Light bio-pic of American Broadway pioneer Jerome Kern, featuring renditions of the famous songs from his musical plays by contemporary stage artists, including a condensed production of ... See full summary »
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
Rich kid Danny Churchill (Rooney) has a taste for wine, women and song, but not for higher education. So his father ships him to an all-male college out West where there's not supposed to ... See full summary »
Jimmy Connors and his girl-friend want to take part in Paul Whiteman's highschool's band contest, but they cannot afford the fare. But per chance the meet Paul Whiteman in person and are ... See full summary »
Paul Whiteman and Orchestra
Talented small-town girl Lily Mars hounds producer John Thornway for a part in his new play, but he doesn't want anything to do with stage-struck amateurs. But when Lily follows him to New ... See full summary »
The Wolves baseball team gets steamed when they find they've been inherited by one K.C. Higgins, a suspected "fathead" who intends to take an active interest in running the team. But K.C. ... See full summary »
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 »
The vocals by Perry Como and Mel Tormé were not permitted to be included on the MGM soundtrack album. Mr. Como's record label, RCA Victor, issued a single with his commercial recordings of "The Blue Room" and "With a Song in My Heart." Mel, under contract to Capitol Records, waxed another rendition of "Blue Moon." On the Rhino CD, "Mel Tormé in Hollywood," his soundtrack version now is found. 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 »
That was really black Sunday for me. Shut out twice. Once because I was too young, once because I was too old.
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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.
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