The host of this series is noted writer and film historian Robert Osborne. Each episode consists of Osborne conducting an interview with an actor or actress of Hollywood's "Golden" era of ... See full summary »
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The host of this series is noted writer and film historian Robert Osborne. Each episode consists of Osborne conducting an interview with an actor or actress of Hollywood's "Golden" era of the 1920s - 1960s. Clips of the artist's work in film are liberally included in the program. Written by Karl Holzheimer

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Betty Hutton interviewed by Robert Osborne...
26 March 2007 | by (U.S.A.) – See all my reviews

Filmed in 2000, BETTY HUTTON sits practically on the edge of her chair, an indication she still had a lot of energy left over from her days as the hyperactive female bombshell Paramount used for many a musical film during the '40s and into the '50s.

While she's perfectly willing to talk about herself and her career, it's not clear whether she's seeing things from an accurate viewpoint or not--especially when it comes to what went on during the filming of ANNIE GET YOUR GUN, when she replaced Judy Garland in the title role.

According to Betty, it destroyed her soul to be treated the way she was on the set--and she even mentions co-star Howard Keel as one of the culprits. Seems that everyone thought she took the part away from the very ill Judy and was unwilling to even clap at the end of a perfect take, lest they show any appreciation for her. Nor did the studio even invite her to the premiere of the movie when it opened in New York City.

Just how accurate this description really is, I don't claim to know but I do have my doubts. Stills showing Betty with other members of the cast on the set seem to cast doubt on whether the film really destroyed her the way she says it did and killed any ambitions for further displaying her talents in Hollywood. As Osborne points out, later on she did do THE GREATEST SHOW ON EARTH for DeMille at Paramount.

At any rate, it's clear that, as Hutton admits, her own insecurities started long before ANNIE GET YOUR GUN and perhaps the truth is somewhat different than what she claims.

Hutton looks a bit frazzled, is wearing an unflattering white wig, and seems so bubbly at times that you almost suspect she wants to jump into Osborne's lap like a little puppy seeking adoration.

Osborne treats her with fondness and respect, but it must have been a difficult thing for Hutton to do--and she obviously doesn't want to talk about her relationships with her children whom she hasn't seen in years.

A nice, generous selection of film clips reminds us how talented Betty was in her heyday.


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