While the 1944 movie is colorful and features some great moments, it is a bit of a disappointment in retrospective. Some shows seem to be too ahead of their time, and even with serious subjects dealt with in a handful of shows, psychological turmoil was not one of those that held a lot of interest during the dark days of World War II. It had all the factors that looked like a surefire hit, but something was missing. Certainly, that wasn't the fault of its cast, especially Ginger Rogers. But a TV version a decade later got it together, creating a perfect example of how TV musicals could work better than those on the big screen.
Ginger Rogers could have easily repeated her movie role and scored a success, but the role of the troubled magazine editor Liza Elliott went instead to Ann Sothern, as far from Maisie or her private secretary as an actress can get. Like Rogers, she's not the best singer (neither was Gertrude Lawrence who originated the part on stage), but like Ginger was an excellent dancer. She was also an even better dramatic actress and chews up the part as each of her emotional turmoils is explored. Also scoring highly is Carleton Carpenter whose obviously gay character makes his attraction to a male model extremely obvious. Luella Gear gets some great lines and delivers them with delicious venom.
As for the various men in her life, they are remarkably all dull. Still, this is a lavish and an important chapter in not only the development of the Broadway musical but a decade later, an advancement in the way TV could tell stories, educate and entertain. The Kurt Weill and Ira Gershwin score is sweet, profound and thought provoking. "My Ship" is my own particular favorite. The production number of "Jenny" is performed here rather subtly, certainly not like the campy overstuffed spectacle of Julie Andrews' version in "Star!" TV had something for every type of audience during the 1950's, and this appealed to the intellectuals who clamored for something real that they could ponder over rather than wait for a commercial break to grab a soda.
Ginger Rogers could have easily repeated her movie role and scored a success, but the role of the troubled magazine editor Liza Elliott went instead to Ann Sothern, as far from Maisie or her private secretary as an actress can get. Like Rogers, she's not the best singer (neither was Gertrude Lawrence who originated the part on stage), but like Ginger was an excellent dancer. She was also an even better dramatic actress and chews up the part as each of her emotional turmoils is explored. Also scoring highly is Carleton Carpenter whose obviously gay character makes his attraction to a male model extremely obvious. Luella Gear gets some great lines and delivers them with delicious venom.
As for the various men in her life, they are remarkably all dull. Still, this is a lavish and an important chapter in not only the development of the Broadway musical but a decade later, an advancement in the way TV could tell stories, educate and entertain. The Kurt Weill and Ira Gershwin score is sweet, profound and thought provoking. "My Ship" is my own particular favorite. The production number of "Jenny" is performed here rather subtly, certainly not like the campy overstuffed spectacle of Julie Andrews' version in "Star!" TV had something for every type of audience during the 1950's, and this appealed to the intellectuals who clamored for something real that they could ponder over rather than wait for a commercial break to grab a soda.
