Thankfully, now viewable at You Tube, along with most of Don O'Connor's early Universal films. Many consider this the most entertaining of his wartime musical series, nearly all of which included Peggy Ryan as his slapstick and dancing partner. At age 18, Don was certainly in top form as comedian and singer. I'm also partial to the previous "When Johnny Comes Marching Home". Mr. Big is, of course, a nickname for Don O'Connor's character. Don, along with costars Peggy Ryan and Gloria Jean(Patricia), are students at the Davis School of Theater, owned by conservative old Mrs. Davis(Florence Bates):Patricia's aunt. Old Jeremy Taswell(Samuel Hinds) is the Principal. His daughter, Alice, and her boyfriend Johnny are featured teachers. Don earns his nickname by trying to run things at this school, in Mickey Rooney-mimicry, and by being popular with the girls. In the opening scene, Gloria is singing, while Don and Peggy are in the Orchestra in Johnny's classical music class. When Johnny has to step out for a while, Don takes over the Orchestra, and switches to swing music, his favorite. Johnny makes a show of being mad at Don, but isn't really, as he has secretly composed some boogie-woogie music. After an energetic jive dance scene at a local teen hangout, Don proposes a musical comedy he has written for the class yearly play. Johnny is receptive, but Mrs. Davis wants a classic play that will showcase Gloria's operatic voice. Behind her back, Johnny agrees to try out Don's play, with Gloria's OK, not telling Mrs. Davis. Some Broadway producers show up for the show and are very impressed, causing Mrs. Davis to change her attitude from shock to pleased. Of course, Don and Peggy are the centerpiece of the abundant musical and comedic action throughout the film.
My guess is that many people will object to the inclusion of a prominent blackface minstrel show. If so, I don't think this is fair, as this was still considered an acceptable form of entertainment, even at this rather late date in the blackface era. I know of 3 other films starring Don, which included him in a blackface number, one as late as '53. Judy Garland and Mickey Rooney also did an extensive blackface show in one of their contemporary films. Bing Crosby did a blackface number in the '42 "Holiday Inn", along with introducing "White Christmas", and again in the '44 "Here Comes the WAVES". I thought the blackface show in this film was done in good taste. It was even followed by Ben Carter's choir of real African Americans, who had no relation to the rest of the story. Later, an African American spiritual was featured without blackface, as part of the play. I haven't heard 'whities' complaining about all the circus clowns who have donned 'whiteface' disguises!
This was Gloria Jean's last film costarring with Don and Peggy, and many consider it their most entertaining. In future Don + Peggy films, usually Suzanna Foster or Ann Blyth took her place as the 'good girl' non-dancing songstress love interest for Don. She had a nice solo in "Moonlight and Roses", as well as several songs with Don, sometimes with Peggy included.
Elinor Donahue, later to gain wide recognition as the elder teenage daughter in the popular TV series "Father Knows Best", was the cute little tap dancing girl. Reportedly, she started tap dancing before age 2!, and also had some very early radio singing engagements.
As in many Universal musicals of this era, 'The Jivin' Jacks and Jills' were on hand to enhance many musical numbers...Ben Carter was a well-known African American performer and promoter of AA theatrical talent. I'm sure I heard the soprano-like voice of Bobby Brooks in his choir. Bobby also sang a number in the Don + Peggy films "Top Man" and "This is the Life".
Florence Bates, although 3X the ages of the 3 stars, didn't start in show business until just a few years earlier, having been well educated and traveled. She naturally was cast as brassy middle-aged women, often authority figures, as in this film. I remember her in the Errol Flynn western San Antonio, and as Vera Ellen's dancing instructor in "On the Town"
Ex-Glenn Miller big band singer Ray Eberle was on hand to sing the ballad "This Must Be a Dream". Sinatra considered him his chief potential competition to be the young pop singer idol of the '40s. Don, to my ear, was just as good. He was backed up by Eddie Miller's Bob Cats. Miller had been a featured singer and clarinetist with Bob Crosby's Bob Cats, among others, and took over Crosby's reorganized Bob Cats for a couple years.
My guess is that many people will object to the inclusion of a prominent blackface minstrel show. If so, I don't think this is fair, as this was still considered an acceptable form of entertainment, even at this rather late date in the blackface era. I know of 3 other films starring Don, which included him in a blackface number, one as late as '53. Judy Garland and Mickey Rooney also did an extensive blackface show in one of their contemporary films. Bing Crosby did a blackface number in the '42 "Holiday Inn", along with introducing "White Christmas", and again in the '44 "Here Comes the WAVES". I thought the blackface show in this film was done in good taste. It was even followed by Ben Carter's choir of real African Americans, who had no relation to the rest of the story. Later, an African American spiritual was featured without blackface, as part of the play. I haven't heard 'whities' complaining about all the circus clowns who have donned 'whiteface' disguises!
This was Gloria Jean's last film costarring with Don and Peggy, and many consider it their most entertaining. In future Don + Peggy films, usually Suzanna Foster or Ann Blyth took her place as the 'good girl' non-dancing songstress love interest for Don. She had a nice solo in "Moonlight and Roses", as well as several songs with Don, sometimes with Peggy included.
Elinor Donahue, later to gain wide recognition as the elder teenage daughter in the popular TV series "Father Knows Best", was the cute little tap dancing girl. Reportedly, she started tap dancing before age 2!, and also had some very early radio singing engagements.
As in many Universal musicals of this era, 'The Jivin' Jacks and Jills' were on hand to enhance many musical numbers...Ben Carter was a well-known African American performer and promoter of AA theatrical talent. I'm sure I heard the soprano-like voice of Bobby Brooks in his choir. Bobby also sang a number in the Don + Peggy films "Top Man" and "This is the Life".
Florence Bates, although 3X the ages of the 3 stars, didn't start in show business until just a few years earlier, having been well educated and traveled. She naturally was cast as brassy middle-aged women, often authority figures, as in this film. I remember her in the Errol Flynn western San Antonio, and as Vera Ellen's dancing instructor in "On the Town"
Ex-Glenn Miller big band singer Ray Eberle was on hand to sing the ballad "This Must Be a Dream". Sinatra considered him his chief potential competition to be the young pop singer idol of the '40s. Don, to my ear, was just as good. He was backed up by Eddie Miller's Bob Cats. Miller had been a featured singer and clarinetist with Bob Crosby's Bob Cats, among others, and took over Crosby's reorganized Bob Cats for a couple years.