Bill Goodwin Movies

Shipped out on a double bill with Summer Love, Universal's The Big Beat is another of those "rock & roll salads" so popular in the late 1950s. What plot there is concerns the efforts by record executive John Randall (William Reynolds) to sign up several top R&R acts. John also wants to prove his mettle to his old-fashioned exec father Joseph (Bill Goodwin), whose tastes are strictly squaresville. Aiding and abetting Randall is his faithful secretary Nikki (Andrea Martin), who of course worships the shag rug her boss walks on. Comic relief is provided by the one-time-only teaming of Rose Marie and Hans Conried. (This alone is worth the admission price!) The musical highlights in The Big Beat are provided by such luminaries as Gogi Grant, Fats Domino ("I'm Walking"), and the Diamonds. ~ Hal Erickson, All Movie Guide

This musicalized remake of the 1939 comedy Bachelor Mother stars Debbie Reynolds and Eddie Fisher (then Mr. and Mrs.) in the roles originated by Ginger Rogers and David Niven. Reynolds plays a department store salesgirl whose life is turned topsy-turvy when she finds an abandoned baby. Despite her protestations, everyone assumes that she's the mother of the child, including Fisher, the son of store owner Adolphe Menjou. Meanwhile, Menjou convinced that his son is the baby's father, is determined that his boy will "do right" by the innocent Reynolds. Much of the comic zest of the original film is diluted by the lackluster performance of Eddie Fisher, though Debbie Reynolds and the rest of the cast are in fine form. ~ Hal Erickson, All Movie Guide

The Atomic Kid strives mightily to wring laughs from the otherwise humorless topic of atomic radiation. Mickey Rooney (who also produced the film) and Robert Strauss play a couple of brainless prospectors who stumble upon a A-bomb testing site. Led to believe that the area is rich with uranium, Strauss goes off to stake a claim, while Rooney relaxes in a "test" house. Before long, a bomb is dropped, a mushroom cloud sprouts in the desert. . .and Rooney emerges from the rubble unharmed. Later on, however, our hero discovers that he's so full of radiation that he glows in the dark, which makes him both dangerous and world-famous. The plot then veers into Cold War territory as Rooney routs a nest of Soviet spies, led by Robert Emmet Keane. The leading lady of the proceedings is Elaine Davis, Mickey Rooney's then-wife (her marital status, transitory though it may have been, was emphasized in the film's opening credits) Believe it or not, this monumentally unfunny comedy was based on a story by Blake Edwards. ~ Hal Erickson, All Movie Guide

Former cartoonist and gag man Frank Tashlin made his directorial debut with 1952's The First Time. The story concerns Joe and Betsey Bennet (Robert Cummings, Barbara Hale) a young married couple anxiously awaiting the arrival of their first child. Once the bundle of joy has arrived, Joe and Betsey experience the flip side of parenthood--the mounting bills, the incessant demands made on their time, and the ceaseless strain on their nerves. The story material is on the thinnish side, but Tashlin keeps things hopping with a few well-placed sight gags, while Bob Cummings and Barbara Hale work very well together. The First Time is pleasant enough, though it would take a few more pictures before Frank Tashlin would let loose with the zany slapstick and on-target social satire which made him the darling of French film critics. ~ Hal Erickson, All Movie Guide

This Technicolor follow-up to Columbia's 1946 blockbuster The Jolson Story again stars Larry Parks as legendary entertainer Al Jolson--and Jolson himself, as Parks' singing voice. The story concentrates on Jolson's tireless activities entertaining the troops during WW II. After VJ day, Jolson finds that his services are no longer required. Fortunately, he stages a spectacular comeback, thanks in great part to the release of The Jolson Story! The film's Pirandellian overtones come to a head when Larry Parks as Jolson meets Larry Parks as Larry Parks. Also returning from The Jolson Story are William Demarest as the title character's manager Steve Martin, Bill Goodwyn as Broadway-producer Tom Baron, and Ludwig Donath and Tamara Shayne as Jolson's old-world parents. Barbara Hale appears as Jolson's wife (his third, though this fact is not dwelled upon), renamed Ellen Clark for the moment, while Myron McCormick plays a composite character based on several Hollywood executives (including, one supposes, Columbia mogul Harry Cohn). Song highlights include "After You've Gone", "You Made Me Love You", "Let Me Sing and I'm Happy", "Sonny Boy", "About a Quarter to Nine", "April Showers", "Back in Your Own Backyard", and, of course, "Mammy". ~ Hal Erickson, All Movie Guide

Not a remake of the 1917 Mabel Normand vehicle of the same name, Mickey was based on Clementine, a novel by Peggy Goodin. The tomboyish title character is played by redheaded Lois Butler, whom Eagle-Lion Studios was trying to build into a major name. During her awkward transition to womanhood, Mickey Kelly takes time out to find an eligible wife for her widowed father George (Bill Goodwyn). Of the two likeliest candidates, bitchy Lydia Matthews (Rose Hobart) seems to have the inside track, but Mickey vastly prefers down-to-earth Louise Williams (Irene Hervey). The best performance is delivered by Skippy Homeier as Hank Evans, the boy who awakens Mickey's own amorous yearnings. ~ Hal Erickson, All Movie Guide

In this musical, the fourth entry in a five-film series, three singers come together to form a nightclub act. Their songwriter falls for the female. They become a hit and are soon signed to appear in Hollywood musicals, but when the female becomes a star, the group disbands. Songs include: "Chiquita from Santa Anita," "Is There Anyone Here from Texas?" "I Guess I'll Have That Dream Right Away," "Couldn't Be More in Love," "The Customer is Always Wrong," "The Cats Are Going to the Dogs," "Brooklyn Buckaroos," and "Out California Way." ~ Sandra Brennan, All Movie Guide

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide

Though Republic had decided to forego plans for an annual film edition of Earl Carroll's Vanities, their reciprocal deal with the Broadway impresario was still very much in effect in 1946: Hence the creation of the musical extravaganza Earl Carroll Sketchbook. The highly forgettable plot involves a serious composer named Tyler Brice (William Marshall) who "sells out" to write radio commercials. Artistically redeemed by heroine Pamela Thayer (Constance Moore), Brice decides to lend his talents-both as composer and singer-to producer Earl Carroll's newest nightclub revue (Richard Lane plays the Carroll character, here named Richard Starling). The Jule Styne-Sammy Cahn tunes are hardly classics, though "I've Never Forgotten" has possibilities. The film also revives Harold Arlen and Ted Koehler's "I've Got a Right to Sing the Blues", first introduced in the 1932 edition of Vanities. TV prints of Earl Carroll's Sketchbook have been retitled Hats Off to Rhythm ~ Hal Erickson, All Movie Guide

The Stork Club, the famed New York nightspot immortalized by columnist Walter Winchell (in return for special favors from its owners), is the setting for this typically brash Betty Hutton musical. Hutton plays a young hat check girl who rescues an elderly tramp (Barry Fitzgerald) from drowning. The old bum turns out to be a millionaire, and expresses his gratitude by setting up Hutton in luxury--asking for nothing in return. Hutton's boyfriend Don DeFore suspects hanky panky, but all is forgiven during the obligatory floor show. There are rumors that the Stork Club itself financed The Stork Club as a feature-length commercial. Whatever the case, ownership of the film was cloudy enough to allow it to slip into the public domain in 1982, which explains why Stork Club seems to be running 24 hours a day on cable TV. ~ Hal Erickson, All Movie Guide

Incendiary Blonde is a highly entertaining if historically suspect biopic of "Queen of the Nightclubs" Texas Guinan. As played (or overplayed) by Betty Hutton, Guinan is a hoydenish Texas gal whose showbiz career gets under way when she joins a Wild West show in 1909. A favorite with male patrons because of her salty vocabulary and what-the-hell attitude, Guinan rises to fame as a Broadway musical-comedy star and movie actress, only to crash-land after an unhappy marriage to her manager Tim Callahan (Bill Goodwin). Taking advantage of Prohibition, Guinan opens the first of several nightclubs, fending off the Feds while welcome her customers with an insouciant "Hello, sucker!" Naturally, Betty Hutton is given several opportunities to sing and dance, which she does with her usual unbridled enthusiasm. ~ Hal Erickson, All Movie Guide