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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 »
Four Richard Rodgers and Lorenz Hart songs from the 1937 Broadway production of "Babes in Arms" which were showcased in this film hadn't been used in the 1939 Rooney-Garland-Busby Berkeley backyard musical. The numbers are: "I Wish I Were in Love Again," a duet by old pals Mickey Rooney and Judy Garland in the party sequence; "Johnny One Note," Miss Garland's spirited follow-up at the party; Lena Horne's exuberant "The Lady Is a Tramp," which became a signature song for her; and finally, "Way Out West (On West End Avenue)," a comic ditty sung partially by 'Betty Garrett (I)', whose full prerecording can be found on the soundtrack CD from Sony. See more »
At the Hollywood party at Hart's home, he and Judy are singing a duet. Her dress is cinched with a belt in that scene, however, when she sings a solo just after that, the dress is beltless and her waist is a bit wider. Her hair is also longer than the previous scene. 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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Musical Moments Salvage Weak, Inaccurate Story and Dialogue
To describe the 1948 WORDS AND MUSIC as a "whitewashed" version of the famous song-writing team Rogers and Hart is a gross understatement. Lorenz Hart (1895-1943) was a homosexual in an era when such was flatly unacceptable; the pressures of the closet drove him into a wildly self-destructive alcoholism that ultimately killed him. Richard Rogers (1902-1979)was Hart's polar opposite, a highly disciplined individual who had zero tolerance for Hart's extremes. Their friendship and working relation was stormy, to say the least.
Needless to say, there was no way on earth that 1940s Hollywood could approach these facts. What we get instead is the story of the brilliant but glitchy Hart (Mickey Rooney) who is disappointed in love by singer Peggy McNeil (Betty Garrett), never gets over it, and falls apart as Rogers (Tom Drake) and his wife Dorothy (Janet Leigh) look on in dismay. It's pretty much a lot of pap, but fortunately for all concerned the movie gives us a lot of music along the way.
Most of the music is the form of cameos by a wash of MGM's musical stars. Perry Como has unexpected screen presence; Lena Horne, saddled with the excessive gesticulation and odd costumes typically inflicted upon her during her Hollywood years, still manages to give truly memorable performances of "Where or When" and "The Lady Is A Tramp;" June Allyson does a charming "Thou Swell;" Gene Kelly and Vera-Ellen offer a memorable version of the jazz ballet "Slaughter on 10th Avenue." Other notables include Anne Southern, Cyd Charisse, and Mel Torme.
The big noise among the cameos is Judy Garland, who was battling MGM over withheld salary at the time and finally agreed to do two numbers to even out what the studio said she owed them. The result would be the final pairing of Judy Garland and Mickey Rooney in a motion picture, the two performing a charming duet of "I Wish I Were In Love Again," with Rooney clearly trying to break Garland up--and often succeeding. It's tremendous fun and followed by Garland's hard-belting and equally enjoyable "Johnny One Note."
Cameos aside, the primary cast is quite good with Rooney a stand out as Hart; one wonders at what performance he might have given if the script had been a no-holds-barred account. Granted, WORDS AND MUSIC is the sort film you watch for the musical moments rather than the plot--but when all is said and done it does what it does extremely well. Recommended, but primarily for musical fans.
Gary F. Taylor, aka GFT, Amazon Reviewer
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