I really enjoyed the first half of this movie as Bowery theatre managers Oakie and Cook fight each other for audiences by stealing each other's ideas. Lively and fast-paced, with an excellent cameo by Louise Allbritton as Lillian Russell, this is great fun. Then they move to 14th Street and things get bogged down in some silly dramatics about a reluctant star and her composer boyfriend. The third segment picks up a bit with Maria Montez as a fiery star helping the boys get to Broadway. The songs and dances are forgettable - even Donald O'Connor's bit is pretty ordinary - but there is a fabulous comedy routine from Mantan Moreland and Ben Carter. Nice to see the superb Maude Eburne in a small comic part. Pretty good.
4 Reviews
Delightful escapist fluff from Universal
AlsExGal10 January 2015
I think it was Richard Barrios in his book "Song in the Dark" who said that Universal did not make anything worth watching outside of their monster pictures and Abbott and Costello films from the time the Laemmles lost control in 1936 until 1950. I beg to differ, and this film is part of my argument.
This is pretty much a cute little musical comedy about two Irish-American showmen, Michael O'Rourke (Jack Oakie) and Dennis Dugan (Donald Cook) who start out with rival show houses in the Bowery in the gay 90's and continue that rivalry to Broadway, thus the title. Even if these guys fight constantly, they fight like brothers, in a good natured way. Each one takes turns getting the other arrested due to some cooked up plan, but then bails the other one out with mutual friend Father Kelley (Andy Devine) going to the jail to do the actual bailing.
Oakie plays the crude but jolly showman, Cooke plays it smooth and sophisticated. Eventually they learn that they would both get further if they work together rather than against one another. That is pretty much the framework of the rather thin plot.
Because it is a rather thin plot, there are several subplots. Some people have said that this is what bogs down the film, but I think it is just part of the story of Broadway - a married dancing couple that finds out their art has become extinct and decide to bow out gracefully rather than cause trouble for the show getting backing, a young woman who was billed as the girl with "million dollar legs" who falls from a prop and may never walk again because of the accident, and a European actress who beguiles one of the two showmen into backing her in rather dismal plays that produce flop after flop all because he is blinded by love. Thus lady luck is the fickled one here, leaving you on top one day down the next, not any of the characters - they all have good intentions.
The one minus here - I don't know if it was because the film was trying to have the numbers follow so closely to what was popular in the early 20th century or not, but I just felt that the numerous musical numbers just landed with a thud. I can't recall one memorable musical number or song from the entire film. Fox was doing musicals set in the gay 90's at about the same time this film was made and their product seemed to be much better than this.
So if you want a cute little musical comedy with very little real conflict and pretty much happy endings all around I would recommend this one. It is perfect for someone recovering from a nervous breakdown.
This is pretty much a cute little musical comedy about two Irish-American showmen, Michael O'Rourke (Jack Oakie) and Dennis Dugan (Donald Cook) who start out with rival show houses in the Bowery in the gay 90's and continue that rivalry to Broadway, thus the title. Even if these guys fight constantly, they fight like brothers, in a good natured way. Each one takes turns getting the other arrested due to some cooked up plan, but then bails the other one out with mutual friend Father Kelley (Andy Devine) going to the jail to do the actual bailing.
Oakie plays the crude but jolly showman, Cooke plays it smooth and sophisticated. Eventually they learn that they would both get further if they work together rather than against one another. That is pretty much the framework of the rather thin plot.
Because it is a rather thin plot, there are several subplots. Some people have said that this is what bogs down the film, but I think it is just part of the story of Broadway - a married dancing couple that finds out their art has become extinct and decide to bow out gracefully rather than cause trouble for the show getting backing, a young woman who was billed as the girl with "million dollar legs" who falls from a prop and may never walk again because of the accident, and a European actress who beguiles one of the two showmen into backing her in rather dismal plays that produce flop after flop all because he is blinded by love. Thus lady luck is the fickled one here, leaving you on top one day down the next, not any of the characters - they all have good intentions.
The one minus here - I don't know if it was because the film was trying to have the numbers follow so closely to what was popular in the early 20th century or not, but I just felt that the numerous musical numbers just landed with a thud. I can't recall one memorable musical number or song from the entire film. Fox was doing musicals set in the gay 90's at about the same time this film was made and their product seemed to be much better than this.
So if you want a cute little musical comedy with very little real conflict and pretty much happy endings all around I would recommend this one. It is perfect for someone recovering from a nervous breakdown.
Entertaining 'reluctant buddy' gay 90s? musical drama
weezeralfalfa26 January 2013
Warning: Spoilers
Baby-faced charismatic veteran character actor Jack Oakie and Bogart-like Donald Cook star in the melodramatic portions of this musical drama about two bachelor Bowery burlesque owners(O'Rourke and Dugan, respectively) in late 19th or very early 20th century Manhattan. They have been competing against each other for years, trying to steal each other's stars and ideas, sometimes joining forces, periodically being jailed for indecent entertainment, or hitting the skids when their star vaporizes. The screenplay rather resembles that of Fox's Technicolor hit of the previous year "Coney Island", starring Betty Grable, Caesar Romero, and George Montgomery.
Jack was in his favorite element, having spent much of his early theatrical career in Broadway musicals and comedies, and having costarred in such musical theater films as "Tin Pan Alley", "King of Burlesque" and its remake "Hello, Frisco, Hello", and in the earlier '44 "The Monahans", with teenage Don O'Connor and Peggy Ryan. The latter two had one stage production in this film, singing and dancing to "He Took Me for a Sleigh Ride in the Good Old Summertime", certainly one of the stage production highlights of the film.
A series of female singer/ actresses alternatively serve as the main star of one or the other establishment, then vanish from the stage. The first is blond Bonnie Latour, played by Evelyn Ankers, seemingly out of her element, as she was usually cast in Universal's frequent horror films. She was replaced by the only historical personage in the screen play: Lillian Russell, who only sings as a member of the audience in Dugan's club. Louise Allbriton, a striking young blond contract player for Universal, makes a very convincing Lillian, in a very fancy outfit. She participates in one of the highlights of the film, which begins as a male quartet on stage, moving to Lillian in the audience, then back to the stage for the finale. It's done to the popular turn of the century ditty "Under the Bamboo Tree", composed by an African American team, sited in Zululand. This song was done by Judy Garland and very young Margeret O'Brien, in the popular period "Meet Me in St. Louis", also released in '44. I find the production in the present film much more impressive. Louise was also impressive as an actress in the Universal musical comedy "This is the Life", released earlier in '44.
The next big star find involved Suzanna Foster, as Peggy Fleming, a striking coloratura soprano, who is reluctant to become a theatrical star. Suzanna sings 3 songs,only one on stage. This is an elaborate production, with a backup chorus-dance troupe,to "There'll Always be a Moon", with Peggy siting on a swing-like crescent moon. .. Strangely, this show was begun a second time. But, part way through, Peggy falls off the moon, sustaining serious injuries. She is never again seen in a show, although she sings another song and appears periodically as a supporting character.Just before this mishap, Peggy doesn't want to go on stage, reiterating that she doesn't want to become a theatrical star. Ironically, the real Suzanna, who had been featured in a number of previous Universal and Paramount musicals, said she had no desire for a long career as a star or any other demanding career. She would quit Universal the next year, dissatisfied with her recent roles.
The next show star is an established European actress and singer: Marina, played by first-billed Maria Mantez. Maria, although with said limited singing, dancing and acting talent, had been picked up by Universal a few years earlier.She had become very popular with wartime audiences in a series of forgettable escapist sand and sandals Technicolor films. Apparently, this is the reason for her first -billing, despite her limited appearances.She starred in one lavish production number. "My Song of Romance" and "Montevideo" were featured. I don't know if she did her own singing, but it was quite adequate, along with that of her accompanying male singer/dancer. She was rather striking looking, as billed. Dugan develops a crush on her, which has its ups and downs,the final scene suggesting an eventual reconciliation.
Aside from the O'Connor-Ryan number near the end, the final singing star discovered is Bessie Jo Kirby: the daughter of a couple who had long been with O'Rourke in the Bowery, but felt out of place on Broadway. Bessie is played by 16 y.o. Ann Blyth, who had sung some in two previous '44 films starring O'Connor and Ryan, which featured her much more in the melodrama. Here, she stars in the final big production number. Presumably, it's the song titled "The Love Waltz"
I should mention an informal street verbal comedy skit by African Americans Mantan Moreland and Ben Carter. They engage in what was termed an 'indefinite talk' routine, in which they continuously cut off each other in mid-sentence, as if they know the rest of the sentence. Mantan had much previous stage experience with this.
This B&W film is currently available at You Tube in 2 segments, which gives you a snack/bathroom intermission break.
Jack was in his favorite element, having spent much of his early theatrical career in Broadway musicals and comedies, and having costarred in such musical theater films as "Tin Pan Alley", "King of Burlesque" and its remake "Hello, Frisco, Hello", and in the earlier '44 "The Monahans", with teenage Don O'Connor and Peggy Ryan. The latter two had one stage production in this film, singing and dancing to "He Took Me for a Sleigh Ride in the Good Old Summertime", certainly one of the stage production highlights of the film.
A series of female singer/ actresses alternatively serve as the main star of one or the other establishment, then vanish from the stage. The first is blond Bonnie Latour, played by Evelyn Ankers, seemingly out of her element, as she was usually cast in Universal's frequent horror films. She was replaced by the only historical personage in the screen play: Lillian Russell, who only sings as a member of the audience in Dugan's club. Louise Allbriton, a striking young blond contract player for Universal, makes a very convincing Lillian, in a very fancy outfit. She participates in one of the highlights of the film, which begins as a male quartet on stage, moving to Lillian in the audience, then back to the stage for the finale. It's done to the popular turn of the century ditty "Under the Bamboo Tree", composed by an African American team, sited in Zululand. This song was done by Judy Garland and very young Margeret O'Brien, in the popular period "Meet Me in St. Louis", also released in '44. I find the production in the present film much more impressive. Louise was also impressive as an actress in the Universal musical comedy "This is the Life", released earlier in '44.
The next big star find involved Suzanna Foster, as Peggy Fleming, a striking coloratura soprano, who is reluctant to become a theatrical star. Suzanna sings 3 songs,only one on stage. This is an elaborate production, with a backup chorus-dance troupe,to "There'll Always be a Moon", with Peggy siting on a swing-like crescent moon. .. Strangely, this show was begun a second time. But, part way through, Peggy falls off the moon, sustaining serious injuries. She is never again seen in a show, although she sings another song and appears periodically as a supporting character.Just before this mishap, Peggy doesn't want to go on stage, reiterating that she doesn't want to become a theatrical star. Ironically, the real Suzanna, who had been featured in a number of previous Universal and Paramount musicals, said she had no desire for a long career as a star or any other demanding career. She would quit Universal the next year, dissatisfied with her recent roles.
The next show star is an established European actress and singer: Marina, played by first-billed Maria Mantez. Maria, although with said limited singing, dancing and acting talent, had been picked up by Universal a few years earlier.She had become very popular with wartime audiences in a series of forgettable escapist sand and sandals Technicolor films. Apparently, this is the reason for her first -billing, despite her limited appearances.She starred in one lavish production number. "My Song of Romance" and "Montevideo" were featured. I don't know if she did her own singing, but it was quite adequate, along with that of her accompanying male singer/dancer. She was rather striking looking, as billed. Dugan develops a crush on her, which has its ups and downs,the final scene suggesting an eventual reconciliation.
Aside from the O'Connor-Ryan number near the end, the final singing star discovered is Bessie Jo Kirby: the daughter of a couple who had long been with O'Rourke in the Bowery, but felt out of place on Broadway. Bessie is played by 16 y.o. Ann Blyth, who had sung some in two previous '44 films starring O'Connor and Ryan, which featured her much more in the melodrama. Here, she stars in the final big production number. Presumably, it's the song titled "The Love Waltz"
I should mention an informal street verbal comedy skit by African Americans Mantan Moreland and Ben Carter. They engage in what was termed an 'indefinite talk' routine, in which they continuously cut off each other in mid-sentence, as if they know the rest of the sentence. Mantan had much previous stage experience with this.
This B&W film is currently available at You Tube in 2 segments, which gives you a snack/bathroom intermission break.
There'll always be a moon over New York City to get caught between.
mark.waltz25 September 2017
Warning: Spoilers
An A list Universal musical, this is no "Coney Island" or "Greenwich Village", lacking both technicolor and colorful characters. It's basically the same generic plot line of the ambitions of a producer to rise up out of their far from Times Square theater and land on the Great White Way. What starts off well bogs down into melodrama, basically bits and pieces of stage and screen musicals tossed together to create a rather maudlin film. Practically every Universal contract player shows up in this (minus Lugosi, Karloff and Chaney of the horror unit and Deanna Durbin of the musical unit) for a song and dance, and the lighthearted pacing of the Durbin musicals is greatly missed.
The story focuses on 14th Street theater owner Jack Oakie's desire to go uptown, and the issues involving his beautiful star, Susannah Foster. She is on her way to the top when a horrible accident curtails that. But pal Frank McHugh and his wife Rosemary DeCamp have a talented daughter who grows up to be Ann Blyth, and like "Show Boat's" Kim, she's an overnight sensation, leading to a lavish, overstuffed finale.
Along the way, there's Maria Montez as a temperamental international star, Louise Albritton as Lillian Russell (singing "Under the Bamboo Tree" very unlike Margaret O'Brien the very same year, and Andy Devine as a sentimental priest. I didn't find that this represented the turn of the century Bowery in the least. In fact, I found Universal's attempts to rival the 20th Century Fox lavish period musical to be a near misfire. They had better luck with the teen based musicals which must be why they threw in Donald O'Connor and Peggy Ryan for a specialty. The lavish Susannah Foster musical number, "There'll Always Be a Moon", is a snoozer, and the ripoff in the reprise of a tragic moment from the 1935 movie musical "Sweet Adeline" lacks the needed impact. If this succeeded in anything, it showed how lavish the musicals made at Republic studios were, because this is overstuffed with style and only a tiny whisp of substance.
The story focuses on 14th Street theater owner Jack Oakie's desire to go uptown, and the issues involving his beautiful star, Susannah Foster. She is on her way to the top when a horrible accident curtails that. But pal Frank McHugh and his wife Rosemary DeCamp have a talented daughter who grows up to be Ann Blyth, and like "Show Boat's" Kim, she's an overnight sensation, leading to a lavish, overstuffed finale.
Along the way, there's Maria Montez as a temperamental international star, Louise Albritton as Lillian Russell (singing "Under the Bamboo Tree" very unlike Margaret O'Brien the very same year, and Andy Devine as a sentimental priest. I didn't find that this represented the turn of the century Bowery in the least. In fact, I found Universal's attempts to rival the 20th Century Fox lavish period musical to be a near misfire. They had better luck with the teen based musicals which must be why they threw in Donald O'Connor and Peggy Ryan for a specialty. The lavish Susannah Foster musical number, "There'll Always Be a Moon", is a snoozer, and the ripoff in the reprise of a tragic moment from the 1935 movie musical "Sweet Adeline" lacks the needed impact. If this succeeded in anything, it showed how lavish the musicals made at Republic studios were, because this is overstuffed with style and only a tiny whisp of substance.
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