Encomium to Larry Hart (1895-1943), seen through the fictive eyes of his song-writing partner, Richard Rodgers (1902-1979): from their first meeting, through lean years and their breakthrough, to their successes on Broadway, London, and Hollywood. We see the fruits of Hart and Rodgers' collaboration - elaborately staged numbers from their plays, characters' visits to night clubs, and impromptu performances at parties. We also see Larry's scattered approach to life, his failed love with Peggy McNeil, his unhappiness, and Richard's successful wooing of Dorothy Feiner. Written by
M*G*M presents a spectacular musical, packed with the beloved hits of the famed song-writing team of Rodgers and Hart; their own story, with all the adventure, romance, high life of the Great White Way. See more »
Lena Horne's prerecording of "Where or When," a standard first heard in the 1937 Broadway show, "Babes in Arms," contains the verse, which was not used in the release print. Her complete rendition was first presented on the MGM Records soundtrack album. In the CD era, there are two offerings of Lena's full version: the soundtrack from Sony and a collection from Rhino, "Lena Horne at Metro-Goldwyn-Mayer: Ain' It the Truth." See more »
When Judy is singing "Johnny One Note," and gets to the line "... and hear the drum," it is obvious that the snare drummer is not playing what we are hearing. See more »
I just saw it on TCM, and a fresh viewing of it gives rise to so many ironies regarding the real Lorenz Hart. Many critics have attacked the film because it so clearly ignores the facts. But what mainstream film do *you* know from 1948 that features an openly gay protagonist? When the studio is sweetness-and-light MGM you simply have to buy the premise and move on. (Note through all of Mickey Rooney's pursuit of Betty Garrett, she keeps alluding to 'something' about him that keeps her from marrying him. Foreshadowing?) Rooney, to his credit, seems to go for pathos in his performance but just overacts the role, and winds up making Hart into some kind of wind-up toy about to explode. Later in the film when he's wallowing in loneliness (punctuated in the party sequence with the song "Blue Moon"), the drama is much better. But more than anything else, there are the exhibits of the glorious songs: "Manhattan," "Thou Swell," "Small Hotel," "With A Song In My Heart," a double-bill of Judy Garland alone and with Rooney (the song "I Wish I Were In Love Again" is a standout); "Where Or When" and "The Lady Is A Tramp" given the chanteuse treatment by Lena Horne; "Blue Room" sung by Perry Como and danced (or, more accurately, spun like a top) by hostess Cyd Charisse; and the sexy "Slaughter on Tenth Avenue" finale with Gene Kelly and Vera-Ellen. Entertainment at its classiest, nothing more or less.
7 of 8 people found this review helpful.
Was this review helpful to you?