Vera-Ellen Movies

Let's Be Happy is an updated remake of Jeannie (1941), one of the most likable British comedies of the 1940s. The premise is basically the same: A working girl inherits a fortune, goes on a fling, is rescued from a caddish seducer by a down-to-Earth salesman. In Jeannie, the girl uses her legacy to get out of Scotland and tour the continent; in Let's Be Happy, the girl (Vera Ellen) is an American who travels to Scotland to assume ownership of her family's castle. Since stars Vera Ellen and Tony Martin (as the salesman) were musical comedy performers, Let's Be Happy obliging becomes a musical comedy. ~ Hal Erickson, Rovi

Big Leaguer was the inauspicious feature-film debut for director Robert Aldrich. Edward G. Robinson stars as the real-life Hans Lobert, the baseball scout in charge of the New York Giants' Florida training camp. Each year, a new crop of would-be ballplayers are given a two-week tryout under Lobert's supervision. The aspirants this time out include, Adam Polachuk (Jeff Richards), the son of a Polish immigrant who wants Adam to become a lawyer; Julie Davis (William Campbell), a tough guy from the streets of New York; Bobby Bronson (Richard Jaeckel), a cocky Ohio lad; and Chuy Aguilar (Lalo Rios), a Mexican youth whose skill on the ballfield compensates for his tenuous grasp of the English language. Gradually, Adam emerges as the film's central character, as he simultaneously tries to make good for Lobert, romance Lobert's niece Christy (Vera-Ellen), and keep his dad from finding out that he's not attending law school. Though Big Leaguer was held in such low esteem by distributor MGM that it became the first Edward G. Robinson picture not to be given a regular playdate in Manhattan, the film is worth seeing today, if only for the presence of such genuine big leaguers as Al Campanis, Carl Hubbell, Bob Trocolor and Tony Ravish. ~ Hal Erickson, Rovi

A lesser Fred Astaire effort, Belle of New York is set during the turn of the century. Astaire plays a footloose and fancy-free playboy who falls in love with Salvation Army lass Vera-Ellen. To prove his worth to the girl, Astaire breaks down and gets a job. Naturally, there's plenty of terpsichorean activity from the two stars, but nothing truly worth remembering save for Astaire's solo "I Wanna be a Dancin' Man". The film's best moments belong to such stellar supporting players as Alice Pearce, Marjorie Main, Keenan Wynn, Henry Slate, and the ubiquitous Percy Helton. Belle of New York was adapted by Chester Erskine from a play by Hugh Morton. ~ Hal Erickson, Rovi

MGM's Three Little Words is a "twin" musical biopic, covering the lives and careers of songwriters Bert Kalmar and Harry Ruby. Fred Astaire plays Kalmar, a frustrated magician, while Red Skelton is cast as Ruby, a wannabe baseball player. After "meeting cute" during a disastrous vaudeville show, the oil-and-water Bert and Harry become a popular songwriting team, dashing off such favorites as Who's Sorry Now?, Nevertheless, So Long Oo-Long, I Wanna be Loved by You, All Alone Monday and the title song (the film unfortunately skimps on Kalmar and Ruby's Gilbert-and-Sullivan style novelty ditties, with the exception of Hooray for Captain Spaulding, Groucho Marx' signature tune in Animal Crackers). Adhering more to MGM formula than the facts, the script contrives to have Kalmar and Ruby split up over a trivial misunderstanding, only to be reunited by their wives for an "all is forgiven" radio broadcast hosted by bandleader Phil Regan. Vera-Ellen co-stars as Kalmar's vaudevillian wife Jessie Brown, while Arlene Dahl portrays Ruby's movie-star spouse Eileen Percy. Gloria DeHaven is seen as her own mother, Mrs. Carter DeHaven; and Debbie Reynolds plays "boop-a-doop" girl Helen Kane, her singing voice dubbed in by Ms. Kane herself. Though not quite as humorous as the subject matter would seem to dictate (Red Skelton gets his biggest laughs in the scenes wherein he, as Harry Ruby, participates in spring training with his favorite baseball club) Three Little Words is an excellent example of MGM's musical unit at the height of its powers. ~ Hal Erickson, Rovi

The Marx Brothers' final starring feature Love Happy began life as a solo vehicle for Harpo. The financiers wouldn't go for this, insisting that all three Marx boys appear on screen. Thus, Chico was hastily written into the proceedings, while Groucho made what amounted to a guest appearance as narrator and last-minute problem solver. The story concerns a group of aspiring actors who are putting together a musical review called "Love Happy." Harpo, the troupe's mascot, keeps the actors from starving by cleverly filching canned goods from a local grocer. On one such excursion, he accidentally gets hold of a sardine can containing a fortune in stolen diamonds. This makes Harpo the target of icy adventuress Madame Egilichi (Ilona Massey) and her henchmen (Melville Cooper, Raymond Burr, Bruce Gordon). When he isn't fending off the villains, Harpo is making life a little brighter for "Love Happy"'s leading lady Maggie (Vera-Ellen). Chico shows up sporadically as Faustino the Great, an itinerant musician, while Groucho plays private eye Sam Grunion, who does the best he can with some pretty weak dialogue. Groucho's best scene is his one-minute confrontation with a gorgeous blonde client, played by a decidedly pre-stardom Marilyn Monroe. Most of the comedy routines in Love Happy are either underwritten or underdeveloped, save for the spectacular finale, wherein Harpo evades the villains by climbing over, under and around neon advertisement signs for such products as Fisk Tires, Mobilgas and Kool Cigarettes. The fact that Ben Hecht wrote the original story upon which Love Happy was based caused the film to be banned in Great Britain, due to Hecht's improvident comments about the British occupation of Palestine. Though dyed-in-the-wool Marx Brothers fans tend to dislike Love Happy, the film manages to deliver quite a few solid laughs when seen today. ~ Hal Erickson, Rovi

The life stories of Broadway tunesmiths Richard Rodgers and Lorenz Hart are prettified for the screen in MGM's Words and Music. Billed fourth, the colorless Tom Drake plays Rodgers, but never mind that: the film belongs to Mickey Rooney, as the dynamic, self-destructive Lorenz Hart. Understandably, Hart's bisexuality is downplayed. According to MGM, his biggest problem in life is that he was never satisfied with his work. We are, however, especially when those great Rodgers & Hart tunes are performed by the likes of Judy Garland, Janet Leigh, Perry Como, Lena Horne, June Allyson, Cyd Charisse, Betty Garrett, Ann Sothern, Mel Torme, Allyn McLerie, Gene Kelly and Vera-Ellen. The musical highlights include Garland's powerhouse rendition of Johnny One-Note, Kelly's Slaughter on 10th Avenue dance solo, Horne's interpretation of Where or When, Allyson's take on Thou Swell, and, best of all, Rooney's premiere performance of I'll Take Manhattan, which he allegedly had just written on the back of an automobile advertisement! ~ Hal Erickson, Rovi

20th Century-Fox pulled its script for Three Blind Mice out of mothballs once more for Three Little Girls in Blue. June Haver, Vera-Ellen and Vivian Blaine are the blue-clad trio, searching for wealthy husband in Atlantic City in 1905. As in all other versions of this Stephan Powys story, two of the girls latch onto handsome young men who aren't as rich as they appear to be, while the third young lady falls for a seemingly nerdish chap who turns out to be rolling in dough. The menfolk in this yarn are handsome George Montgomery, handsome Frank Latimore, and nonhandsome Charles Smith. Taking its cue from the 1941 edition of this story (Moon Over Miami), Three Little Girls in Blue is a musical, with singing from Vivian Blaine and June Haver and dancing from Vera-Ellen. The story was good for yet another go-round in 1953: How to Marry a Millionaire. ~ Hal Erickson, Rovi

Danny Kaye plays the first of his cinematic dual roles in Goldwyn's Wonder Man. Kaye appears as timid librarian Edwin Dingle and Edwin's extroverted twin brother, nightclub entertainer Buzzy Bellew. When Buzzy witnesses a gangland shooting, he himself is rubbed out by mob boss Ten-Grand Jackson (Steve Cochran, in his movie debut). Before long, Edwin is visited by Buzzy's ghost, who persuades his bookish brother to help bring Jackson to justice. For the rest of the film, poor Edwin is possessed by his brother's sportive spirit, causing no end of confusion for Edwin's demure lady friend Ellen Shanley (Virginia Mayo) and Buzzy's more outgoing girlfriend, dancer Midge Mallon (Vera-Ellen, also making her first film appearance). Done up in splashy Technicolor, Wonder Man is perhaps Kaye's best Goldwyn-produced vehicle, permitting him to play a character (or characters) rather than a caricature. Highlights include an opera spoof (a variation of which showed up in Kaye's 1954 feature Knock on Wood), Danny's allergic rendition of "Otchi Chornya," and a wonderful vignette wherein Kaye imitates all the "inhabitants" of a pet shop. ~ Hal Erickson, Rovi