reynolds (one a romantic duet in the park, and the other a dream dance sometimes referred to as the “Balloon Dance,” with them dancing “backwards and forwards”). Those three dances are some of the most fun and entertaining in the film, and easily make the movie worthwhile (alongside the previously mentioned “It Happens Every Time”). There are a few other tunes, but, apart from the “Puppet Master Dance” with Helen Wood and Kurt Kasznar, they don’t really stand out that much (and quite frankly, Helen Wood is fairly good as a dancer but very much underutilized compared to the other two leading ladies). It’s not an absolutely great film, as I think the Champions can’t really carry it in the acting department (they’re decent, just not great). Thankfully, Bob Fosse, despite being billed fifth, does a much better job (and is given nearly as much screentime as the Champions). While it certainly would have been fun to have seen what the film would have been like with its original conception, I do think that what we got is entertaining enough. I know I’ve certainly enjoyed seeing it a number of times over the last decade. So, as I have no hesitation about sticking it on when I feel like it, I would definitely have no qualms about giving it some of my highest recommendations!

This movie is available on DVD from Warner Archive Collection.

Film Length: 1 hour, 22 minutes

My Rating: 9/10

List Of Actor/Actress Filmographies/Collections

Lovely To Look At (1952) – Marge Champion

Lovely To Look At (1952) – Gower Champion

Singin’ In The Rain (1952) – Debbie Reynolds – Susan Slept Here (1954)

Kiss Me Kate (1953) – Bob Fosse – My Sister Eileen (1955)

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Film Legends Of Yesteryear: Screen Team & “Musical Screen Teams (September 2022)” featuring… Kiss Me Kate (1953)

Today, we’re here to get into my first entry for my own Musical Screen Teams blogathon! That would be the 1953 musical Kiss Me Kate, featuring the team of Kathryn Grayson and Howard Keel in their final film together!

Coming Up Shorts! with… Washee Ironee (1934)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 4 (1933-1935) from ClassicFlix)

(Length: 16 minutes, 38 seconds)

Rich boy Waldo (Wally Albright) tries to get into a football game with the Gang, and ends up falling in the mud. His mother is throwing a society party (at which she expects him to play the violin), so the Gang tries to help wash out his clothes. This one was decently entertaining. In particular, Spanky (George McFarland) going through town in his goat-led “ambulance” (complete with him imitating a siren) was one of the shorts’ more amusing bits, as was the kids making a mess of the society party. It does go a bit wrong when Spanky stops to get help from a Chinese kid at the laundry (the main problem being the way the other kids all treat him by attempting to speak “Chinese”). Apart from that, though, I enjoyed this one, and would gladly watch it again!

Coming Up Shorts! with… Barney’s Hungry Cousin (1953)

(Available as an extra on the Kiss Me Kate Blu-ray from Warner Home Video)

(Length: 6 minutes, 42 seconds)

Barney Bear has come to Jellystone National Park, hoping to enjoy a nice picnic. However, one of the bears living there keeps trying to steal his food! This one was quite fun. Admittedly, it is essentially the same joke over and over, as the one hungry bear keeps stealing Barney’s food, no matter what Barney does to get away from him or prevent it. Still, it serves its purpose in being funny, which makes it worth seeing!

And Now For The Main Feature…

Composer Cole Porter (Ron Randell) has put together a musical version of the Shakespearean play The Taming Of The Shrew, with plans to have it directed by Fred Graham (Howard Keel) with Fred also playing the lead role of “Petruchio.” They both want Fred’s ex-wife, Lilli Vanessi (Kathryn Grayson), to play the part of “Katherine,” and they invite her to Fred’s apartment to convince her to be a part of the show. She almost consents until Fred’s current girlfriend, nightclub performer Lois Lane (Ann Miller), shows up. Lilli decides to leave but quickly returns to accept the role when Fred and Cole decide to be sneaky and offer Lois the part of “Katherine.” During rehearsals, Fred and Lilli continue to argue, but start to reconcile right before the show’s opening night. However, Fred sends some flowers to Lois with a note (but his valet mistakenly delivers the flowers to Lilli), and Lilli (who believes the bouquet of flowers were meant for her) reads the note during a moment onstage. In a rage, she starts going off-script and hitting Fred hard. In retaliation, he spanks her onstage at the end of the first act. Having had enough, Lilli decides to leave the show immediately and go to be with her fiancé, Tex Callaway (Willard Parker). Fred at first has no clue how to convince her to stay and finish the show, but he quickly comes up with an idea. Fred learns that his castmate Bill Calhoun (Tommy Rall) (who is actually Lois’ boyfriend) had taken part in a crap game earlier, and lost a lot of money (but signed Fred’s name on the IOU). While he’s initially mad at Bill, due to the two thugs (Lippy, as played by Keenan Wynn, and Slug, as played by James Whitmore) hounding him about the money, Fred is able to make use of the situation by convincing the two men that he can only pay them back if the show is a hit (and it needs Lilli to stay for that to happen). So, the two men force Lilli to go through with the show for a while. However, between acts, the two men find out that their employer has been killed, thus negating Fred’s “IOU.” Without their help, can Fred convince Lilli to stay with him (and the show), or will she go off to live life with a millionaire?

The whole idea was the result of a 1935 performance of Shakespeare’s The Taming Of The Shrew in which then-stage manager Arnold Saint Subber watched the show’s stars, Alfred Lunt and Lynn Fontanne, fight backstage. Later on, as Arnold Saint Subber was becoming a Broadway producer, he decided to make use of the idea as a backstage musical. With the help of his new partner, Lemuel Ayres, he brought in Bella and Samuel Spewack to write the book along with composer Cole Porter to write the score. They were all hesitant about the project, but they were able to come up with a show that would be a big hit with audiences, one of the few to run more than one thousand performances at the time. MGM quickly bought the movie rights, but film production was delayed since they couldn’t start until the Broadway show’s run had ended. In making the transition from stage to screen, the musical kept most of its score (save for at least one song that ended up being spoken), and added the Cole Porter song “From This Moment On” (originally written for the Cole Porter show Out Of This World, even though it was dropped before its premiere). Of course, the song “From This Moment On” is famous here for the fact that Bob Fosse had the opportunity to choreograph a section of the dance for himself and his partner, Carol Haney, which helped him greatly on the path to becoming a famous choreographer.

I picked this film (which I’ve seen many times over the years) to go with my Musical Screen Teams blogathon, with my planned focus on Kathryn Grayson and Howard Keel, who had worked together previously in Show Boat (1951) and Lovely To Look At (1952). While I don’t quite think the film itself is the best of the three, I do think that their characters’ relationship works the best here. Unlike the other two films, we don’t see their original romance here. Instead, they’ve already been a married couple and gotten divorced. Yet, the seeds of love between them still exist somewhat despite the anger and hatred that Keel’s Fred keeps causing by his current relationship with Ann Miller’s Lois (even if Lois is just using him to help her own career and that of her boyfriend). On the musical side of things, Keel and Grayson only have two duets (the rest of the time, they are part of an ensemble), but those two songs, “So In Love” and “Wunderbar” are among some of the film’s best moments. “So In Love” is indeed, as it’s title suggests, a beautiful love song, used mainly as an audition for Grayson’s Lilli (and, even though Fred is using it to help manipulate her into doing the show, it still helps show enough of those seeds of attraction I already referred to). “Wunderbar” is just plain fun, as their characters recall a previous show they did together, with them even goofing around and trying to upstage each other, while also dancing together.

Of course, Howard Keel and Kathryn Grayson are hardly the only things that make this movie wonderful. One thing this movie is noted for is the fact that it was made as part of the 3-D fad during the early 1950s (when Hollywood was trying to come up with ways to get people out to the theatres due to the rise of television). I personally can’t speak to how good the 3-D is, since I’ve never seen it on a big screen, and I haven’t had any of the technology to see it that way at home (since the Blu-ray came out while 3-D Blu-rays required a 3-D player and a 3-D TV, neither of which have I ever had). Still, one can get a sense of the 3-D aspects through many moments in the film, especially when they throw stuff at the camera during some of the dances. In general, Ann Miller (in some respects, the “third member” of the screen team, since she was also kind of the girlfriend briefly for Howard Keel’s character in Lovely To Look At) gets some of the best moments to show off her dance abilities. Her tap solo “auditioning” for the show to “Too Darn Hot” is one of the film’s highlights (regardless of whether you see it in 3-D or not). She also has “Why Can’t You Behave?” with Tommy Rall on the rooftop, and several routines with him, Bobby Van and Bob Fosse, all of which are fun! In my opinion, this is a very highly regarded musical for good reason, with great music by Cole Porter, great singers and dancers, wonderful comedy and Shakespeare! So, it’s certainly a film I would recommend very highly!

This movie is available on Blu-ray, either individually from Warner Archive Collection or as part of a four-film Musicals collection from Warner Home Video.

Film Length: 1 hour, 50 minutes

My Rating: 10/10

*ranked #5 in Top 10 Movies Watched In 2022

List Of Actor/Actress Filmographies/Collections

Lovely To Look At (1952) – Kathryn Grayson

Calamity Jane (1953) – Howard Keel – Seven Brides For Seven Brothers (1954)

Lovely To Look At (1952) – Ann Miller – Deep In My Heart (1954)

Good News (1947) – Tommy Rall – Seven Brides For Seven Brothers (1954)

Bob Fosse – Give A Girl A Break (1953)

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What’s Old Is A New Release Again (2022) Blu-ray Roundup #2

Welcome back to my new “Whats Old Is A New Release Again Roundup” series! This time around, I’m back to focusing on titles released on the Blu-ray format in 2022. Since it is focused on Blu-ray releases not related to any specific star or screen team (which means the rate of releases is much faster), I will not be updating this one (except to add links to full reviews if and when they are reviewed later on). So, let’s dig into the movies For Me And My Gal (1942), The Clock (1945), Adventures Of Don Juan (1948) and Jack And The Beanstalk (1952)!

Remember, as an Amazon Affiliate, this site gets a small percentage for every purchase made upon using one of the Amazon links, even if it’s not the movie I linked to (and it’s at no extra cost to you). If you like what I’m doing with the blog, please consider using them so that I can continue to do more!

Note: Due to the fact that I’ve reviewed For Me And My Gal (1942) previously, I have added one of my “Coming Up Shorts!” comments to that review.

Table Of Contents

Coming Up Shorts! with… The First Round-Up (1934)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 4 (1933-1935) from ClassicFlix)

(Length: 18 minutes, 46 seconds)

The Gang all decide to go camping at the nearby Cherry Creek. However, when night falls, the kids all start to reconsider the idea. I’ve been enjoying some of the previous shorts from the Our Gang series, but this one was REALLY entertaining! Plain and simple, the highlights of this short all have to do with Spanky (George McFarland) and Scotty (Scotty Beckett), especially as they continually prove to be smarter than the older kids (who didn’t want them tagging along). They definitely brought the humor here, and made it one that I definitely want to return to frequently!

Coming Up Shorts! with… Honky-Donkey (1934)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 4 (1933-1935) from ClassicFlix)

(Length: 16 minutes, 42 seconds)

Little rich boy Wally (Wally Albright) wants to play with some poor kids, and hangs out with the Gang. When they’re chased off the vacant lot that they’re playing on, Wally decides to bring them (and their pet donkey) to his home. This was yet another entertaining short! Most of the fun centers around the donkey, who chases after anybody when they sneeze, but sits when they hear a bell. Of course, Spanky (George McFarland) and Scotty (Scotty Beckett) add to the fun, trying to help stop the donkey with an alarm clock while otherwise commenting on everything going on. It may be something of a one-joke short the way they use the donkey, but they keep it fresh enough that I certainly would willingly sit through this one again!

Coming Up Shorts! with… Mike Fright (1934)

(available on Blu-ray as part of The Little Rascals: The ClassicFlix Restorations, Volume 4 (1933-1935) from ClassicFlix)

(Length: 17 minutes, 26 seconds)

The “International Silver String Submarine Band” (that’s the Gang) auditions as part of an amateur radio talent contest against a bunch of other talented kids. Plain and simple, this one was VERY FUNNY!! Much of the humor was in the kids loudly carrying around all their instruments and all the mechanical trouble they caused with the microphone. Spanky (George McFarland) and Scotty (Scotty Beckett) still seem to be the funniest two of the bunch, and get a lot of one-liners that kept me in stitches. I would say that this is one of the best shorts from the fourth volume of Our Gang talkies, and I would readily recommend it!

For Me And My Gal (1942)

  • Plot Synopses: In the small town of Clifton Junction, Iowa, in 1916, two different vaudevillian acts meet at the same theatre. Dancer Harry Palmer (Gene Kelly) makes an offer to Jo Hayden (Judy Garland) (who is part of a troupe led by Jimmy Metcalfe, played by George Murphy) to work together as a song-and-dance team. She accepts, but their rise to fame is slow (much slower than Harry wanted). The two fall for each other, but they make the mutual decision to wait for marriage until they can make it to the top, the Palace Theater in New York City. When they are finally signed to appear there, Harry gets his draft notice. Will they be able to play the Palace (and be a married couple), or will the war put an end to their plans?
  • Film Length: 1 hour, 44 minutes
  • Extras: Commentary by historian John Fricke; MGM shorts La Fiesta De Santa Barbara (1935) and Every Sunday (1936); Outtake Musical numbers: Three Cheers For The Yanks and For Me And My Gal Deleted Finale; Screen Guild Players For Me And My Gal with Judy Garland, Gene Kelly and Dick Powell; Leo Is On The Air Radio Promo and Theatrical Trailer
  • Label: Warner Archive Collection
  • My Rating (after Blu-ray): 10/10 (previously 9/10)
  • Quick Comments
    • On The Movie Itself: I’ve seen this one many times, and always enjoy coming back to it! Judy Garland and Gene Kelly (in his film debut) prove that they have great chemistry in their first outing together. The film helps show the journey that some vaudevillians had to go through on their quest to get to the Palace Theater in New York City, helped by some authentic music of the era. The dances may not be on the level that Gene Kelly was later known for, but they’re still entertaining. I had a high enough opinion of the film to recommend it on DVD (see original review here), and it’s even more fun on Blu-ray!
    • On The Transfer: The transfer comes from a 4K scan of the best available preservation elements. Quite simply stated, it’s a typical (great looking) Warner Archive release. The detail is much improved over the previously available DVD, and the picture has been cleaned up of all scratches, dust and debris. Otherwise translated, the Blu-ray from Warner Archive Collection is the way to go when seeing this movie now!

The Clock (1945)

  • Plot Synopses: Corporal Joe Allen (Robert Walker) is on leave for two days and has just arrived in New York City via train. He knows nobody there, until he accidentally trips Alice Mayberry (Judy Garland), breaking her heel. He helps her get it repaired, and they spend some time together. Alice has to leave, but they agree to meet later for a date. As they spend more time together having various adventures, they start growing closer. With Joe’s leave quickly coming to an end, will they go their separate ways, or will they find a way to stay together?
  • Film Length: 1 hour, 30 minutes
  • Extras: Pete Smith Specialty Short: Hollywood Scout (1945), Classic Tex Avery Cartoon: The Screwy Truant (1945), Audio-only Lux Radio Theater Adaptation with John Hodiak and Judy Garland and Theatrical Trailer
  • Label: Warner Archive Collection
  • My Rating: 10/10
  • Quick Comments
    • On The Movie Itself: This was my first time seeing this Judy Garland film, and it’s one that I enjoyed! The film mainly focuses on the relationship between Judy’s Alice Mayberry and Robert Walker’s Corporal Joe Allen, and their chemistry together proves to be good enough to carry the film! We see them go from being complete strangers to falling in love as they have a whole bunch of adventures together over a period of two days. Some of those episodes are fun, some are romantic, and some are heartbreaking. This movie has it all (even if it is a non-musical role for Judy), which makes it well worth seeing!
    • On The Transfer: The transfer comes from a 4K scan of the best available preservation elements. It’s from Warner Archive, so you know it looks great! The picture has been cleaned up of scratches, dust and debris, and really shows off the detail. Highly recommended!

Adventures Of Don Juan (1948)

  • Plot Synopses: When he is caught one too many times by irate husbands/potential suitors, Don Juan de Maraña (Errol Flynn) is deported back to Spain. There, it is hoped that he will reform himself in the service of Queen Margaret (Vivica Lindfors), who is trying to avert a war between Spain and England. Trouble has arisen in Spain due to the Duke de Lorca (Robert Douglas), who has been trying to control the Spanish King Philip III (Romney Brent) and lead the countries into war. Much to the duke’s annoyance, Don Juan continues to get in his way. Eventually, it is discovered that the duke has kidnapped the Spanish ambassador and is trying to torture him to find out where the ambassador has hidden some money that he is holding for the queen. This forces the duke out of the shadows as he attempts to more openly usurp control. Can Don Juan stop him, or will the duke successfully take over the country?
  • Film Length: 1 hour, 51 minutes
  • Extras: Commentary by Director Vincent Sherman and Historian Rudy Behlmer; Warner Night At The Movies: Newsreel, Joe McDoakes Short So You Want To Be On The Radio (1948), Warner Bros. Short Calgary Stampede (1948), Warner Bros. Cartoon Hare Splitter (1948); Theatrical Trailer
  • Label: Warner Archive Collection
  • My Rating: 8/10
  • Quick Comments
    • On The Movie Itself: This was a new Errol Flynn film for me, and I very much enjoyed it! I can’t deny, the film does remind me strongly of the far superior The Adventures Of Robin Hood (1938) via a score that feels similar, and various plot points (not to mention some brief footage borrowed from that film and 1939’s The Private Lives Of Elizabeth And Essex). Errol Flynn is definitely showing his age here (especially since it was his first swashbuckler in nearly a decade), but he acquits himself very well in a very tailor-made role for him. The swordfights are still thrilling to see, especially the inevitable duel between Flynn’s Don Juan and Robert Douglas’ Duke de Lorca. It’s not Errol Flynn at his absolute best, but it’s still a very entertaining swashbuckler made better by his presence (and therefore recommended)!
    • On The Transfer: The transfer comes from a 4K scan of the nitrate Technicolor negatives. It’s from Warner Archive, and it’s a 3-strip Technicolor film. That pretty much says it all, as the transfer really brings out the color, and it’s been cleaned up of all scratches, dust and debris. So, if you like this film, the Blu-ray is indeed the way to go!

Jack And The Beanstalk (1952)

  • Plot Synopses: Jack (Lou Costello) has been tasked with babysitting an obnoxious little boy (David Stollery) and attempts to read him the story of Jack And The Beanstalk (although the kid ends up reading to him). As Jack imagines the story, he places himself in the role of the titular Jack, who sells his family cow to local butcher Mr. Dinklepuss (Bud Abbott) in exchange for some “magic beans.” When planted, the beans turn into a very tall beanstalk that reaches to the skies. Jack and Mr. Dinklepuss climb the beanstalk to go rescue the prince (James Alexander) and princess (Shaye Cogan) along with other objects of value that have been stolen by the giant (Buddy Baer). Will they succeed in their mission, or will the giant win out?
  • Film Length: 1 hour, 20 minutes
  • Extras: Newly Recorded Introduction By Lou’s Youngest Daughter, Chris Costello; Commentary by Abbott and Costello expert Ron Palumbo, with recollections from Jack And The Beanstalk co-star David Stollery; newly discovered footage of Abbott and Costello performing “Who’s on First” on December 2, 1940; Imperfect Spectrum: A Brief History of Cinecolor by Jack Theakston; Climbing The Scales: The Music Of Jack And The Beanstalk by Ray Fiola; Beanstalk Ballyhoo by Ron Palumbo; Cutting Down the Beanstalk by Ron Palumbo; Abbott And Costello Meet the Creature – Live TV Appearance from February, 1954; Rudy Vallee radio sketch (February, 1945) with photo gallery by Shane Fleming; Restoration Demo; Behind The Scenes photo gallery by Chip Ordway with 1952 children’s recording; Publicity Materials photo gallery by Chip Ordway; Abbott And Costello Trailer Rarities = 18 original “Coming Attraction” previews including Jack And The Beanstalk; Fireman Save My Child trailer and commentaries by 3-D expert Mike Ballew or Ron Palumbo; ClassicFlix Trailers for A Night In Casablanca (1946), Abbott And Costello TV Show: Mustard, The Little Rascals Vol. 4, Merrily We Live (1938), Zenobia (1939)
  • Label: ClassicFlix
  • My Rating: 7/10
  • Quick Comments
    • On The Movie Itself: I’ve seen Jack And The Beanstalk a number of times over the years, and, even though I consider it one of the lesser Abbott and Costello films, I still like to see it every now and then. My biggest problems with the film are with its less than memorable music (although the songs “I Fear Nothing” and the title song are at least decent), the less-than-polished dancing and the less-than-stellar performances of James Alexander and Shaye Cogan as the film’s central romance. Bud and Lou really don’t do any of their comedy routines here and instead try more to appeal to kids (and they do well enough that they still manage to be funny in the process). Of course, doing the film in a manner that evokes thoughts of the far superior The Wizard Of Oz (1939) with the opening and closing in sepia-tone while the rest of the film is in (SuperCine)color doesn’t exactly do it any favors either. Still, it’s fun for what it is, an Abbott and Costello movie in color (the only other one is the same year’s Abbott And Costello Meet Captain Kidd) and it’s worth giving a chance (especially now that it’s been restored)!
    • On The Transfer: This transfer comes from a 4K scan from 35mm SuperCinecolor elements. The 3-D Film Archive has painstakingly restored this film to get it looking as close to how it should, making the color look much better than it has in a long time, and allowing us to enjoy the opening and closing in its original sepia-tone. The vast majority of scratches, dust and other debris have been cleaned up here. It should be noted here that, for the color section of the film, it is a bit grainier than some might expect. This is due to the original film elements having disappeared when the film was sold off back in 1959 (long before it became public domain), and the best available elements are several generations away from that (meaning they are much grainier). As a result, we have the choice of a grainier picture that shows off the detail, or a picture with the grain removed (and the detail removed with it). I believe they made the right choice, making this the best release this film has seen in a long time (if you want the extras, don’t wait too long to get it, as it is a limited edition that will go out of print soon, although a barebones release may happen later on, depending on how this one sells)!

My Overall Impressions

Well, now that I’ve commented on these four films, I’ll give you my rankings on these releases, from highly recommended (1.) to least recommended (4.)

  1. (tie) For Me And My Gal (1942)
  1. (tie) The Clock (1945)
  1. Adventures Of Don Juan (1948)
  1. Jack And The Beanstalk (1952)

When you get down to it, this is a group of films in which I really have no hesitation in recommending each release, especially in terms of the transfer. I think that Jack And The Beanstalk (1952) has the weakest one, if only because the best available elements are several generations away from the original camera negative, which made it much grainier than some might like. I think the film itself is the weakest, but the release more than makes up for it with nearly two and a half hours of extras (making it the best release of this bunch from that perspective). Do keep in mind that, like I said before, it’s a limited edition which is likely to sell out soon, and if it comes back in print after that, it is very likely that it will only be a barebones release (so if you want those extras, get this one now). The other three releases really are on equal ground as far as their transfers go, as they all look exceptionally great. I think that, as a film, Adventures Of Don Juan (1948) is weaker than either of the two Judy Garland films, but it’s still an entertaining outing for Errol Flynn. And as for For Me And My Gal (1942) and The Clock (1945)? It really is a tie in my opinion, as both are absolutely wonderful films worth seeing. And that, my friends, is what I think of this group of new releases on Blu-ray!

TFTMM Presents “Musical Screen Teams (September 2022)” Blogathon

September 1 has rolled around, so that means that we’ve come to the Musical Screen Teams blogathon, which I’ve been looking forward to since I thought of it around last year’s Musicals: With A Song And A Dance In My Heart blogathon!

Table Of Contents

Quick Comments On My Own Feelings For The Topic

As I mentioned in last year’s Musicals: With A Song And A Dance In My Heart blogathon, I started into the musical genre when my family bought a DVD player and rented stuff from Netflix.  In the early going, I saw the Road series featuring the team of Bing Crosby, Bob Hope and Dorothy Lamour.  Within a year or two, I started seeing some of the Fred Astaire and Ginger Rogers films, and have seen numerous other musicals over the years with some of the genre’s other screen teams. A lot of these various stars are fun on their own, to be sure, but there’s just something to be said about seeing them work with others over several movies. Whether it’s singing a song or dancing together, the chemistry between some of these stars elevates the material, and makes it easier to return to these films again and again. So, while I had to change my own plans slightly from what I had originally intended to do, I’m still looking forward to sharing a few favorites with some of my favorite teams, and I certainly hope that others have found some movies and teams that help make them want to sing and/or dance (and remember, you are not limited to any specific era of film musical to choose from, it just needs a screen team in it)!!

Notes:

  • As I mentioned when I announced this blogathon, I am leaving the option to choose a film with a team that only worked together once. However, if you go this direction, I strongly advise you to choose a film that you know and love (and therefore have a reason why you would like more of this team), as opposed to trying something different (and then finding out you don’t care for that “team”). But for teams that worked together in multiple films, have fun revisiting old favorites or trying something new!
  • I have previously expressed interest in making this musicals blogathon an annual thing. Due to recent circumstances (hinted at here), I am unsure of whether I will even still be blogging in 2023. However, if I do return (which would be in a more limited capacity), I hope to host another musical blogathon around this time of the year (although I will change it to being a three-day blogathon, as opposed to being month-long). If so, there won’t be a specific topic, just a focus on musicals again (unless I come up with an idea for a different topic).

Entries For This Month

Thoughts From The Music(al) Man –

Kiss Me Kate (1953)

Give A Girl A Break (1953)

Rules:

Since this blogathon lasts a month, I’ll keep the rules here in case anybody is still interested in joining in:

  1. At this point, I am not putting any restrictions on topics related to the musical genre, whether it be on individual movies, lists of favorites, etc., as long as the focus is on a screen team that did musical numbers together (and no “solo” films).
  2. This is intended as a celebration of the musical genre, especially those films that feature a screen team as part of its cast, so obviously this would not be a good month to join in if you are not a fan of either the genre or the stars.
  3. I’m requesting that all posts would be new material, and not any previously published ones.
  4. As previously indicated, this is a month-long celebration of the musical genre and screen teams, so you will have that whole month to work with. Lately, I myself have been publishing about two or three posts per month (depending on the number of Sundays and whether there are any recent disc releases that would fit the bill), so you can decide how many you want to do (within reason).
  5. If you are interested in joining, I would certainly suggest you either comment on this post, email me at astairefan7@gmail.com, or, for the Facebook savvy, contact me at my FB page. And feel free to use the banners I have put together.