Getting the reclusive Betty Hutton for an interview must have been a daunting task for Robert Osbourne. Still he managed to pull it off and we got a fascinating look at the Paramount movie queen from back in the days of studio system.
Betty was quite the talented performer, as adept at lovely ballads like I Wish I Didn't Love You So as raucous rhythm numbers like Murder He Says, though her reputation has come down for the latter as opposed to the former.
I never realized how insecure she was until that revealing interview. She went to Hollywood and Paramount on the advise of producer lyricist Buddy DeSylva who guarded her career like a mother protecting her young. He apparently ran a lot of interference for her, keeping her away from the seamier aspects of show business. When she went over to MGM for Annie Get Your Gun, she got buffeted good and hard.
One must also read Howard Keel's memoirs and he frankly says Betty grated on the nerves of the entire cast of that film, particularly Louis Calhern. Maybe those on that lot were upset about Judy Garland not doing the film, maybe she just wasn't a good fit at their studio, whatever it was it rankles Betty to this day.
Something Hutton doesn't say in the interview was that Buddy DeSylva died the following year. I guess without her benefactor at some point she decided not to go on. After DeSylva died, Hutton was working for Cecil B. DeMille who could be a tyrant himself on The Greatest Show On Earth. Interesting though, Annie Get Your Gun and The Greatest Show On Earth contain two of her most memorable screen performances.
I also wonder why Robert Osborne did not ask Betty about her sister Marian Hutton who had a brief film career of her own, but was more known as the vocalist with Glenn Miller's Orchestra. Was that a subject that was agreed to in advance not to be broached?
In any event it was a fascinating look and gives new insight into a much loved star. Betty Hutton, RIP. This review is dedicated to you.
Betty was quite the talented performer, as adept at lovely ballads like I Wish I Didn't Love You So as raucous rhythm numbers like Murder He Says, though her reputation has come down for the latter as opposed to the former.
I never realized how insecure she was until that revealing interview. She went to Hollywood and Paramount on the advise of producer lyricist Buddy DeSylva who guarded her career like a mother protecting her young. He apparently ran a lot of interference for her, keeping her away from the seamier aspects of show business. When she went over to MGM for Annie Get Your Gun, she got buffeted good and hard.
One must also read Howard Keel's memoirs and he frankly says Betty grated on the nerves of the entire cast of that film, particularly Louis Calhern. Maybe those on that lot were upset about Judy Garland not doing the film, maybe she just wasn't a good fit at their studio, whatever it was it rankles Betty to this day.
Something Hutton doesn't say in the interview was that Buddy DeSylva died the following year. I guess without her benefactor at some point she decided not to go on. After DeSylva died, Hutton was working for Cecil B. DeMille who could be a tyrant himself on The Greatest Show On Earth. Interesting though, Annie Get Your Gun and The Greatest Show On Earth contain two of her most memorable screen performances.
I also wonder why Robert Osborne did not ask Betty about her sister Marian Hutton who had a brief film career of her own, but was more known as the vocalist with Glenn Miller's Orchestra. Was that a subject that was agreed to in advance not to be broached?
In any event it was a fascinating look and gives new insight into a much loved star. Betty Hutton, RIP. This review is dedicated to you.
