You never know what gems the vaults will deliver. The 1948 musical comedy On Our Merry Way has a self-reflexivity 60 years ahead of its time.
The main and three subplots show women commanding the character and strength that saves their men. They play on various forms of a "baby." In one two roving conmen (Fred Macmurray, William Demarest) are trapped by the evil 10-year-old they hope to return home for a cash reward. Shades of O. Henry's "Ransom of Red Chief." The brat's older sister is the only sane, competent member of the family, including the crazed bank manager uncle.
Then a spoiled rotten child star is shown her selfish ways and atones by boosting the careers of a washed-up old actor (Victor Moore) and a pretty starlet who blossoms when she dons a sarong. The starlet is Dorothy Lamour, who performs a spirited parody of her usual musical (and saronged) numbers.
In the best episode (directed by uncredited John Huston and George Stevens) Henry Fonda and James Stewart star as broke swing bandleaders who set up a rigged talent contest to get the money to fix their bus. Their plan is torpedoed when their mechanic's daughter, Baby, turns out to be a hot beauty who blows every mean horn, impressing judge Harry James. The two leads have a charming ease together that supports the very broad comedy. In their happy ending the Babe takes over their band, the bus mobile again, but she invites them to stay.
The main plot works round to a happy ending too. The editor brings Oliver Pease (Burgess Meredith) a job offer just as their furniture is being repossessed. Wife Martha reveals she's expecting a baby. As it turns out, the looming baby — through its mother's initiative — has transformed the daddy from a duplicitous loser into a sensitive, effective reporter. More than a child affecting the plots, that other secondary type, the woman, is the motive force that in each story is responsible for the success. Martha has been on to Oliver all along.
In addition to that irony and the recurring parody, the film also provides that rarity, the actor's direct address to the viewer. Meredith's Oliver confides to the audience that he has lied to his wife, that he's going to come clean even if her loses her, and defines us as companions on his adventure. This is not a great movie but it is a knowing one, enjoying the liberties it takes with the studio film conventions. John Ohara and Arch Oboler had a hand in the stories. For more see www.yacowar.blogspot.com.
The main and three subplots show women commanding the character and strength that saves their men. They play on various forms of a "baby." In one two roving conmen (Fred Macmurray, William Demarest) are trapped by the evil 10-year-old they hope to return home for a cash reward. Shades of O. Henry's "Ransom of Red Chief." The brat's older sister is the only sane, competent member of the family, including the crazed bank manager uncle.
Then a spoiled rotten child star is shown her selfish ways and atones by boosting the careers of a washed-up old actor (Victor Moore) and a pretty starlet who blossoms when she dons a sarong. The starlet is Dorothy Lamour, who performs a spirited parody of her usual musical (and saronged) numbers.
In the best episode (directed by uncredited John Huston and George Stevens) Henry Fonda and James Stewart star as broke swing bandleaders who set up a rigged talent contest to get the money to fix their bus. Their plan is torpedoed when their mechanic's daughter, Baby, turns out to be a hot beauty who blows every mean horn, impressing judge Harry James. The two leads have a charming ease together that supports the very broad comedy. In their happy ending the Babe takes over their band, the bus mobile again, but she invites them to stay.
The main plot works round to a happy ending too. The editor brings Oliver Pease (Burgess Meredith) a job offer just as their furniture is being repossessed. Wife Martha reveals she's expecting a baby. As it turns out, the looming baby — through its mother's initiative — has transformed the daddy from a duplicitous loser into a sensitive, effective reporter. More than a child affecting the plots, that other secondary type, the woman, is the motive force that in each story is responsible for the success. Martha has been on to Oliver all along.
In addition to that irony and the recurring parody, the film also provides that rarity, the actor's direct address to the viewer. Meredith's Oliver confides to the audience that he has lied to his wife, that he's going to come clean even if her loses her, and defines us as companions on his adventure. This is not a great movie but it is a knowing one, enjoying the liberties it takes with the studio film conventions. John Ohara and Arch Oboler had a hand in the stories. For more see www.yacowar.blogspot.com.