Having left the Army following W.W.II, Bob Wallace and Phil Davis team up to become a top song-and-dance act. Davis plays matchmaker and introduces Wallace to a pair of beautiful sisters (Betty and Judy) who also have a song-and-dance act. When Betty and Judy travel to a Vermont lodge to perform a Christmas show, Wallace and Davis follow, only to find their former commander, General Waverly, as the lodge owner. A series of romantic mix-ups ensue as the performers try to help the General. Written by
Norman Cook <firstname.lastname@example.org>
The film is neither a sequel to, nor a remake of, Holiday Inn (1942), a persistent myth that continues to this day. Aside from both films starring Bing Crosby and featuring Irving Berlin scores (most notably the chestnut "White Christmas"), the plots and characters' names are completely different. In the first film, Crosby and co-star Fred Astaire compete for the affections of the same woman (first Virginia Dale, then Marjorie Reynolds- although each woman eventually ends up with one of the men), while in the second film, Crosby and Danny Kaye fall for sisters Rosemary Clooney and Vera-Ellen, and are paired off almost immediately. There is also no subplot of an inn open only during the holidays in White Christmas: it is one inn on the verge of bankruptcy, due to lack of customers and snow. See more »
Early in the film there is a scene from the control room for the Wallace and Davis radio show. An engineer is seen sitting in front of the audio mixing console, but the VU meters that would show the level of the audio being sent out are not moving. See more »
This film was the first feature to use the VistaVision Paramount logo. A new logo, created especially for wide-screen, this logo appears more realistic and features a shot of a canyon with trees around it. The sky is more distant in depth and is full of contrast. The Paramount logo is pretty much the same as before here. The screen credit "Paramount (with the "P" written in their corporate font) proudly presents the first picture in" first appears over the mountain, and then the VistaVision logo appears, then the Paramount logo plays as usual (with the final notes of the Paramount on Parade march, followed by a bell sound). The Paramount mountain, with minor variations until 1986, served as the basis for the company logo for more than 30 years. See more »
Count me in with the saps who absolutely love this movie.
"White Christmas" is guilty of many of the sins catalogued by other commentators: its got a sappy story line, predictable plot twists, it plays outrageously for sentiment and patriotism (not your usual Christmas theme!). But I confess to having loved it from the first moment I saw it nearly a half century ago. I, too, like many, make it a point to view it every Christmas season, along with much better holiday fare such as "It's a Wonderful Life," "The Wizard of Oz," and "Miracle on 34th Street." I think, contrary to many folks, that Danny Kaye succeeds in the second lead role better than Fred Astaire did in "Holiday Inn," and while he isn't given an opportunity for his patented zaniness, he adds a thoroughgoing charm to the role that sometimes the rather stiff Astaire lacks.
Rosemary Clooney is lovely in the rather thankless role of the practical sister and was at the peak of her genius as a pop singer, Vera-Ellen does her usually charming thing, and Crosby! The master implants his genius in virtually every frame. In supporting roles veteran character actor Dean Jagger is splendid as the general, while Mary Wickes steals every scene she's in as the nosy hotel housekeeper, Emma. The singing and dancing are first-rate (even without Astaire), and the songs by Irving Berlin are among his very best, including a number of tunes written especially for the film. One that never ceases to charm me is the trifle, "Snow," sung by our four stars in the dining car of the railroad train bound from Florida to Vermont. What a magical moment, among many in this thoroughly delightful, if flawed, jewel.
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