Fun collection of stars! Jack Benny stars (without "Rochesterrrrr") in a love quadrangle, and right up to the end, we're not sure just who will end up with whom. Benny is Brewster, who handles the advertising for Alan Townsend (Richard Arlen). The lovely and talented women involved are Paula (Ida Lupino) and Cynthia (Gail Patrick). They sure got their money's worth out of Louis Armstrong and Martha Raye... they do a medley of songs and dance that just goes on and on....Martha Raye in blackface, which so many movies thought they had to do to be hip at the time. Look for Donald Meek as the doctor (worked with WC Fields and all the others) and Hedda Hopper as the rich society dame. Probably the best part of all this is Judy Canova, who sings a fun, lively, saucy number WHILE taking bubble bath. Too bad they didn't put her in more films. Look for a bit with Rube Goldberg. There's a cute bit with violins and orchestra instruments that play themselves. In several scenes, the audio is a little off from the video. Also, the ending is a little abrupt, but all the loose ends are neatly tied up. Lots of fun subtle jokes where Benny lets the costar tell the joke. Ongoing gag with the telephone, but you'll have to watch to hear it. Nominated for an Oscar for Best Original Song "Whispers in the Dark".
13 Reviews
Artists & Models was quite a hodge podge of musical numbers with some nice comedy from Jack Benny
tavm10 February 2019
Okay, let me address the "Public Melody No. 1" number: As staged by Vincente Minnelli (this being his first film assignment), it's quite an energetic dance sequence with fine trumpet playing and singing by Louis Armstrong and great singing and dancing by Martha Raye. Now if she had real dark burnt cork with white lips, I'd have a real problem with her makeup but since she looks authentic as an African-American woman, I give this one a pass. As for the rest of the movie, well, Jack Benny is fine being mostly deadpan especially when a clip of his radio show with Don Wilson announcing has his character in the movie commenting on it! Judy Canova is an acquired taste but I mostly enjoyed her hillbilly characterization. That Connee Boswell number was wonderful and deserved an Oscar nomination but why was she not lit brightly? Ben Blue was funny whether performing with Ms. Canova or with some stringed puppets playing instruments. Young Ida Lupino was quite a beauty back then, wasn't she? I think I've said enough so on that note, I say give Artists & Models a look.
okay musical
blanche-29 February 2009
Jack Benny, Ida Lupino, Gail Patrick, Judy Canova and Ben Blue star in "Artists & Models," a 1937 film directed by Rapul Walsh. Benny plays Mac Brewster, the owner of an advertising agency who lands the Townsend Silver Account. Mac has a ball planned, the Artists and Models Ball, and the "Townsend girl," who is to be their model, will be queen of the ball. Mac wants his girlfriend Paula (Lupino) to be the model, but Townsend (Richard Arlen) wants a society girl. Paula takes off for Miami, where Townsend is going, and poses as a society girl. Townsend offers her the job. Mac, meanwhile, has met a bona fide society girl, the beautiful Gail Patrick, who has approached him about helping with a charity. He shows up in Miami with her.
This movie is loaded with musical numbers that, in this writer's opinion, aren't great, with the exception of the last one, a number set in Harlem. That one, featuring Louis Armstrong, would have been better if they'd hired a black woman to sing the lead instead of putting Martha Raye in dark makeup. Ben Blue and Judy Canova are a little bit over the top, and those numbers seem very dated today.
Ida Lupino looks beautiful and always turned in a good performance. When one sees her here as an ingénue, it's easy to appreciate her many accomplishments playing tough-gal roles and her work as a director. Benny is funny, but frankly, he doesn't have great material to work with. Gail Patrick, with her beautiful looks and voice, is her usual classy self. Cecil Cunningham, as Mac's secretary, is a standout with her dry wit.
All in all, not fabulous. I usually don't think of Raoul Walsh and musicals in the same thought process for a reason.
This movie is loaded with musical numbers that, in this writer's opinion, aren't great, with the exception of the last one, a number set in Harlem. That one, featuring Louis Armstrong, would have been better if they'd hired a black woman to sing the lead instead of putting Martha Raye in dark makeup. Ben Blue and Judy Canova are a little bit over the top, and those numbers seem very dated today.
Ida Lupino looks beautiful and always turned in a good performance. When one sees her here as an ingénue, it's easy to appreciate her many accomplishments playing tough-gal roles and her work as a director. Benny is funny, but frankly, he doesn't have great material to work with. Gail Patrick, with her beautiful looks and voice, is her usual classy self. Cecil Cunningham, as Mac's secretary, is a standout with her dry wit.
All in all, not fabulous. I usually don't think of Raoul Walsh and musicals in the same thought process for a reason.
Only kinda works
rdoyle2919 September 2017
Jack Benny stars as the owner of a bankrupt as agency. He can save his company by landing the $1 million Townsend Silver account. He convinces the company's owner, playboy Richard Arlen, that the secret to success is finding the Townsend Girl and getting her to be the queen of the annual Artists & Models Ball. Arlen agrees, but the catch is that he does not want the Townsend Girl to be a professional model. He wants a society girl. Young model Ida Lupino overhears and travels to Florida to pose as a society girl and land the Townsend Girl job. This film's split down the middle ... half screwball comedy, half musical. The comedy elements work well, the musical elements are terribly creaky.
A 1930s Mash-Up Musical
Rob-12018 April 2017
To call "Artists & Models" a musical would be a stretch. It's more like a mash-up of various odd musical numbers that occasionally stops for a plot.
The plot (what there is of it) involves Jack Benny as an advertising executive, trying to land a million-dollar ad buy with playboy millionaire Richard Arlen. Benny promises Arlen that the queen of the upcoming Artists & Models Ball – for which Benny is the chairman – will serve as the model in a magazine ad campaign for Arlen's silverware company. But Arlen insists his new model must be a high-society girl.
Ida Lupino, one of Benny's models, follows Arlen down to Miami, where she poses as a high-society girl, while wearing the fancy clothes borrowed from her modeling jobs. She tries to trick him into selecting her as the model for his silverware ad campaign – but of course, they end up falling in love. (There's a scene where Lupino and Arlen are standing together on the diving board of a hotel's indoor swimming pool. She's wearing a fancy dress, and he's wearing a tuxedo. Can you guess what happens next?)
The plot is a thin "clothesline" on which they've hung the most bizarre train-wreck of musical numbers ever jumbled together in a movie. We get "hillbilly" comedienne Judy Canova singing a bubble bath number. Later, she joins Ben Blue for a slip-sliding, "punch-your-sweetheart" song-&- dance. Still later, Judy joins her siblings, Anne and Zeke Canova, to sing a straight-faced version of "The Ballad of Jesse James," complete with yodeling, right in the middle of the high-society Artists & Models Ball.
There's a marionette number in which, for no discernible reason, Ben Blue dances on stage with marionette dancing girls, and a Big Band number featuring a pair of Art Deco swimmers doing a water ballet in a swimming pool. When things start getting dull, the Yacht Club Boys come charging in with a chaotic musical number, or a gypsy dance troupe, or a melee of circus performers.
The best musical number in the movie is also the most problematic. The finale, "Public Melody #1," features Martha Raye in bad blackface makeup, singing on a Harlem street with an all-black dance chorus, while Louis Armstrong plays his horn. The song itself is good, and Martha Raye's performance of it is great – but the staging of it by Vincente Minelli is dated and offensive by today's standards. (If they'd gotten somebody like Lena Horne to sing it, there wouldn't have been a problem.)
But who cares if the movie is just a mash-up? It's still fun to watch. It crams all these crappy musical numbers into 97 minutes, and keeps the numbers coming along quickly, without stopping too long for the plot. I actually enjoyed watching it, and I never found it boring or annoying, as I have with some other 1930s Hollywood musicals (i.e. the "Gold Digger" or "Big Broadcast" musicals).
The plot (what there is of it) involves Jack Benny as an advertising executive, trying to land a million-dollar ad buy with playboy millionaire Richard Arlen. Benny promises Arlen that the queen of the upcoming Artists & Models Ball – for which Benny is the chairman – will serve as the model in a magazine ad campaign for Arlen's silverware company. But Arlen insists his new model must be a high-society girl.
Ida Lupino, one of Benny's models, follows Arlen down to Miami, where she poses as a high-society girl, while wearing the fancy clothes borrowed from her modeling jobs. She tries to trick him into selecting her as the model for his silverware ad campaign – but of course, they end up falling in love. (There's a scene where Lupino and Arlen are standing together on the diving board of a hotel's indoor swimming pool. She's wearing a fancy dress, and he's wearing a tuxedo. Can you guess what happens next?)
The plot is a thin "clothesline" on which they've hung the most bizarre train-wreck of musical numbers ever jumbled together in a movie. We get "hillbilly" comedienne Judy Canova singing a bubble bath number. Later, she joins Ben Blue for a slip-sliding, "punch-your-sweetheart" song-&- dance. Still later, Judy joins her siblings, Anne and Zeke Canova, to sing a straight-faced version of "The Ballad of Jesse James," complete with yodeling, right in the middle of the high-society Artists & Models Ball.
There's a marionette number in which, for no discernible reason, Ben Blue dances on stage with marionette dancing girls, and a Big Band number featuring a pair of Art Deco swimmers doing a water ballet in a swimming pool. When things start getting dull, the Yacht Club Boys come charging in with a chaotic musical number, or a gypsy dance troupe, or a melee of circus performers.
The best musical number in the movie is also the most problematic. The finale, "Public Melody #1," features Martha Raye in bad blackface makeup, singing on a Harlem street with an all-black dance chorus, while Louis Armstrong plays his horn. The song itself is good, and Martha Raye's performance of it is great – but the staging of it by Vincente Minelli is dated and offensive by today's standards. (If they'd gotten somebody like Lena Horne to sing it, there wouldn't have been a problem.)
But who cares if the movie is just a mash-up? It's still fun to watch. It crams all these crappy musical numbers into 97 minutes, and keeps the numbers coming along quickly, without stopping too long for the plot. I actually enjoyed watching it, and I never found it boring or annoying, as I have with some other 1930s Hollywood musicals (i.e. the "Gold Digger" or "Big Broadcast" musicals).
Amusing but very dated musical styles from '37 in Jack Benny film...
Doylenf1 February 2009
Pleasant enough musical from Paramount featuring JACK BENNY as a man who must find a socialite model for the ARTISTS AND MODELS ball being sponsored by one of his wealthy clients (RICHARD ARLEN). A very young IDA LUPINO co-stars as a model who sees her big chance if she snags the queen of the ball title by making Arlen believe she's a socialite.
GAIL PATRICK, HEDDA HOPPER, JUDY CANOVA and GIL LAMB have featured supporting roles, while MARTHA RAYE and LOUIS ARMSTRONG have a Harlem themed specialty number (with Raye in blackface) that's better left unmentioned.
The songs are sprightly but the musical taste is strictly from the late '30s. Some of the jokes are amusing but many of them fall flat. DONALD MEEK gets some laughs as a doctor who mistakenly takes his own heartbeat for Benny's and predicts he shouldn't even be walking around.
It passes the time pleasantly enough for those who like these rather creaky musicals from the past before MGM took over with their splashy Technicolored musicals. One of the hit songs, "Whispers in the Dark," (nominated for an Oscar) is sung by Connee Boswell who sings the entire number in dim lighting so that her features are barely even visible.
Some good moments, but a very uneven hodge podge of comedy and music.
GAIL PATRICK, HEDDA HOPPER, JUDY CANOVA and GIL LAMB have featured supporting roles, while MARTHA RAYE and LOUIS ARMSTRONG have a Harlem themed specialty number (with Raye in blackface) that's better left unmentioned.
The songs are sprightly but the musical taste is strictly from the late '30s. Some of the jokes are amusing but many of them fall flat. DONALD MEEK gets some laughs as a doctor who mistakenly takes his own heartbeat for Benny's and predicts he shouldn't even be walking around.
It passes the time pleasantly enough for those who like these rather creaky musicals from the past before MGM took over with their splashy Technicolored musicals. One of the hit songs, "Whispers in the Dark," (nominated for an Oscar) is sung by Connee Boswell who sings the entire number in dim lighting so that her features are barely even visible.
Some good moments, but a very uneven hodge podge of comedy and music.
Welcome to the Paramount Follies.
mark.waltz4 December 2020
Warning: Spoilers
There's a shell of a plot surrounding the specialty acts of this all-star musical that features practically every available musical artist on the lot, minus Crosby and Lamour. Jack Benny is a struggling producer hoping to find the top new model of the year for his wealthy (and only) client, Richard Arlen. Benny wants his fiancee, Ida Lupino, for the top spot, so she disguises herself as a debutante on the social register. Along comes real debutante Gail Patrick who for some reason he also pushes. Interspersed between this puny plot is the funny moments with Benny's "Johnny on the spot" secretary, Cecil Cunningham, the Eve Arden of the 1930's, providing plenty of wisecracks at Benny's expense.
Supporting future director Lupino and future producer Patrick is future hick star Judy Canova as Lupino's pal, initially seen in a bathtub singing a novelty song and future gossip columnist Hedda Hopper as Arlen's society matron mother, and future denture adhesive pusher Martha Raye in a lavish blackface number. Louis Armstrong is featured in one of his earliest screen appearances along with Raye. Vincent Minnelli staged that number, and was probably behind a marionette number too that influenced what he did with "Our Love Affair" in "Strike Up the Band!"
Canova and comic Ben Blue score in another musical number that is actually pretty cute. There's also a water ballet utilized as a number for orchestra conductor Andre Kostelanetz sung by Connie Boswell. The film begins to lag during plot scenes, and it could have used a bit of trimming. But there's some good character bits, most memorably one with diminutive character actor Donald Meek as a doctor giving Benny a checkup, admonishing him for his heartbeat, not realizing that he's checking his own. Cunningham walks in at the most inopportune moment, a scene reminiscent of Helen Broderick's reaction to a similar scene in "Top Hat". What weakens this historically is its frequent pretentious structure which slows it down.
Supporting future director Lupino and future producer Patrick is future hick star Judy Canova as Lupino's pal, initially seen in a bathtub singing a novelty song and future gossip columnist Hedda Hopper as Arlen's society matron mother, and future denture adhesive pusher Martha Raye in a lavish blackface number. Louis Armstrong is featured in one of his earliest screen appearances along with Raye. Vincent Minnelli staged that number, and was probably behind a marionette number too that influenced what he did with "Our Love Affair" in "Strike Up the Band!"
Canova and comic Ben Blue score in another musical number that is actually pretty cute. There's also a water ballet utilized as a number for orchestra conductor Andre Kostelanetz sung by Connie Boswell. The film begins to lag during plot scenes, and it could have used a bit of trimming. But there's some good character bits, most memorably one with diminutive character actor Donald Meek as a doctor giving Benny a checkup, admonishing him for his heartbeat, not realizing that he's checking his own. Cunningham walks in at the most inopportune moment, a scene reminiscent of Helen Broderick's reaction to a similar scene in "Top Hat". What weakens this historically is its frequent pretentious structure which slows it down.
Some Can & Some Cannot...
xerses1324 February 2010
During the the 1930s' each of the Studios carved out a niche that they were particularly good at. M.G.M. polished presentations and Musicals, Warner Brothers (WB) Gangsters, Bio-Pics and the Common Man, 20th Century Fox & RKO, Action and/or Sophistication. Even a middle tier studio, like Republic knew what it was best at, Serials & Westerns or Universal, the Monsters.
Paramount during this period seemed to be in a quandary. Only Cecil B. DeMille and Ernst Lubitsch seemed to know what they were doing, because they Produced and Directed their own films. Paramount would skip around, trailing after trends other studios initiated or did better. Even when they did get it right they seldom followed up on it. Their films were a collection of samples, much like the French Navy in the 19th Century.
ARTISTS & MODELS (1937) is a perfect example of this. Is it a comedy, a musical or both? Director Raoul Walsh seemed not to be able to make up his mind or just was not interested. The cast led by Jack Benny, Ida Lupino, Richard Arlen and Gail Patrick just meander around through the thinly contrived plot which is interrupted by some rather pedestrian musical numbers. If you are expecting the quality of 42nd STREET (1933) or ROSE-MARIE (1936) you had better look elsewhere. You know you are in trouble when one (1) of your production numbers is led by Judy Canova. The other, Martha Raye in 'Black-Face'! This trend would continue with it's sequel ARTISTS and MODELS ABROAD (1938) and THE BIG BROADCAST of 1938 (1938). They may have memorable songs and even competent dance numbers, but there is nothing to make them standout as extraordinary examples of their genre.
Paramount during this period seemed to be in a quandary. Only Cecil B. DeMille and Ernst Lubitsch seemed to know what they were doing, because they Produced and Directed their own films. Paramount would skip around, trailing after trends other studios initiated or did better. Even when they did get it right they seldom followed up on it. Their films were a collection of samples, much like the French Navy in the 19th Century.
ARTISTS & MODELS (1937) is a perfect example of this. Is it a comedy, a musical or both? Director Raoul Walsh seemed not to be able to make up his mind or just was not interested. The cast led by Jack Benny, Ida Lupino, Richard Arlen and Gail Patrick just meander around through the thinly contrived plot which is interrupted by some rather pedestrian musical numbers. If you are expecting the quality of 42nd STREET (1933) or ROSE-MARIE (1936) you had better look elsewhere. You know you are in trouble when one (1) of your production numbers is led by Judy Canova. The other, Martha Raye in 'Black-Face'! This trend would continue with it's sequel ARTISTS and MODELS ABROAD (1938) and THE BIG BROADCAST of 1938 (1938). They may have memorable songs and even competent dance numbers, but there is nothing to make them standout as extraordinary examples of their genre.
Watch For Louis Armstrong Music and Comedy Light
DKosty12316 May 2020
Warning: Spoilers
Being an Armstrong fan, Louis blowing his horn is the musical highlight. Interesting why Martha Raye is paired with him, but this is the music that works the best. The rest of the music in the film is quite forgettable.
The film opens with a group of men doing an awful number. At the end of it they ask Benny how good it is, and he quite rightly tells them it is awful. Then he goes to his office where his business is in desperate trouble. He gets a magical phone call for a special $1 million dollar account to save him. Then he sets up his girlfriend to cement the account. Ida Lupino is excellent and there are some other actresses around as well.
What is painfully evident here is that Benny does not have his usual foils to play off. He is the ultimate straight man with great timing but there's no one to make him say "now cut that out". His business is in trouble, so no Rochester and Don Wilson is off playing in his radio show, not here. He does get a few romantic moments with Lupino and another model, but that is not what you think of is Benny being a romantic lead. It doesn't work well here either.
Even though this film has some star power, the just over 90 minute length is a B picture even with Raoul Walsh behind the camera. Walsh did a lot of films considered B's that he raised to B+ but in this case, even though 1 song was nominated for an Oscar, the dreadful music and lack luster comedy just can't do that. For Walsh directing, this one is a B minus. It would be worse without him, but with him at least it's okay.
The film opens with a group of men doing an awful number. At the end of it they ask Benny how good it is, and he quite rightly tells them it is awful. Then he goes to his office where his business is in desperate trouble. He gets a magical phone call for a special $1 million dollar account to save him. Then he sets up his girlfriend to cement the account. Ida Lupino is excellent and there are some other actresses around as well.
What is painfully evident here is that Benny does not have his usual foils to play off. He is the ultimate straight man with great timing but there's no one to make him say "now cut that out". His business is in trouble, so no Rochester and Don Wilson is off playing in his radio show, not here. He does get a few romantic moments with Lupino and another model, but that is not what you think of is Benny being a romantic lead. It doesn't work well here either.
Even though this film has some star power, the just over 90 minute length is a B picture even with Raoul Walsh behind the camera. Walsh did a lot of films considered B's that he raised to B+ but in this case, even though 1 song was nominated for an Oscar, the dreadful music and lack luster comedy just can't do that. For Walsh directing, this one is a B minus. It would be worse without him, but with him at least it's okay.
With Jack Benny in the lead, you'd think it would be a more enjoyable film.
planktonrules25 February 2010
This film is nothing like I anticipated. Crazy as it seems, I actually expected that with Jack Benny in the lead that it would be a comedy...and that, sadly, was not the case. Instead, it's a musical with a lightly comedic touch--but NOT a comedy. If you're looking for laughs, you're more likely to find them in an Ingmar Bergman film! "Artists & Models" begins with Benny owning his own advertising firm. He's a total failure and one step away from bankruptcy. However, rather out of the view, a young millionaire (Richard Arlen) approaches him to run a million dollar campaign. Arlen would like to feature some society woman in his advertising and Benny's girlfriend, Ida Lupino, is disappointed. She's a successful model and is angry that she won't even be considered. So, she sneaks off to where she heard Arlen is headed--determined to convince him that she is this society dame.
Along the way, there are a bazillion musical interludes--some pretty good and many very bad. The worst comes late in the film where Martha Raye stars in a Black musical review--and she's in black-face (uggh) with the likes of Louis Armstrong. I cringed as I watched this one.
Overall, the film is a rather tedious musical. Nothing terrible but nothing particularly good, either. It's a shame, as with this cast, it should have been a lot more interesting.
Along the way, there are a bazillion musical interludes--some pretty good and many very bad. The worst comes late in the film where Martha Raye stars in a Black musical review--and she's in black-face (uggh) with the likes of Louis Armstrong. I cringed as I watched this one.
Overall, the film is a rather tedious musical. Nothing terrible but nothing particularly good, either. It's a shame, as with this cast, it should have been a lot more interesting.
Brewster's Campaign
lugonian17 January 2004
ARTISTS AND MODELS (Paramount, 1937), directed by Raoul Walsh, stars the legendary comedian Jack Benny in a lively musical as Mac Brewster, the head of a failing advertising agency who tries to promote a new campaign, the Artists and Models Ball. He uses Paula Sewell (Ida Lupino), his fiancée, to pose as a socialite who later falls in love with Brewster's important client, Alan Townsend (Richard Arlen), in fact, his only client. Brewster is given the task of crowning a queen of the Artists and Models Ball, and Paula goes after the crown to be awarded at the ball by Townsend. Because Paula is snubbed for being a professional model instead of a débutante, she grows more determined, taking the next airplane to Miami to compete against Cynthia Winworth (Gail Patrick), an attractive socialite who catches the eye on Brewster. In between song numbers, situations arise during the Artists and Models Ball when Brewster's engagement is to be publicly announced, first to Cynthia at 11:30, and to Paula at the stroke of midnight.
The supporting cast includes Cecil Cunningham as Stella, Brewster's secretary; Hedda Hopper as Mrs. Townsend, Alan's mother; along with Sandra Storme as herself in a brief model bit; Peter Arno, McClelland Barclay, Arthur William Brown, John Lagatta and Rube Goldberg as the artists; Russell Patterson's Personettos; and Andre Kostelanetz and his Orchestra.
While not "colossal, tremendous, gigantic, stupendous, the super special epic of the year" as addressed during the opening and closing of the story by Brewster's wacky associates (played by the Yacht Club Boys) who not only supply some wild antics, but one comedic musical number that opens up the story which has Brewster politely offering his opinion that "It stinks." Aside from that, ARTISTS AND MODELS succeeds with its amusing screenplay and its share songs and musical numbers in the lineup.
The musical program in order as they appear includes: "Sasha-Pasha" (performed by the Yacht Club Boys); "Pop Goes the Bubble" (written by Ted Koehler and Burton Lane/ sung by Judy Canova); "Whispers in the Dark" (written by Frederick Hollander and Leo Robin/ sung by Connee Boswell); "Stop, You're Breaking My Heart" (by Koehler and Lane/ sung by Judy Canova and Ben Blue); "Mister Esquire" (by Koehler and Victor Young/ instrumental with Ben Blue surrounded by puppet musicians); "The Ballad of Frank and Jesse James" (performed by The Canova Family); and "Public Melody Number 1" (by Koehler and Lane/ sung by Martha Raye and Louis Armstrong).
Judy Canova, who would specialize in hillbilly roles later in her career, is given a substantial role as Ida Lupino's best friend and roommate (labeled under her own name but addressed as Toots). Of her memorable highlights, the first finds Canova in the shower singing "Pop Goes the Bubble," stepping out to unwrap a towel, revealing a bathing suit underneath; and her confrontation with a "screwball" lover-boy named Jupiter Pluvius II (Ben Blue), a rainmaker whose father, it is revealed, was responsible for the Johnstown flood, leading to the amusing "Stop You're Breaking My Heart" number. Blue also takes part in a quite original number, "Mister Esquire," which is performed by Russell Patterson's Personnettos, or better known as "live" puppets playing musical instruments.
Interestingly, while Canova's interplays could have been performed just as well by Martha Raye, who had performed similar chores as the loyal friend-type from THE BIG BROADCAST OF 1937 (1936), is given a specialty musical act set in Harlem titled "Public Melody Number 1," opposite Louis Armstrong. Darkened up in the style of a light- skinned Negress, she belts out the lyrics with the sounds of Armstrong's trumpet playing and gun shots scoring out in the background. Vincente Minnelli is credited for direction of this production number. This Raye/ Armstrong number, along with the Canova Family ballad about outlaws Frank and Jesse James were usually eliminated from television prints in order to fit in this 100 minute movie into a 90 minute time slot plus commercial breaks. Fortunately the complete and unedited version of ARTISTS AND MODELS has turned turn up February 1, 2009, on Turner Classic Movies. On a final note, Connee Boswell, one of the singing Boswell sisters, seen only in silhouette, is the vocalist to the soothing "Whispers in the Dark," which becomes a large scale swimming number. This song was nominated for an Academy Award.
Aside from these production numbers taking a major part, its top-billed star Jack Benny does find time in supplying some real funny moments on screen, including he being mistaken by underwear salesmen as a model, and his physical examination with Doctor Zimmer (Donald Meek). There's even some inside humor as Brewster is escorting Cynthia (Gail Patrick) to the Artists and Models Ball and walking past a live radio where announcer Don Wilson is introducing Jack Benny, followed by Benny going on the air, "Hello, again, this is Jack Benny talking ..." Mac: "Very clever fellow, I've always liked him." Cynthia: "Oh, really, I've never cared for him." Mac: "Oh, well, everyone to his own taste.
The success of ARTISTS AND MODELS did intend for new annual musical series, which is hinted by the Yacht Club Boys ("Hey boss, have we got it, a great idea for the show next year.") Although Paramount did distribute another, ARTISTS AND MODELS ABROAD (Paramount, 1938), bringing back Jack Benny, this time playing Buck Boswell, and the Yacht Club Boys, with Joan Bennett assuming the female lead. Unfortunately, ARTISTS AND MODELS ABOARD didn't do as well to proceed with other editions to the series. However, in 1955, Paramount released a musical comedy, ARTISTS AND MODELS, starring the comedy team of Dean Martin and Jerry Lewis, but bears no relation to the Benny films except in name only. For a good time, stick with the original. (***)
The supporting cast includes Cecil Cunningham as Stella, Brewster's secretary; Hedda Hopper as Mrs. Townsend, Alan's mother; along with Sandra Storme as herself in a brief model bit; Peter Arno, McClelland Barclay, Arthur William Brown, John Lagatta and Rube Goldberg as the artists; Russell Patterson's Personettos; and Andre Kostelanetz and his Orchestra.
While not "colossal, tremendous, gigantic, stupendous, the super special epic of the year" as addressed during the opening and closing of the story by Brewster's wacky associates (played by the Yacht Club Boys) who not only supply some wild antics, but one comedic musical number that opens up the story which has Brewster politely offering his opinion that "It stinks." Aside from that, ARTISTS AND MODELS succeeds with its amusing screenplay and its share songs and musical numbers in the lineup.
The musical program in order as they appear includes: "Sasha-Pasha" (performed by the Yacht Club Boys); "Pop Goes the Bubble" (written by Ted Koehler and Burton Lane/ sung by Judy Canova); "Whispers in the Dark" (written by Frederick Hollander and Leo Robin/ sung by Connee Boswell); "Stop, You're Breaking My Heart" (by Koehler and Lane/ sung by Judy Canova and Ben Blue); "Mister Esquire" (by Koehler and Victor Young/ instrumental with Ben Blue surrounded by puppet musicians); "The Ballad of Frank and Jesse James" (performed by The Canova Family); and "Public Melody Number 1" (by Koehler and Lane/ sung by Martha Raye and Louis Armstrong).
Judy Canova, who would specialize in hillbilly roles later in her career, is given a substantial role as Ida Lupino's best friend and roommate (labeled under her own name but addressed as Toots). Of her memorable highlights, the first finds Canova in the shower singing "Pop Goes the Bubble," stepping out to unwrap a towel, revealing a bathing suit underneath; and her confrontation with a "screwball" lover-boy named Jupiter Pluvius II (Ben Blue), a rainmaker whose father, it is revealed, was responsible for the Johnstown flood, leading to the amusing "Stop You're Breaking My Heart" number. Blue also takes part in a quite original number, "Mister Esquire," which is performed by Russell Patterson's Personnettos, or better known as "live" puppets playing musical instruments.
Interestingly, while Canova's interplays could have been performed just as well by Martha Raye, who had performed similar chores as the loyal friend-type from THE BIG BROADCAST OF 1937 (1936), is given a specialty musical act set in Harlem titled "Public Melody Number 1," opposite Louis Armstrong. Darkened up in the style of a light- skinned Negress, she belts out the lyrics with the sounds of Armstrong's trumpet playing and gun shots scoring out in the background. Vincente Minnelli is credited for direction of this production number. This Raye/ Armstrong number, along with the Canova Family ballad about outlaws Frank and Jesse James were usually eliminated from television prints in order to fit in this 100 minute movie into a 90 minute time slot plus commercial breaks. Fortunately the complete and unedited version of ARTISTS AND MODELS has turned turn up February 1, 2009, on Turner Classic Movies. On a final note, Connee Boswell, one of the singing Boswell sisters, seen only in silhouette, is the vocalist to the soothing "Whispers in the Dark," which becomes a large scale swimming number. This song was nominated for an Academy Award.
Aside from these production numbers taking a major part, its top-billed star Jack Benny does find time in supplying some real funny moments on screen, including he being mistaken by underwear salesmen as a model, and his physical examination with Doctor Zimmer (Donald Meek). There's even some inside humor as Brewster is escorting Cynthia (Gail Patrick) to the Artists and Models Ball and walking past a live radio where announcer Don Wilson is introducing Jack Benny, followed by Benny going on the air, "Hello, again, this is Jack Benny talking ..." Mac: "Very clever fellow, I've always liked him." Cynthia: "Oh, really, I've never cared for him." Mac: "Oh, well, everyone to his own taste.
The success of ARTISTS AND MODELS did intend for new annual musical series, which is hinted by the Yacht Club Boys ("Hey boss, have we got it, a great idea for the show next year.") Although Paramount did distribute another, ARTISTS AND MODELS ABROAD (Paramount, 1938), bringing back Jack Benny, this time playing Buck Boswell, and the Yacht Club Boys, with Joan Bennett assuming the female lead. Unfortunately, ARTISTS AND MODELS ABOARD didn't do as well to proceed with other editions to the series. However, in 1955, Paramount released a musical comedy, ARTISTS AND MODELS, starring the comedy team of Dean Martin and Jerry Lewis, but bears no relation to the Benny films except in name only. For a good time, stick with the original. (***)
What a load of rubbish
AAdaSC26 December 2022
Jack Benny (Brewster) wants to find a model for his new client and it must be a society girl not an actual model. The society girl is Gail Patrick (Cynthia) and the model is Ida Lupino (Paula). We see a sequence of musical set-pieces peppered throughout and you either fall asleep or sit there disengaged and daring yourself to keep watching to the end.
So, it's meant to be a comedy. Fail. It is never funny. It's also meant to be a musical. Fail. Total rubbish on this front due to atrocious song selection. Connee Boswell belongs as part of the Boswell Sisters. That is their act and they are good like that. In this film, they shade her out during her number. Is she that ugly that she can't actually be seen? Her song, I was appalled to discover, was nominated for an Oscar. The only entertainment comes from Ben Blue's dancing. You'll know which one he is when it happens. Louis Armstrong blows his trumpet - big deal - and sings a line in his irritatingly raspy voice. Are you kidding me into thinking this is a highlight!! Then we have Martha Raye in blackface! What is going on? The Canova hillbilly song is weird as is Judy Canova (Toots) as Lupino's buddy. Thank goodness when this all comes to an end.
So, it's meant to be a comedy. Fail. It is never funny. It's also meant to be a musical. Fail. Total rubbish on this front due to atrocious song selection. Connee Boswell belongs as part of the Boswell Sisters. That is their act and they are good like that. In this film, they shade her out during her number. Is she that ugly that she can't actually be seen? Her song, I was appalled to discover, was nominated for an Oscar. The only entertainment comes from Ben Blue's dancing. You'll know which one he is when it happens. Louis Armstrong blows his trumpet - big deal - and sings a line in his irritatingly raspy voice. Are you kidding me into thinking this is a highlight!! Then we have Martha Raye in blackface! What is going on? The Canova hillbilly song is weird as is Judy Canova (Toots) as Lupino's buddy. Thank goodness when this all comes to an end.
A wacko entertaining musical comedy loaded with talent
SimonJack13 July 2021
"Artists and Models" of 1937 has lots of talent in a revue format of a musical comedy. Jack Benny headlines a cast with several prominent actresses of the day. Benny is still early in his film career when his comedy is very good, fresh and natural. In his later TV days he was funny but not very innovative or original. But this film has some unusual aspects that make it quite good. Some of those will appeal to specific interests.
For instance, there is a fantastic scene of life-side puppets choreographed to music. Russell Patterson was a famous puppeteer of the day, and he designed the lifelike dolls for this film that he called "personettes." I've never seen anything like this before, and it's superbly done.
Then, there are the cameos of several off the top cartoon artists of the day - again, something I don't think has ever been done before or since in a movie. Benny's Mac Brewster is emceeing the Artists and Models benefit show that has six prominent artists all painting a model. He introduces each one separately - getting their names wrong for some humor. They include Rube Goldberg, John LaGatta, Russell Patterson, Peter Arno, McClelland Barclay and Arthur William Brown.
And, this film has a good peek stage life. Lots of movies have been made in which the theater is central to the plot. While most of them give snippets of details behind the scene and stage, very few films have shown the whole operation in setting up a stage for a play. This one does that in the opening. It shows sets going up, lighting and cameras being set, and a good picture of overall behind the scenes production work.
The bevy of prominent female entertainers of the day include Ida Lupino and Paul Sewell, Gail Patrick as Cynthia Wentworth, Jud Canova as Toots, Martha Raye as Specialty, Hedda Hoper as Mrs. Townsend and Cecil Cunningham as Stella. A very young looking Louis Armstrong blows his horn along with music provided by Andre Kostelanetz and his orchestra. Other top actors in the cast are Richard Arlen as Alan Townsend, Ben Blue as Jupiter Pluvius, and Donald Meek as Dr. Zimmer.
Judy Canova and Ben Blue have an excellent song, dance and acrobatic skit, titled Public Melody No. 1. This film is quite wacko in places, but that adds to its enjoyment as a very good musical comedy.
An exchange between Benny's Brewster and Rube Goldberg is one of the wackiest scenes ever. The viewers can't see the canvas that Goldberg was painting during this conversation. Mac Brewster, "Oh, do you mind if I look over your shoulder?" Rube Goldberg, "No, I'd love it. It annoys me terribly." Brewster, "Oh, I don't want to appear critical, but haven't you got her left arm just a little out of place?" Goldberg, "That's her foot." Brewster, "Ohhhh, yes. That explains the shoe." Goldberg, "Well, it's all finished now. Whaddaya think of it?" Brewster, pointing to a gorgeous live model, "Uh, you mean to say this is her?" Goldberg, "Yes, I saw her up there and I brought her down here." (The picture shows two old codgers in a balancing act.) Brewster, "Well, the trip certainly didn't do her any good." Goldberg, "A good likeness, really. I'm, I'm proud of it." Brewster, "Mmm. You mean to tell me that that's art?" Goldberg, "No, no. (He points at one and then the other of the two figures.) That's Sam. That's Art with the beard. Brewster, "Ohhh. Ohhhh! And what connections has he with the model?" Goldberg, "That's her grandfather. I knew him well."
Here are some other not so crazy, but good comedy lines.
Mac Brewster, after falling backward in his chair the fourth time, "I'm either going to get a new chair or spurs."
Mac Brewster, "Look, Paula, let's you and I go out and take a nice long walk - maybe it'll rain."
Mac Brewster, "Now, wait a minute. I may not be any Don Juan, but if I haven't got more appeal than a 40-story jump out of a window, I'll....all right, 20 stories."
Mac Brewster, "I love babies." Cynthia Wentworth, "Oh, do you?" Mac Brewster, "Oh, yes. I used to be one myself."
Mac Brewster, "Don't think I'm jealous. I always turn green this time of year."
Cynthia Wentworth, "Oh, Mac, you have so much to learn about love." Mac Brewster, "I guess so. You know, father was always gonna have a talk with me, but he kept putting it off."
Mac Brewster, "You know, you and I must go out together some time and have our heads examined." Rube Goldberg, "Oh, why bring them along?" Brewster, "Oh, that's right. We'll have more fun alone."
For instance, there is a fantastic scene of life-side puppets choreographed to music. Russell Patterson was a famous puppeteer of the day, and he designed the lifelike dolls for this film that he called "personettes." I've never seen anything like this before, and it's superbly done.
Then, there are the cameos of several off the top cartoon artists of the day - again, something I don't think has ever been done before or since in a movie. Benny's Mac Brewster is emceeing the Artists and Models benefit show that has six prominent artists all painting a model. He introduces each one separately - getting their names wrong for some humor. They include Rube Goldberg, John LaGatta, Russell Patterson, Peter Arno, McClelland Barclay and Arthur William Brown.
And, this film has a good peek stage life. Lots of movies have been made in which the theater is central to the plot. While most of them give snippets of details behind the scene and stage, very few films have shown the whole operation in setting up a stage for a play. This one does that in the opening. It shows sets going up, lighting and cameras being set, and a good picture of overall behind the scenes production work.
The bevy of prominent female entertainers of the day include Ida Lupino and Paul Sewell, Gail Patrick as Cynthia Wentworth, Jud Canova as Toots, Martha Raye as Specialty, Hedda Hoper as Mrs. Townsend and Cecil Cunningham as Stella. A very young looking Louis Armstrong blows his horn along with music provided by Andre Kostelanetz and his orchestra. Other top actors in the cast are Richard Arlen as Alan Townsend, Ben Blue as Jupiter Pluvius, and Donald Meek as Dr. Zimmer.
Judy Canova and Ben Blue have an excellent song, dance and acrobatic skit, titled Public Melody No. 1. This film is quite wacko in places, but that adds to its enjoyment as a very good musical comedy.
An exchange between Benny's Brewster and Rube Goldberg is one of the wackiest scenes ever. The viewers can't see the canvas that Goldberg was painting during this conversation. Mac Brewster, "Oh, do you mind if I look over your shoulder?" Rube Goldberg, "No, I'd love it. It annoys me terribly." Brewster, "Oh, I don't want to appear critical, but haven't you got her left arm just a little out of place?" Goldberg, "That's her foot." Brewster, "Ohhhh, yes. That explains the shoe." Goldberg, "Well, it's all finished now. Whaddaya think of it?" Brewster, pointing to a gorgeous live model, "Uh, you mean to say this is her?" Goldberg, "Yes, I saw her up there and I brought her down here." (The picture shows two old codgers in a balancing act.) Brewster, "Well, the trip certainly didn't do her any good." Goldberg, "A good likeness, really. I'm, I'm proud of it." Brewster, "Mmm. You mean to tell me that that's art?" Goldberg, "No, no. (He points at one and then the other of the two figures.) That's Sam. That's Art with the beard. Brewster, "Ohhh. Ohhhh! And what connections has he with the model?" Goldberg, "That's her grandfather. I knew him well."
Here are some other not so crazy, but good comedy lines.
Mac Brewster, after falling backward in his chair the fourth time, "I'm either going to get a new chair or spurs."
Mac Brewster, "Look, Paula, let's you and I go out and take a nice long walk - maybe it'll rain."
Mac Brewster, "Now, wait a minute. I may not be any Don Juan, but if I haven't got more appeal than a 40-story jump out of a window, I'll....all right, 20 stories."
Mac Brewster, "I love babies." Cynthia Wentworth, "Oh, do you?" Mac Brewster, "Oh, yes. I used to be one myself."
Mac Brewster, "Don't think I'm jealous. I always turn green this time of year."
Cynthia Wentworth, "Oh, Mac, you have so much to learn about love." Mac Brewster, "I guess so. You know, father was always gonna have a talk with me, but he kept putting it off."
Mac Brewster, "You know, you and I must go out together some time and have our heads examined." Rube Goldberg, "Oh, why bring them along?" Brewster, "Oh, that's right. We'll have more fun alone."
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
