Director: NORMAN TAUROG. Screenplay: Bruce Manning and Felix Jackson. Based on an original screen story by Marcella Burke and Frederick Kohner. Photography: Joseph Valentine. Film editor: Philip Cahn. Art directors: Jack Otterson and John Ewing. Costumes: Edith Head, Vera West. Vocal supervision: Charles E. Henderson. Music: Frank Skinner. Music director: Charles Previn. Songs: "I Love To Whistle" (Durbin accompanied by school girl chorus; reprized by Harmonica Band, Durbin and entire cast except Treacher), "Serenade To the Stars" (Durbin with piano accompaniment; reprized by Durbin with full orchestra), "There Isn't a Day Goes By" (Harmonica Band only), "Chapel Bells" (Durbin), — all by Jimmy McHugh (music) and Harold Adamson (lyrics); Gounod's "Ave Maria" (Durbin and the Vienna Boys' Choir). Assistant director: Frank Shaw. Sound recording: Joseph Lapis and Bernard B. Brown. Producer: Joseph Pasternak. Executive producer: Charles R. Rogers.
Copyright 11 March 1938 by Universal Pictures Co., Inc. New York opening at the Roxy, 11 March 1938 (ran 2 weeks). U.S. release: 4 March 1938. Australian release: 26 May 1938. 10 reels. 96½ minutes.
SYNOPSIS: Boarding school girl manufactures an explorer father.
NOTES: Academy Award, Deanna Durbin, for her "significant contribution in bringing to the screen the spirit and personification of youth and as a juvenile player setting a high standard of ability and achievement".
Also nominated for Original Story (Boys Town), Cinematography (The Great Waltz), Art Direction (The Adventures of Robin Hood), Music (Alexander's Ragtime Band).
Remade in 1956 as The Toy Tiger.
COMMENT: Despite its dated, old-hat story, "Mad About Music" is still amusing and entertaining. Fortunately, it is directed at a fast enough clip to maintain the interest and the cast is a delight. Christian Rub has a nice part which he plays to the hilt, while Pangborn makes entrances and exits in his usual splendidly flurried manner. Helen Parrish is most effective as the spiteful Felice, and — though he tends to overdo it — Treacher has some capital moments. Good old ever-reliable Herbert Marshall carries off his stooge role with customary ease.
True, neither Gail Patrick nor William Frawley are particularly convincing, but — praise be! — their roles are limited to the front and end of the picture.
As for Deanna, she is of course absolutely marvelous. At both singing and fibbing she is an absolute charmer. The songs are wonderfully pleasant.
Production values are top-drawer (despite obvious Swiss mountain backdrops and a Paris process screen). Over-misty photography tends to date the film in some sequences, though Valentine's lighting is consistently most attractive. The fine sets deserved their Academy nomination.
Noted around Hollywood for his easygoing nature and his ability to gain the confidence and rapport not only of his co-workers (they literally fought to get on his set) but of children, teenagers and "difficult" stars (like Elvis Presley), director Norman Taurog has handled all his chores with artistry and skill.
Copyright 11 March 1938 by Universal Pictures Co., Inc. New York opening at the Roxy, 11 March 1938 (ran 2 weeks). U.S. release: 4 March 1938. Australian release: 26 May 1938. 10 reels. 96½ minutes.
SYNOPSIS: Boarding school girl manufactures an explorer father.
NOTES: Academy Award, Deanna Durbin, for her "significant contribution in bringing to the screen the spirit and personification of youth and as a juvenile player setting a high standard of ability and achievement".
Also nominated for Original Story (Boys Town), Cinematography (The Great Waltz), Art Direction (The Adventures of Robin Hood), Music (Alexander's Ragtime Band).
Remade in 1956 as The Toy Tiger.
COMMENT: Despite its dated, old-hat story, "Mad About Music" is still amusing and entertaining. Fortunately, it is directed at a fast enough clip to maintain the interest and the cast is a delight. Christian Rub has a nice part which he plays to the hilt, while Pangborn makes entrances and exits in his usual splendidly flurried manner. Helen Parrish is most effective as the spiteful Felice, and — though he tends to overdo it — Treacher has some capital moments. Good old ever-reliable Herbert Marshall carries off his stooge role with customary ease.
True, neither Gail Patrick nor William Frawley are particularly convincing, but — praise be! — their roles are limited to the front and end of the picture.
As for Deanna, she is of course absolutely marvelous. At both singing and fibbing she is an absolute charmer. The songs are wonderfully pleasant.
Production values are top-drawer (despite obvious Swiss mountain backdrops and a Paris process screen). Over-misty photography tends to date the film in some sequences, though Valentine's lighting is consistently most attractive. The fine sets deserved their Academy nomination.
Noted around Hollywood for his easygoing nature and his ability to gain the confidence and rapport not only of his co-workers (they literally fought to get on his set) but of children, teenagers and "difficult" stars (like Elvis Presley), director Norman Taurog has handled all his chores with artistry and skill.