Yankee Doodle Dandy (1942)

Director:

Michael Curtiz

Writers:

Robert Buckner (screenplay) and
Edmund Joseph (screenplay) ...
(more)

Release Date:

6 June 1942 (USA)

Genre:

Biography | Drama | Musical

Tagline:

Based on the story of GEORGE M. COHAN with the Greatest of all his Great Music

Plot:

A film of the life of the renowned musical composer, playwright, actor, dancer and singer George M. Cohan.

Plot Keywords:

Playwright | Vaudeville | Actor | Dancer | Song

Awards:

Won 3 Oscars. Another 2 wins & 5 nominations

Cast

James Cagney	...	George M. Cohan
Joan Leslie	...	Mary
Walter Huston	...	Jerry Cohan
Richard Whorf	...	Sam Harris
Irene Manning	...	Fay Templeton
George Tobias	...	Dietz
Rosemary DeCamp	...	Nellie Cohan
Jeanne Cagney	...	Josie Cohan
Frances Langford	...	Singer
George Barbier	...	Erlanger
S.Z. Sakall	...	Schwab
Walter Catlett	...	Theatre Manager
Douglas Croft	...	George M. Cohan - As a Boy of 13
Eddie Foy Jr.	...	Eddie Foy
Minor Watson	...	Albee
Chester Clute	...	Goff
Odette Myrtil	...	Madame Bartholdi
Patsy Parsons	...	Josie Cohan - As a Girl of 12 (as Patsy Lee Parsons)
Jack Young	...	The President (as Capt. Jack Young)
rest of cast listed alphabetically:
Eddie Acuff	...	Reporter (uncredited)
Murray Alper	...	Wiseguy (uncredited)
Ernest Anderson	...	George M. Cohan's Valet (uncredited)
Vivian Austin	...	Pianist (uncredited)
Leah Baird	...	Housekeeper (uncredited)
Leon Belasco	...	Magician (uncredited)
Brooks Benedict	...	Dressing Room Guest (uncredited)
Henry Blair	...	George M. Cohan at 7 (uncredited)
Walter Brooke	...	Reporter (uncredited)
Leslie Brooks	...	Chorus Girl - 'Little Johnny Jones' Number (uncredited)
Georgia Caine	...	Boarder (uncredited)
Georgia Carroll	...	Betsy Ross (uncredited)
Glen Cavender	...	Colony Opera House Stagehand (uncredited)
Dick Chandlee	...	Teenager (uncredited)
Spencer Charters	...	Colony Opera House Stage Manager (uncredited)
Wallis Clark	...	Theodore 'Teddy' Roosevelt (uncredited)
Alan Copeland	...	Choirboy (uncredited)
Ann Corcoran	...	Soubrette (uncredited)
Mary Currier	...	Woman Entering Cohan's Dressing Room (uncredited)
William B. Davidson	...	New York Stage Manager (uncredited)
Frank Dee	...	Man Entering Cohan's Dressing Room (uncredited)
Ann Doran	...	Receptionist (uncredited)
Charles Drake	...	Actor (uncredited)
Tom Dugan	...	Actor - Railroad Station (uncredited)
Ann Edmonds	...	Soubrette (uncredited)
Bill Edwards	...	Reporter (uncredited)
Frank Faylen	...	Sergeant on Parade - Last Scene (uncredited)
Pat Flaherty	...	Sgt. Lewis - White House Guard (uncredited)
Robert Flatley	...	Dancer (uncredited)
James Flavin	...	Union Army Veteran #1 on Caisson (uncredited)
William Forrest	...	Critic #1 (uncredited)
William Gillespie	...	Baritone Solo - Grand Old Flag Number (uncredited)
Art Gilmore	...	Franklin D. Roosevelt (voice) (uncredited)
Eddie Graham	...	Actor (uncredited)
Joe Gray	...	(uncredited)
Creighton Hale	...	Telegraph Operator (uncredited)
John Hamilton	...	Recruiting Major (uncredited)
Harry Hayden	...	Dr. Llewellyn (uncredited)
Al Herman	...	Actor (uncredited)
Herbert Heywood	...	Colony Opera House Doorman (uncredited)
Stuart Holmes	...	Backstage Actor - 'Peck's Bad Boy' (uncredited)
William Hopper	...	Reporter (uncredited)
Joyce Horne	...	Teenager (uncredited)
Jean Inness	...	Reporter (uncredited)
Charles Irwin	...	Horse Race Announcer - 'Little Johnny Jones' Number (uncredited)
Thomas E. Jackson	...	Stage Manager - 'Peck's Bad Boy' (uncredited)
Marijo James	...	Sister Act (uncredited)
Eddie Kane	...	Wilson - 'Little Johnny Jones' Number (uncredited)
Edward Keane	...	Critic #2 (uncredited)
Dorothy Kelly	...	Sister Act (uncredited)
Fred Kelsey	...	Irish Cop in 'Peck's Bad Boy' (uncredited)
Phyllis Kennedy	...	Fanny (uncredited)
Joe Levine	...	Newsboy (uncredited)
Vera Lewis	...	Actress (uncredited)
Al Lloyd	...	Actor (uncredited)
Audrey Long	...	Dietz and Goff's Receptionst (uncredited)
Jerrie Lynne	...	Singer (uncredited)
Hank Mann	...	Peck's Bad Boy Stagehand (uncredited)
Jo Ann Marlowe	...	Josie Cohan - Age 6 (uncredited)
Louis Mason	...	Boarder (uncredited)
Frank Mayo	...	Hotel Clerk #2 (uncredited)
Lon McCallister	...	Call Boy (uncredited)
Edward McWade	...	New York Stage Doorman (uncredited)
George Meeker	...	Hotel Clerk #1 (uncredited)
June Millarde	...	Young Girl (uncredited)
John 'Skins' Miller	...	Horse Race Official (uncredited)
Frank Mills	...	Pedestrian Seeking Newspaper (uncredited)
Bert Moorhouse	...	Maurice Ruppe - Music Publisher (uncredited)
Dolores Moran	...	Girl (uncredited)
Charles Morton	...	Friendly Man at Restaurant Window on New Year's Eve (uncredited)
Jack Mower	...	Backstage Actor - 'Peck's Bad Boy' (uncredited)
Lee Murray	...	Jockey (uncredited)
George Ovey	...	Streetcleaner (uncredited)
Garry Owen	...	Army Clerk (uncredited)
Paul Panzer	...	Robinsons Theater Stagehand (uncredited)
Francis Pierlot	...	Dr. Anderson (uncredited)
Joyce Reynolds	...	Teenager (uncredited)
Ruth Robinson	...	Nurse (uncredited)
Clinton Rosemond	...	White House Butler (uncredited)
Thomas W. Ross	...	Doctor (uncredited)
Jackie Salling	...	Newsboy (uncredited)
Fred Santley	...	Judge in Musical Number (uncredited)
Syd Saylor	...	Star Boarder (uncredited)
Harry Seymour	...	O'Rourke's Varieties Stagehand (uncredited)
John Sheehan	...	Boarder (uncredited)
Napoleon Simpson	...	Porter (uncredited)
Charles Smith	...	Teenager (uncredited)
Ernie Stanton	...	Waiter (uncredited)
Juanita Stark	...	Soubrette (uncredited)
Elliott Sullivan	...	Army Recruiter Examiner (uncredited)
Frank Sully	...	Army Recruiter (uncredited)
Jim Toney	...	Actor (uncredited)
Sailor Vincent	...	Schults - Grocer in 'Peck's Bad Boy' (uncredited)
Dick Wessel	...	Union Army Veteran #2 on Caisson (uncredited)
Leo White	...	Backstage Actor - 'Peck's Bad Boy' (uncredited)
Poppy Wilde	...	Chorus Girl - 'Little Johnny Jones' Number (uncredited)
Dave Willock	...	Stage Manager, 'Peck's Bad Boy' (uncredited)
Joan Winfield	...	Sally (uncredited)
Jack Wise	...	Boarder (uncredited)
Victor Zimmerman	...	Medical Officer (uncredited)

Directed by
Michael Curtiz

Writing credits
Robert Buckner		(screenplay) and
Edmund Joseph		(screenplay)
Robert Buckner		(original story)
Julius J. Epstein		contributor to screenplay (uncredited)
Philip G. Epstein		contributor to screenplay (uncredited)

Produced by
William Cagney	....	associate producer
Hal B. Wallis	....	executive producer
Jack L. Warner	....	executive producer

Original Music by
George M. Cohan
Ray Heindorf		(uncredited)
Heinz Roemheld		(uncredited)

Cinematography by
James Wong Howe		(director of photography)

Film Editing by
George Amy

Art Direction by
Carl Jules Weyl

Costume Design by
Milo Anderson		(gowns)

Makeup Department
Perc Westmore	....	makeup artist
Martha Acker	....	hair (uncredited)
Bill Cooley	....	makeup artist (uncredited)
Ruby Felker	....	hair (uncredited)
Bill Phillips	....	makeup artist (uncredited)

Second Unit Director or Assistant Director
Frank Heath	....	assistant director (uncredited)
George Tobin	....	second assistant director (uncredited)

Art Department
Tom Jung	....	poster artist (uncredited)
Tom Jung	....	poster designer (uncredited)

Sound Department
Everett Alton Brown	....	sound
Nathan Levinson	....	sound (uncredited)

Camera and Electrical Department
Wesley Anderson	....	second camera (uncredited)
Everett Burkhalter	....	gaffer (uncredited)
Mac Julian	....	stills (uncredited)
Sol Polito	....	photographer (uncredited)
William Reinhold	....	assistant camera (uncredited)

Costume and Wardrobe Department
Eugene Joseff	....	costume jeweller (uncredited)
Rydo Loshak	....	wardrobe (uncredited)
Marie Pickering	....	wardrobe (uncredited)
Leon Roberts	....	wardrobe (uncredited)

Music Department
George M. Cohan	....	music and lyrics by
Leo F. Forbstein	....	musical director
Ray Heindorf	....	orchestral arrangements
Heinz Roemheld	....	orchestral arrangements (uncredited)

Other crew
Jack Boyle	....	dances routined by: James Cagney's (as John Boyle)
William Collier Sr.	....	technical advisor
Seymour Felix	....	dance numbers staged and directed by
Hugh MacMullan	....	dialogue director
LeRoy Prinz	....	dance numbers staged and directed by (as Leroy Prinz)
Don Siegel	....	montages

Production Companies

• Warner Bros. Pictures (presents) (as Warner Bros. Pictures, Inc.) (A Warner Bros.-First National Picture)

Distributors

• Warner Bros. Pictures (1942) (USA) (theatrical) (as Warner Bros. Pictures, Inc.)
• Dominant Pictures Corporation (1956) (USA) (theatrical) (re-release)
• Sociedade Importadora de Filmes (SIF) (????) (Portugal) (theatrical)
• CBS/Fox (????) (USA) (VHS)
• MGM/UA Home Entertainment (1991) (USA) (VHS)
• MGM/UA Home Entertainment (????) (USA) (video) (laserdisc)
• Metro-Goldwyn-Mayer (MGM) (1986) (worldwide) (all media) (colorized version)
• Warner Home Video (2003) (Canada) (DVD)
• Warner Home Video (2003) (USA) (DVD)
• Warner Home Video (2006) (USA) (DVD)
• Warner Home Vídeo (2004) (Brazil) (DVD)

Other Companies

• Turner Entertainment  current copyright proprietor

Also Known As:

Runtime:

126 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

USA:Approved (certificate #7929) | Canada:G (video rating) | USA:TV-G | Australia:G | Finland:S | Sweden:Btl | UK:U

Filming Locations:

New York Street, Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Company:

Warner Bros. Pictures

Trivia:

James Cagney won his first and only Oscar for this movie.

Goofs:

Anachronisms: The song "Beat Me Daddy, Eight to the Bar" is referenced before George M. Cohan starred in the 1937 production of "I'd Rather Be Right Than Be President". The song was written in 1940.

Quotes:

[first lines]
Critic #1:I call it a hit. What'll your review say?
Critic #2:I like it too, so I guess I'll pan it.

Movie Connections:

Featured in "Broadway: The American Musical: Give My Regards to Broadway: 1893-1927 (#1.1)" (2004)

Soundtrack:

Harrigan

It seems it always happens...

`It seems it always happens…Whenever we get too high hat and sophisticated for flag-waving, some thug nation decides we're a pushover, all ready to be blackjacked. It's not long before we start looking up mighty anxiously to make sure the flag is still waving.'

So says James Cagney, as George M. Cohan, at the time of the sinking of the Lusitania in 1915. Obviously, it's a sentiment that has great relevance to our time, as well. I've always wished I could dance a patriotic dance or march down the street waving the flag. It looks like a lot of fun. The trouble is, this sort of activity is often performed to suppress what America is really about. The really great thing about our country isn't songs, flags and marches. Any country can do those things. The real great thing is that we have the right to say what we think, to debate the issues of the day and to form a consensus for action when we are in agreement about what needs to be done.

There was surely such a consensus when this film was made in 1942. There was little doubt about what needed to be done then. However, World War I seems now a particularly pointless conflict and the thought that smiling Frances Langford was singing soldiers into battle to who knows what fate is a little disturbing. And now, whenever there is a war, we are urged to join the parade and postpone debate until the issue is something not so important, like farm prices or college entrance requirements. It seems to me that the more important an issue is, the more we should be debating it. If people are going to die, we'd better make sure we are right.

From that point of view, `Yankee Doodle Dandy' can seem almost offensive. But, of course it isn't. Is a charming example of one of the thing Old Hollywood did best- the romantic biography. In this George M. is an all-right guy, an enormous bundle of energy that intimidates the stuffed shirts but causes people of substance to fall in love with him. He has a wonderful family and one of those `perfect' Hollywood wives- Mary, who doesn't even wince when he gives the song he wrote for her to another actress. He has a loyal friend and partner in Jed Harris. For some reason he's childless but still gets a thrill from performing for his beloved audiences. And, when his country needs a shot in the arm, his enthusiastic songs provide it.

Of course, he was married twice. His divorce from his first wife Ethel, was acrimonious and thus she doesn't appear in the story. `May' is a fictionalized version of his second wife Agnes. He had children but they also didn't make the cut because he was estranged from them at the time of the film. He was loathed by many of his profession for years before this because of his strong anti-union stance. His split with Jed Harris was not the gentle retirement we see here but was, at least in part because Harris had given in to the unions. And he himself loathed Franklin Roosevelt, refusing for four years to pick up the medal FDR and Congress had awarded him. Would it have been a better movie if these things were incorporated into the script? Probably not. Hollywood- and the nation at the time- was more concerned with the way things should have been than with the way they actually were.

Cagney was surely a perfect choice to play Cohan, being an Irishman who enter show business as a song and dance man, (and always considered himself primarily that). His exuberant personality also mirrors that of Cohan, who was said not to be particularly great at anything but did everything with such enthusiasm that it didn't matter. That said, I have never been a particular fan of Cagney's `puppet on a string' dance style. Dancing is supposed to be an expression of one's inner self. A puppet has no inner self.

There are many charming sequences in the film, none more so than the `cute-meet' with Mary where he's played a dottering old man in a play and she thinks he really is one until he starts showing her dance steps. Then there's his refusal by the Army because of his age. He does another dance routine to show them what they are missing. You've got to love the sequence where he and Harris, (Richard Whorf), con Cuddles Zakal into backing them. Then there's a glimpse of Cagney cute sister, Jeanne, playing Josie, Cohan's sister. We are not told why Josie is `gone' late in the film- her heart attack at age 36 was deemed too unpleasant, as was the death of Cohan's mother, (Rosemary Decamp, who was more than a decade younger than Cagney). The one death scene is that of Cohan's beloved father, played by Walter Huston, who was a Cohan protégé. Chan himself was on his deathbed as this was released, (he submitted a script which was `tactfully rejected'). He escaped his nurse to see it in a theater and gave it his approval, as we should, too.