Rhythm on the River (1940) User Reviews

Great throwaway line from Oscar Levant

[kibblemoma · 7/10 · 7 March 2006]

While a pleasant enough musical, what stuck with me about this movie was the unexpected comedic chemistry between Basil Rathbone, as the has-been composer, and Oscar Levant as his assistant. Playing a high strung, distracted artistic type (a far cry from his more familiar roles as either menacing villains or the coolly logical Sherlock Holmes), Rathbone's character looks like he couldn't find his way out of bed without help. And that help is Starbuck, played with his usual droll humor by Oscar Levant. Upon hiring Crosby's character as his ghost song writer, Rathbone introduces him to Starbuck by saying, "He does all my thinking for me.", to which Levant responds, "Ah, it's only a part-time job." Of course this goes right past (or over) Rathbone, who's too busy fretting about where his next hit song will come from. As another reviewer said, who knew Rathbone could be so funny! Too bad he didn't have more opportunities to display his comedic talent.

Ghost Writers In The Sky

[writers_reign · 7/10 · 27 May 2012]

Meet-cutes were staple fare in thirties and forties Hollywood and Billy Wilder was a master of the genre so it's not surprising to find that 1) Bing Crosby and Mary Martin meet-cute in this lightweight entry and 2) Billy Wilder is credited with the story - as opposed to screenplay. Several Crosby musicals have been packaged as double dvds and this is is twinned with Rhythm On The Range, which is light years inferior. Apart from solid throating from the two leads and a fine score which is mostly down to Johnny Burke and James V. Monaco (they did the first 'Road' picture, Singapore, the previous year) there's a bonus in the shape of Basil Rathbone in a rare non-menacing/cold, unemotional logic role which calls for both charm and a light touch, both of which he takes in his stride, and the caustic Oscar Levant and theirs is a partnership that was woefully unexploited. Rathbone is a celebrity-songwriter who has mislaid his talent and has been relying on a couple of ghost writers to keep his name before the public with Crosby providing the music and Martin the lyrics, each, of course, unknown to the other, thus the 'meet-cute' element.Fortunately director Victor Schertzinger - no mean songwriter himself, who supplied I Don't Want To Cry Anymore to the mix - wastes minimum time on the initial mix-up and allows the story to flow leavened nicely with songs. There's also a pleasant nod to the big Crosby-Astaire feature Holiday Inn, still two years away, in the Nobody's Inn run by the Crosby character's uncle. A very pleasant time passer.

delightful comedy-musical

[Mrswing · 8/10 · 24 December 2006]

Billy Wilder is co-credited for the story, and his unsentimental touch is noticeable in this quite original tale of ghostwriting songwriters who both work for burnt-out music legend Oliver Courtney. The obvious misunderstandings are gotten out of the way quite quickly, thank heaven, and what remains is a witty and breezy concoction with some fine songs (and some more forgettable ones), Crosby at his most charming, a great turn by Broadway legend Mary Martin and Basil Rathbone and Oscar Levant providing most of the cynical barbs (Levant is in rare form and his quips haven't dated at all). A delightful surprise, and recommended for all fans of the genre.

Bing Crosby & Mary Martin in a Pleasant Paramount Musical

[Kalaman · 16 May 2004]

"Rhythm on the River" is one of Bing Crosby's finest of his underrated Paramount musicals.

I discovered it last night, along with another Crosby musical vehicle called "We're Not Dressing" (1934). I never thought both would turn out to be this great. They are the kind of honest, feel-good musicals I'd enjoy and watch them over and over again.

Lightly directed by that underrated stylist Victor Schertzinger, "Rhythm on the River" is a pleasant, surprisingly genial little musical comedy about a gifted and unobserved pop composer Bob Sommers (Crosby) who happens to be in love with an equally gifted musician Cherry Lane (Mary Martin). Both are ghostwriters for a famous has-been composer Oliver Courtney (Basil Rathbone in a fine, delightful role) who uses Bob and Cherry's lyrics & songs for his own good. Oscar Levant has a good supporting role as Billy Starbuck, Oliver's closest friend, the one that inspires Bob and Cherry to write more lyrics and songs for his untalented buddy.

Mr. Crosby and Ms. Martin have awesome chemistry on screen. Their singing and charming camaraderie are wonderfully observed. I particularly adore Ms. Martin; I thought she was her very touching in her performance and kinda reminded me of Margaret Sullavan, with her sweet, humble innocence or dedication.

The memorable songs include "That's For Me", "Ain't It a Shame About Mame" (both sung by Martin), "What Would Shakespeare Have Said?", "Rhythm on the River" (both sung by Crosby), and the unforgettable "Only Forever" (sung by Martin and Crosby together).

"Rhythm on the River" is available on VHS/DVD, courtesy of MCA/Universal Home Video in good transfer and I recommend it to you.

Lost his muse

[bkoganbing · 9/10 · 18 March 2004]

Poor Basil Rathbone, an egotistical composer who's lost his muse. He's been faking it for some time, buying his lyrics and his music from various sources. Trouble is that two of the sources (Bing Crosby music) and (Mary Martin words) happen to meet and fall in love. And then they discover what they've been doing. Complications ensue, but all is righted at the end.

Crosby and Martin sing terrifically. Mary had signed a Paramount contract and also at the same time doubled as a regular on Crosby's Kraft Music Hall Radio Show. For reasons I don't understand, movie audiences didn't take to her, so she went back to Broadway and did One Touch of Venus in 1944 and stayed there.

Basil Rathbone in one of the few times he played comedy does it very well. His ego is constantly being deflated by sidekick Oscar Levant and again I'm surprised they didn't do more films together.

As in most of Crosby's Paramount vehicles, no big production numbers, but I agree with the previous reviewer about the title tune being done as an impromptu jam session in a pawn shop. Good job by all.

A surprisingly original plot and great entertainment.

Ghosts and writing

[politian · 9/10 · 7 December 2009]

This superb film draws on a variety of talented actors and musicians at the top of their form - Levant, Crosby, Martin, Rathbone, Manone are completely at home in the story that apparently was supplied by Billy Wilder. One would love to know more about how much he had to do with it, because it's an exceptionally clever variation on the sterile master/fertile servant tale - nearly an allegory of the entertainment industry, run by dried-up numskulls, but made into a vibrant world of art and play by an exploited underclass of nobodies and non-WASPs. Looking at the last six decades of music, TV, and film in the US, it's hard not to see the underlying insights of this film as prophetic.

Taking on the rhythm of the river Hudson.

[mark.waltz · 5/10 · 29 January 2016]

Having issues finding a lyricist to write the words to his longs, composer Bing Crosby goes incognito. A series of troublesome encounters with lyricist Mary Martin ends up with them being partners with Martin unaware of his real identity. Martin, serious about her career, must take on a job as a nightclub singer, while Crosby returns to his country home to fix up an old riverboat, docked for years.

Martin's singing gives hope and question to the ironic fact that she never scored in movies, given four years to try and make it at Paramount before giving up and returning to Broadway where she had greater luck. Crosby is his easy going self as usual, dropping deadpan lines like a dog with a bone after realizing that nothing else remained to gnaw on.

Character actors such as sardonic Oscar Levant, earthy Charlie Grapewin, sour Charles Lane and grouchy William Frawley add greatly to the light hearted atmosphere, while Basil Rathbone is less of a villain than normal as the man whom Crosby has been ghost writing songs for. The music is pleasant yet unmemorable, but when Martin sings, she puts all the oomph she can into them, making me wonder how audience members must have gone ballistic when she sang "My Heart Belongs to Daddy". Not holding up as well as other 40's musicals, it's still pleasant if standard fare.

Bing Crosby, the Great Popularlizer

[LeonardKniffel · 8/10 · 9 April 2020]

After you've seen this, you can't say that Bing Crosby didn't do his best--in this film and in" Birth of the Blues"--to give credit where credit is due for the origins of truly American music. Here he is teamed with Mary Martin, who starred in "South Pacific" when it played on Broadway. Crosby did a lot to popularize a smooth white, if you will, form of jazz that has helped it endure to this day and to claim its proper place in the canon. His version of the title song is a classic. --Musicals on the Silver Screen, American Library Association, 2013

Bing Crosby and Mary Martin Star...

[drednm · 1 July 2005]

and what a combo. Two of the century's great singers star together in this underrated musical. He writes music, she writes lyrics, and they both work for Basil Rathbone who can't write either because his wife died (actually she just got fat!). Best scene is the pawn shop number where Bing sings an impromptu number while the swing band gets their instruments out of hock. Just wonderful. And this is a rare starring role for Broadway legend, Mary Martin, and she's quite good. Charley Grapewin, John Scott Trotter, William Frawley, Oscar Levant (once again the manic pianist), Charles Lane, and Helen Bertram co-star. And who knew Rathbone could be funny?

Adorable romantic comedy

[HotToastyRag · 8/10 · 22 November 2018]

Anyone want to see Basil Rathbone in a comedy? You can either catch him in The Court Jester, or you can rent Rhythm on the River, a cute Bing Crosby vehicle about two songwriters who fall in love. It was Mary Martin's second movie, and she didn't make too many, so catch the "singing Jean Arthur" while you can!

Basil Rathbone is a famous composer of popular tunes, and Oscar Levant is his faithful piano player. At a party, he's asked by his guests to share a new song he's working on. He excuses himself to the other room, and Bing Crosby rushes in with some crumpled sheet music. Turns out, Basil hires out and doesn't write his own melodies! Right after presenting the new song to his guests, Oscar takes Basil aside and shows him a telegram with bad news. Turns out, Basil hires out and doesn't write his own lyrics-and his lyricist just died! When he's in need of a new writer, he meets Mary Martin, but will Bing ever meet her?

Since this a cute romantic comedy, it's safe to say the answer is yes. With classic quips from Oscar, charm and sweetness from Bing, and class and good intentions from Basil, this is an adorable musical. Basil doesn't sing, but Bing and Mary come up with some great tunes that you'll be humming after the credits roll. "That's for Me" is particularly cute, and "Only Forever" was nominated for an Oscar in 1941.

Absolutely delightful!

[JohnHowardReid · 9/10 · 21 September 2017]

Songs by Johnny Burke (lyrics) and James V. Monaco (music); "Rhythm on the River" (Crosby), "Only Forever" (Martin, reprized Crosby), "That's for Me" (Martin, reprized Crosby), "What Would Shakespeare Have Said?" (Crosby, reprized Cornell), "Ain't It a Shame About Mame" (Martin), "When the Moon Comes Over Madison Square Garden" (Crosby and Martin, interrupted by Lane). Song by Victor Schertzinger: "I Don't Want To Cry Any More" (Martin). All songs arranged and conducted by John Scott Trotter. Music director: Victor Young. Music adviser: Arthur Franklin.

Copyright 6 September 1940 by Paramount Pictures, Inc. New York opening at the Paramount: 28 August 1940. Australian release: 18 December 1940. Sydney opening at the Prince Edward as the main attraction on a double bill with "Christmas in July": 18 December 1940 (ran a most disappointing three weeks over the yuletide season. Earlier in the year, "Road to Singapore" had chalked up five weeks. The theater's top attraction of the year, "French Without Tears", ran ten weeks). 92 minutes.

SYNOPSIS: Oliver Courtney is a most successful song-writer. His only problem is that he cannot compose music or write lyrics. Enter Bob Sommers and Cherry Lane.

NOTES: "Only Forever" was nominated for Hollywood's most prestigious annual award for Best Song, but lost to "When You Wish Upon a Star" by Leigh Harline and Ned Washington.

COMMENT: A wondrously delightful musical comedy which will entrance even non-Crosby fans. The Bing is nicely relaxed and delivers his lines and business in a fine, easy form.

Miss Martin never looked lovelier. Beautifully photographed and attractively costumed, it would seem she was all set for super- stardom but her follow-up movies came nowhere near this standard of perfection and Hollywood's loss became Broadway's gain.

Was a great hit on release- not at all hard to see why

[TheLittleSongbird · 9/10 · 1 October 2016]

A film starring Bing Crosby, Mary Martin and Basil Rathbone, with a screenplay co-written by Billy Wilder and directed by Victor Schertzinger promised so much. The good news is that it delivers on all the goods.

There are better film musicals out there than 'Rhythm on the River', ones with songs that are so easy to remember, timeless and have become standards or had truly lavish production values and choreography to die for. Not saying that 'Rhythm on the River' didn't have those things, just that other film musicals did even better in that regard. There actually is not anything wrong with the film, and it was a great hit on release and the appeal is entirely justified.

'Rhythm on the River' is a handsome-looking film, beautifully photographed and while the costumes and sets are not exactly spectacular they are hardly cheap either. While none of them are standards as such, the songs are pleasantly good and in the case of the best of them pretty exquisite. Wasn't entirely crazy on "Tiger Rag", but certainly really dig the title song and especially the sublime "Only Forever".

Schertzinger's direction is more than amiable, and the script is very engaging and witty especially with the chemistry between Rathbone and Oscar Levant. The story is somewhat thin and predictable, but this doesn't really matter when there is so much fun and charm and the chemistry between the performers is so good, not just the endearing one between Crosby and Martin but even more so between Rathbone and Levant.

All the acting is fine. Crosby is relaxed and charming and as ever sings an absolute dream. While Martin proves that it is a mystery as to why she didn't make it bigger in films as she is clearly enjoying herself, radiates and has a beautiful voice. Rathbone has a comedic character that is quite a departure compared to his usual roles, and he is a joy, in fact he's never been funnier and one wishes that he showed his comedic chops more because he proves that he certainly has them. Levant is suitably amusing.

On the whole, fun and charming film and not hard to see why it was a hit. 9/10 Bethany Cox

Jazzers take note!

[dwstuck · 28 January 2003]

Fans of Hot Jazz should note that the movie features the great Wingy Manone as part of the band that Bing hires to back him. Specifically there's a terrific number in a pawn shop that features the band blowing hot and Bing singing and drumming (!), harkening back to his "Rhythm Boys" days with Paul Whiteman. Don't miss it!

Words and Music

[lugonian · 8/10 · 9 January 2022]

RHYTHM ON THE RIVER (Paramount, 1940), directed by Victor Schertzinger, is not a musical set on a riverboat floating down the Mississippi as the title may imply, but a story about song writing set mostly in New York City. Starring Bing Crosby in this well-intentioned but underrated musical about ghostwriting, its title might have suited Crosby's earlier riverboat musical MISSISSIPPI (1935) or a rarely seen Barbara Stanwyck BANJO ON MY KNEE (20th Century-Fox, 1936), RHYTHM ON THE RIVER is basically a series of "Rhythm" titles used for several Paramount musicals at that time, including Crosby's similarly titled RHYTHM ON THE RANGE (1936) or DOCTOR RHYTHM (1938). In fact, RHYTHM ON THE RIVER is actually one of the songs used for this production, which may not be as memorable or noteworthy as some others selected as part of its story.

The story revolves around Oliver Courtney (Basil Rathbone), a popular songwriter in demand for composing tunes for an upcoming Broadway show. Unknown to many, his melodies are actually composed by Bob Summers (Bing Crosby) with lyrics written by another, for which Courtney takes credit. Working for Courtney only a year, Summers refuses to be tied down to a contract, promising never to reveal who's been writing the songs to Courtney's music. When his lyricist dies, Courtney hires Sherry Lane (Mary Martin) to ghost write the words to his songs at $50 a week. Living in her aunt's boarding house where she has rented a room next to her band players (Harry Barris and Willy Mannone) constantly playing "Hold That Tiger," she's unable to concentrate on her work. Courtney suggests she go to Nobody's Inn in Tarrytown where she can compose in peace and quiet. Unknown to her, the Inn, managed by Bob's uncle (Charley Grapewin) and his wife, also lives there. Upon their acquaintance, and learning about their ghost writing profession for Courtney, it is decided they leave Courtney and have their own songs published instead. Problems arise when Bob and Cherry are unable to sell their songs to publishers for having all the earmarks Oliver Courtney while Oliver Courtney is having problems of his own unable to score anything on his own.

The supporting players include the droll Oscar Levant as Courtney's assistant, Billy Starbuck; Oscar Shaw, Lillian Cornell, William Frawley, Jeanne Cagney, Charles Lane, and John Scott Trotter, among others. The name Oscar Shaw may be unfamiliar to many, but somewhat known by anybody who's seen his last movie opposite The Marx Brothers in THE COCOANUTS (Paramount, 1929) where Shaw and Mary Eaton sang a duet to Irving Berlin's "When My Dreams Come True."

On the musical program: "What Would Have Shakespeare Have Said?" (sung by Bing Crosby, reprised by Lillian Cornell); "That's For Me" (sung by Mary Martin); "Hold That Tiger" (instrumental); "Only Forever" (sung by Bing Crosby); "When the Moon Comes Over Madison Square," "Rhythm on the River" (both sung by Crosby); "Ain't It a Shame About Mame?" "I Don't Want to Cry Anymore" (both sung by Mary Martin); and "Only Forever: (sung by Crosby and Martin). Of the many songs, "That's for Me" is actually better than the others, along with "Ain't it a Shame About Mame," while the slow in tempo "Only Forever" was good enough to be honored an Academy Award nomination as Best Song of 1940.

With this being another song promotion musical provided by Bing Crosby, RHYTHM ON THE RIVER is more a showcase for Mary Martin, in her second movie role. Though her mannerisms resemble that of actress Jean Arthur, especially when accusing Crosby's character as a masher, she does benefit well musically with a style all her own. What also makes RHYTHM ON THE RIVER quite enjoyable is the casting of Basil Rathbone, known for playing villains, swashbucklers and Sherlock Holmes in a series of mysteries during the 1940s, seen to good advantage in a lightweight comedic performance. Director Schertzinger reteamed Crosby and Martin once more for another musical winner, BIRTH OF THE BLUES (Paramount, 1941), where they once again perform well together.

RHYTHM ON THE RIVER, with last cable broadcasts on The Movie Channel (1992) and American Movie Classics (1993-1994), formerly available on video cassette, can be found on DVD (with Crosby's RHYTHM ON THE RANGE on its flip side), making this a good companion piece to Crosby's easy-going screen personality and the type of movies that made him famous. (*** song sheets)

"Nobody's in at Nobody's Inn!", it's "Only Forever"

[weezeralfalfa · 8/10 · 18 March 2013]

My title includes a quote by Oscar Levant(as Billy Starbuck), expressing his frustration trying to contact Bob Summers(Bing Crosby) and Cherry Lane(Mary Martin), ghost composers(tunes and lyrics, respectively) for his boss, Oliver Courtney(Basil Rathbone), burned out, if still very influential big name composer. Actually, they are 'hiding' at Nobody's Inn, a combo little farm, fishing spot, and obscure little inn on the Hudson,near Tarrytown, site of the legendary 'sleepy hollow'. It's owned by Bob's Uncle Caleb(the charismatic shaky-voiced tottering Charley Grapewin), with whom he has lived most of his life. Sounds like a possible model for 'Holiday Inn", on a smaller scale, in which Bing would acquire additional fame a few years later, again as a supposed song writer, as well as singer.

Caleb's philosophy, absorbed by Bing, is to live as simply as possible, avoiding any unnecessary entanglements with others, especially women, and to avoid any ambitions to be 'a success': hence to be 'a nobody'. Bing is content to be Courtney's ghost composer so that he can continue to spend much time with his uncle. Unfortunately, his life becomes more complicated when Courtney needs a new ghost lyricist for Bob's tunes. She turns out to be a cute single woman who can also sing. But, she can't come up with any lyrics after a Dixieland ensemble moves in next to her. Thus, Courtney suggests she retire to a quite "Nobody's Inn" for spell, (strangely) not realizing that this is Bob's favorite hangout. Bob is going there at the same time and friction breaks out when he seems to be following her. Eventually, they find out they have something in common and compose a couple of songs together, although it takes a while to figure out they are both ghost composers for the same man.

They then decide to try to sell their music under their own names, but, as Courtney predicted, they meet stiff resistance, without his name. So, Bing returns to Courtney, who is in hot water with a big client because he hasn't produced any new songs for his nightclub singer. Meanwhile, Cherry has taken a job as this nightclub singer. She finds out she is to sing "Only Forever", which she and Bob composed and considered 'their song', not to be sold. This causes a fight between various parties as to just who owns the rights to this song, holding up her performance, while the announcer improvises absurd claims for Kelso's Cucumber Cream. Finally, things are worked out and Cherry and Bob sing 'their' song.

I checked out the name Starbuck. Seems it originates as the name of Captain Ahab's first mate in "Moby Dick". Thus, it is appropriate for Levant's character, who is Courtney's first mate, so to speak, Courtney being sort of an Ahab-like persona in his realm. I think this was Rathbone's only role in a musical. This British-raised actor usually most successfully played authority figures, often villainous, in British-oriented films, such as Shakespearian plays, Dickens classics and Errol Flynn swashbucklers. Here, he's not exactly evil, but currently a phony, although his past reputation is helping some unknown songwriters to keep bread on the table.

This was the first of two films Mary Martin did with Bing, with a follow up the next year in "Birth of the Blues". Both films included several Dixieland numbers, only one of which she participated in, plus a number of ballads, some of which she sang, with or without Bing. She was a very different personality from some of the bombshell female costars Bing had, such as Martha Raye, Betty Hutton and Ethel Merman. A

languid persona, on the whole, with big dreamy soul-searching Claudette Colbert-like eyes, but lacking some of her sparkle. Apparently, many in film audiences didn't find her very engaging, in contrast to some of her stage roles. Nonetheless, she would be the first choice for Bing's female lead in "Holiday Inn", forced to decline it, and thus film immortality, because of a pregnancy.

Of the songs, only "Tiger Rag" wasn't composed for this film. None were to become standards, but several were rather engaging. The two weakest, unfortunately, were the first two: "What Would Shakespeare Have Said" sung by Lillian Cornel, as the pretentious soloist for Charlie Goodrich's nightclub, eventually replaced by Mary. The second: "That's for Me" was sung by Mary. Next, we get to "Only Forever", which functioned as the theme song(as opposed to the title song), reprised in the finale. Next, Bing sings the title song, done in Dixieland style in a sizable pawnshop, of all places, with a struggling jazz ensemble. Quite good. This is followed by the engaging idiosyncratic "When the Moon Comes Over Madison Square Garden", part western and part NYC in its lyrics and melody style. Mary then sings the bouncy novelty "Ain't It a Shame About Mame", possibly her best, followed by the blue "I Don't Want to Cry Anymore", appropriate for her temporary breakup with Bing.