It’s certainly time for a holiday celebration, and what better movie than the classic Holiday Inn (1942), starring Bing Crosby and Fred Astaire!

Coming Up Shorts! with… The Pinch Singer (1936)

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

(Length: 17 minutes, 26 seconds)

A local radio station holds an amateur talent contest with a $50 prize. The Eagles Club (that’s the Gang) decide to have Darla (Darla Hood) perform, but when she’s late, it’s up to Alfalfa (Carl Switzer) to go on in her place! This was yet another fun short! Some of the fun was in seeing various other kids (not otherwise connected with the Little Rascals) performing to various songs. Of course, with the regular cast, the auditions where Alfalfa attempted to sing (but kept getting the gong), and Buckwheat (Billie Thomas) lip-synching (if you can call it that, since he’s supposed to be whistling) to a record were comic bits that all managed to keep me laughing! There are a few problematic moments, such as Alfalfa wearing blackface as a “disguise” during one of his auditions, and another trio also wearing blackface during their performance. But, realistically, these moments didn’t really detract from this short that much, as I thought it was entertaining throughout (and I certainly wouldn’t mind seeing it again)!

And Now For The Main Feature…

Jim Hardy (Bing Crosby), Ted Hanover (Fred Astaire) and Lila Dixon (Virginia Dale) are a song-and-dance team working together in nightclubs. Jim, who is in love with Lila, has decided to retire from show business, marry Lila, and live on a farm. Lila loves Jim, but she also loves Ted and wants to keep dancing, so she decides to stick with the act. Jim still goes to live on the farm, but his dreams of a lazy life are quickly proven false. So, instead, he comes up with an idea to turn the farm into an inn that is open holidays only (as in, only fifteen days a year). Linda Mason (Marjorie Reynolds), a wannabe singer and dancer, is steered his way by Jim’s former manager, Danny Reed (Walter Abel), and she gets the job at the inn. On New Year’s Eve (when Jim’s “Holiday Inn” opens), Ted learns that Lila has left him to marry a millionaire, and, after getting drunk, makes his way to the inn. Upon his arrival, he dances with Linda, but passes out at the end of the dance. However, the audience appreciated the dance, and the late arriving Danny is ecstatic about the reception to Ted’s “new partner.” However, Danny never saw who Ted’s partner was, and, upon waking up in the morning, Ted doesn’t remember what she looked like, either. Jim (who likes Linda), sees Ted’s reaction of falling for his new partner (even if he doesn’t know who she is or what she looks like), decides to try to hide Linda’s existence at the inn on the next few holidays. However, it’s not enough, and Ted and Danny do find out who she is. However, Ted and Danny want to take her away from the inn, but she’s promised to stay at the inn (and she thinks she is engaged to Jim). So, Ted comes to the inn under the guise of wanting to work with them and “enjoy life’s simple pleasures.” Jim is suspicious of Ted’s motives, which is all but confirmed when, on July 4, he overhears Ted and Danny discussing some Hollywood agents who are coming to the inn to see Ted and Linda perform. Jim tries to keep Linda away, but she still manages to arrive (although after the show). Jim and Linda have an argument and break up, with Linda going to Hollywood with Ted while Jim stays at the inn. The question remains: will her Hollywood success with Ted be enough, or will Jim be able to convince her to return to the inn (and him)?

In 1917, composer Irving Berlin wrote a song called “Smile And Show Your Dimple.” It didn’t enjoy much success initially. At least, not until he repurposed the music for the 1933 Broadway musical revue As Thousands Cheer, in which he gave it new lyrics and a new title: “Easter Parade.” With the song now a hit, Irving Berlin came up with the idea to have a revue based on the various American holidays. On the stage, this idea never got off the ground, but a meeting with movie director Mark Sandrich (who had collaborated with Irving Berlin on three of the Astaire-Rogers pictures) resulted in them pursuing the idea for a film. Since they were both at Paramount Pictures, they wanted to go with the studio’s big musical star, Bing Crosby, and decided to bring in Fred Astaire (who had been freelancing after his contract with RKO had ended a few years before). Big female stars like Ginger Rogers and Rita Hayworth were considered, but a budget-conscious Paramount had fought hard enough against Fred being cast (since he and Bing were two of Hollywood’s highest paid stars), so they ended up going with some unknowns for the female leads, nightclub dancer Virginia Dale and Marjorie Reynolds (who had up to that point been known for her roles in various Poverty Row Westerns). The resulting film went over well with audiences, with the song “Be Careful, It’s My Heart” becoming a hit at first. The song “White Christmas” (which won Irving Berlin his only Oscar for “Best Song”) became more of a hit over time due to the war and homesick soldiers requesting it on the Armed Forces Radio.

I will readily admit that the song “White Christmas” is one that I enjoy listening to (as long as there isn’t any actual snow on the ground), but I can also definitely say that there are a few other songs and dances that I enjoy in this movie. One of them is the song “You’re Easy To Dance With,” sung and danced by Fred Astaire and Virginia Dale. Amongst Fred’s early Irving Berlin film musicals, it continues the trend of him doing a dancing-related song. He reprised it with Marjorie Reynolds at the New Year’s Eve party, except this time he was drunk (and I do mean drunk, as Fred had two drinks of bourbon before the first take, and one more between each take, with the seventh and final take being what we see in the movie). Even drunk, Fred still proves that he can dance better than others can sober.

Then, of course, there is the more patriotic song “Let’s Say It With Firecrackers” to go along with July 4. This is Fred’s big tap solo in the movie, and he worked with actual firecrackers for it! Apparently, it took about 38 attempts before Fred was satisfied with it, but it is very impressive to watch him do, just the same! Apparently, a little bit of animation was used to further emphasize some of the blasts, but I still have to give Fred credit for trying to pull this one off (and doing pretty well, at that)!

I will admit, this movie is certainly not a perfect one. I personally think that the lyrics for the song “I Can’t Tell A Lie” are rather cringeworthy, and the music itself is rather forgettable. The only redeeming quality with that song-and-dance is the fun of watching the music changing styles and “throwing off” Fred and Marjorie’s characters in their dance (since Bing’s character was trying to stop them from kissing in their dance). Then there’s the song “Abraham,” where the use of blackface really drags it down (and I have a really hard time understanding why Bing did it, especially since he had been so instrumental a few years earlier in getting Louis Armstrong cast in 1936’s Pennies From Heaven). The lyrics don’t help, either, and I certainly appreciate them not being used when the song was brought back for the “not-quite-a-remake” film White Christmas (1954) when Vera-Ellen and John Brascia danced to it. Still, in spite of those flaws, I do like this movie and would definitely recommend trying it out (for any holiday associated with this movie)!

This movie is available on Blu-ray and DVD from Universal Studios.

What’s Old Is A New Release Again (2022) with… Holiday Inn (1942)

On November 1, 2022, Universal Studios released Holiday Inn (1942) on 4K UHD. Honestly, this is a bit of a disappointing release. The 4K disc looks terrible, with a picture that is darker at times and loses some of the detail, and grain tends to be very distracting here, as if they are working from elements (or an older transfer) that doesn’t have 4K worth of data, although there are some moments here and there where the 4K disc actually looks good. Frankly, the included Blu-ray (which appears to use the same transfer, or close enough) actually looks better throughout. The Blu-ray is lighter and the grain is nowhere near as prevalent as it is on the 4K. Also, depending on your feelings about this, the film starts with a vintage Universal logo preceding the film’s Paramount logo. I only mention this because the film was originally produced by Paramount, was part of a large group of films sold to Music Corporation Of America (MCA)/EMKA , Ltd. in the 1950s, before becoming part of Universal Studios’ library when MCA took over the studio in the 1960s. Realistically, this release is at best recommended to those who don’t have the Blu-ray already (and even then it is questionable). If you already have the Blu-ray, then don’t bother with this one. If you want either the Broadway show or the colorized version of the film (neither of which is included as extras with this release), then I would suggest going with one of the earlier Blu-ray releases.