This musical biopic chronicles the vaudeville-to-Broadway story of 1920s' star Marilyn Miller (June Haver). From her start on the boards in Findlay, Ohio, Marilyn sings and dances her way ... See full summary »
Stage-and-night club star Jeannie Laird (June Haver) buys her first home, and everyone who is anyone comes to her first garden party only to be blinded by smoke from next door. Jeannie ... See full summary »
After their annual free concert at Chicago's Dearborn Settlement, Benny Goodman and his band are packing up to move on to their next engagement at a military camp, when a kid, Tony Birch, ... See full summary »
Benny Goodman and His Orchestra,
Bill wants to join the Army, but he's 4F so he asks a wizard to help him, but the wizard has slight problems with his history knowlege, so he sends Bill everywhere in history, but not to ... See full summary »
Lady, Let's Dance was a 1944 black and white film directed by Frank Woodruff that was nominated for two Oscars. Produced by Monogram Studios, the film is unique as an ice skating musical. ... See full summary »
Sam Gallagher (Pat O'Brien), a former foreign correspondent and now a United States Government agent, gets a job through his brother Jeff (Chester Morris), whom he has not seen in seven ... See full summary »
The film is part of a long line of musical biographies of songwriters that has hardly any interest in the person's actual life story. Instead, calling them biographies allows the musicals to cull songs from their catalog for various musical numbers. Still, at times, these films can be pleasant time-wasters. This one, ostensibly about turn-of-the-century songwriter Ernest Ball, is one of these pleasant but unexceptional entries.
Judging from the songs presented in the film, Ball specialized in Irish hokum ("Mother Macree" for example)--lugubrious ballads that wallowed in maternal sentimentality and dreams. Consequently, Dick Haymes portrayal of Ball presents him as a weak passive sort, who is easily pushed around. Seemingly to balance him, June Haver as his romantic interest is incredibly butch--growling, aggressive, and constantly popping people in the eye. While Haymes sings Ball's slow ballads, Haver performs peppy up-tempo numbers (that were not written by Ball). One of these underlines the reversal of gender-expected behavior: "Bessie in a Bustle." Here, Haver sings in male clothing, as various men in drag (with bustles naturally) cavort around her!
It's a pretty out-of-nowhere moment, but seems to fit the general attitude about aggressive women and passive men that's going on in the rest of the film.
Overall, it's a colorful period piece, with plenty to keep a viewer diverted for an hour and a half--and some interesting ideas if you stop to notice them. But it's no landmark musical.
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