E.Y. "Yip" Harburg Movies

After his mother's death, Fred P. Cheney (Bob Goldthwaith) must share the family financial business with his scheming stepfather Walter Sawyer (Dabney Coleman) in this misfired comedy. Fred also inherits Don, a talking horse who provides him with hot tips on the stock market. Don's voice is provided by John Candy, and Virginia Madsen plays Fred's romantic interest Allison Rowe. Mr. Ed and Francis the Talking Mule must be rolling over in their graves over this uneven comedy attempt. ~ Dan Pavlides, Rovi

In this comedy-drama, President Lincoln temporarily abandons his inaugural tour to visit a little girl who wrote him a letter asking him to grow a beard. ~ Sandra Brennan, Rovi

In this 1963 holiday episode of The Judy Garland Show, a large crop of guest stars, including Judy Garland's three children, joins the singer for a bevy of classic and contemporary songs, most of them Christmas-themed. Opening with one of her signature tunes, "Have Yourself a Merry Little Christmas" from Meet Me in St. Louis, Garland makes her way through "Consider Yourself" (from Oliver), "Little Drops of Rain" (from Gay Purr-ee), and, of course, "Over the Rainbow" (from The Wizard of Oz). Jazz singers Jack Jones and Mel Torme also turn up; Jones solos on "Wouldn't It Be Loverly" and "Lollipops and Roses", while Torme duets with Garland on one of his own classics, "The Christmas Song" (also known as "Chestnuts Roasting on an Open Fire"). Joey Luft and Lorna Luft, Garland's two school-age children by third husband Sidney Luft, get their chance to shine, as does eldest daughter and future superstar Liza Minnelli. The entire program is staged as a mock Christmas party, complete with dancing Santas, visiting carolers, and a couple of medleys featuring the entire ensemble. Garland begins the show by inviting viewers into her "home" -- actually a split-level set dressed to resemble a palatial living room. Episode 15 of Garland's short-lived CBS television show, The Judy Garland Christmas Show was taped on December 6, 1963, and broadcast a few weeks later on December 22. Astute viewers will note that Garland flubs a line from Torme's The Christmas Song, earning a chuckle from its composer, and then deliberately substitutes the word "rainbow" for "reindeer" in the next line -- an allusion to her own signature tune. Torme served as a consultant for almost the entire run of Garland's show and their sometimes contentious relationship has been documented in numerous books, including Torme's own The Other Side of the Rainbow. ~ Brian J. Dillard, Rovi

Irregularly scheduled on NBC from 1954 through 1957, Producers' Showcase was a series of lavish, full-color 90 minute specials, bringing the best of Broadway to the 21 inch screen. The series' May 28, 1956 presentation was an adaptation of the hit Broadway musical Bloomer Girl, which originally played for 654 performances during the 1944-45. Composer Harold Arlen and lyricist E.Y. Harburg were clearly under the influence of Oklahoma when they concocted this "integrated" musical (in every sense of the word), wherein the songs flowed naturally from the story and the characters, a relatively new concept back then. Originally starring Celeste Holm, David Brooks, Joan McCracken and Dooley Wilson ("Sam" of Casablanca fame), the show was set in the town of Cicero Falls, New York in the waning months of the American Civil War. The heroine, Evelina Applegate (here played by Barbara Cook, twixt and tween her Broadway stints in Candide and The Music Man, is the daughter of the town's richest man, a manufacturer of women's hoop skirts. Rebelling against the notion of marrying the man of her dad's choosing, Evelina gravitates to her freewheeling aunt, Dolly Bloomer (Carmen Mathews), a pioneering Feminist whose insistence upon wearing the undergarments bearing her name ("bloomers", that is), strikes a blow against the "confinement" represented by the mounds of petticoats usually worn by the proper ladies of the period. In addition to donning her own pair of liberating bloomers, Evalina also joins Dolly in her abolitionist activities, helping slaves escape to the freedom by way of the Underground Railroad. The songs include "Right as the Rain", "When the Boys Come Home", "Got a Song", "Never Was Born", "Evalina", and "The Eagle and Me", a showstopper performed by the previously enslaved Pompey (Roy Spearman). Because Bloomer Girl was never filmed by Hollywood, this Producer's Showcase version is the only known visual record of the popular musical--if, indeed, any kinescopes exist outside of private collections. ~ Hal Erickson, Rovi

Otto Preminger directed this romantic musical (something of a change of pace for the rather serious-minded director) set in Philadephia in 1876. The upcoming Centennial Exposition is the talk of the town, and sisters Julia (Jeanne Crain) and Edith (Linda Darnell) find themselves romantic rivals when they both fall for Philippe (Cornel Wilde), a suave Frenchman in town for the celebration. Their mother Harriet (Dorothy Gish) might offer more advice if she weren't busy looking after her husband Jesse (Walter Brennan), who is busy tinkering with inventions that he's convinced will make him a rich man. Jerome Kern composed the film's'score and co-wrote several songs, including "Up with the Lark," "The Right Romance," and "All Through the Day." It was the last film work he would complete prior to his death in 1945. ~ Mark Deming, Rovi

The presence of William Powell as legendary showman Flo Ziegfeld at the beginning of Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as Hollywood Revue of 1929 and Paramount on Parade. We meet a grayed, immaculately garbed Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently Ziegfeld's shade has something of a celestial conduit to Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by MGM stars. Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!) Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly, Margaret O'Brien. Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere." Victor Moore and Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars". Fred Astaire and Lucille Bremer (a teaming which evidently held high hopes for MGM) dance to the tune of "This Heart is Mine." "Number Please" features Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in Abbott and Costello's Who Done It?) Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love". Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before Red's entry into the armed services). Astaire and Bremer return for a lively rendition of "Limehouse Blues". Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of Fred Astaire and Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein Fanny Brice screams her way through a dull comedy sketch with Hume Cronyn (originally removed from the US prints of Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was Judy Garland's rendition of "Liza", a duet featuring Garland and Mickey Rooney, and a "Baby Snooks" sketch featuring Fanny Brice, Hanley Stafford and B. S. Pully. A troubled and attenuated production, Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit. ~ Hal Erickson, Rovi

Deanna Durbin's first Technicolor feature is a lavish musical western, replete with a Jerome Kern-E. Y. Harburg score. Set in the mid-19th century, the story finds Caroline (Durbin), daughter of a wealthy senator, bound and determined to wed dashing cavalry officer Lawlor (Robert Paige). When the officer is transferred to California, Caroline chases after him, encountering prospectors, bandits and Indians all along the way. That's about all that happens, save for a few awkward slapstick moments wherein the pleasantly plump Ms. Durbin falls into various bodies of water. Lensed on location in Utah, Can't Help Singing is entertaining enough, but wasn't sufficient to halt the downward slide of Deanna Durbin's popularity. ~ Hal Erickson, Rovi

One can only imagine the reaction of arch-conservative MGM head Louis B. Mayer when Song of Russia first tumbled over the spools in the studio projection room. It must be remembered, however, that back in 1944 it was politically expedient for Hollywood to offer hosannas to America's Russian allies, and to gloss over the less-attractive aspects of the Stalin regime. Based on Scorched Earth, a story by Leo Mittler, the film stars Robert Taylor as John Meredith, a famous American symphony conductor who is touring Russia just before the war. Meredith falls in love with Russian lass Nadya Stepanova (Susan Peters), who impresses him with her conviviality and charm: why, she's almost like a typical American girl! In the course of their romance, Meredith and Nadya visit a collective farm, where the peasants sing, dance and smile all day. The lovers marry, only to have their honeymoon abruptly halted when the Nazis invade the Soviet Union. Nadya promptly joins the Resistance, solemnly assembling molotov cocktails and shooting down Germans with her comrades. Just before the Nazis swarm into Nadya's village, the peasants set fire to the place so that Hitlers minions will not be able to plunder its resources. All of this is played out against the music of Tschiakovsky and other Russian composers. During the HUAC investigations in the early 1950s, several of the personnel involved in Song of Russia were required to explain why they'd been involved in so blatantly "pro-communist" a project. Louis B. Mayer blithely explained that he "just wanted to make a picture about Russians, not communists," while star Robert Taylor -- likewise a staunch anti-Red -- insisted that he'd been forced to make the film, and that he'd demanded script deletions throughout productions. In the end, the losers were screenwriters Richard Collins and Paul Jarrico, both of whom ended up on the egregious Hollywood Blacklist, simply for adhering to America's wartime pro-Soviet sentiments. ~ Hal Erickson, Rovi

MGM knew it would take a bath on its all-black musical Cabin in the Sky (few Southern theaters of 1943 would touch the film), but the studio still provided its standard A-plus production values to the film; besides, it served as a training ground for up-and-coming director Vincente Minnelli. Based on the Broadway musical by Lynn Root, John LaTouche, and Vernon Duke, the film tells the story of Joe (Eddie "Rochester" Anderson), a shantytown denizen torn between the affections of faithful wife Petunia (Ethel Waters) and slinky seductress Georgia (Lena Horne). Seriously injured in a barroom brawl, Joe dreams that he is the centerpiece of a celestial power struggle between a heavenly emissary (Kenneth Spencer) and Lucifer Jr. (Rex Ingram, who ironically had played "De Lawd" in The Green Pastures). Joe is given another chance to redeem himself on Earth, lest he fall into the clutches of the Devil's little boy. Louis Armstrong briefly shows up, appropriately cast as "The Trumpeter." Song highlights include "Taking a Chance on Love," "Happiness Is Just a Thing Called Joe," "Life's Full of Consequences," and the title song. A troubled production thanks to the on-set rivalry between Ethel Waters and Lena Horne, Cabin in the Sky is nonetheless an excellent first feature effort from Vincente Minnelli. Thanks to his careful treatment of the material, the expected patronization of the black characters does not impede latter-day enjoyment of the film as much as it might have. ~ Hal Erickson, Rovi

Advertised as a sort of sequel to MGM's Babes in Arms (1939), Babes on Broadway reunites the two stars of the earlier film: Mickey Rooney and Judy Garland. Rooney is the guiding force of a group of young showbiz hopefuls who are trying to make it on Broadway. When things look darkest, he goes into his "Say, kids!" routine, rousing his companions to put on their own show. Highlights include a sequence in which Rooney and Garland go through a series of imitations of past theatrical greats. As cute and perky as Garland is, she has nothing on the "Carmen Miranda" takeoff performed--in full makeup and platform shoes--by the ubiquitous Rooney. Babes on Broadway ends with a typically overproduced production number stage by the film's director, the immortal Busby Berkeley. ~ Hal Erickson, Rovi

A tuneful taxi driver secretly works to achieve his dream of becoming a radio singer in this musical comedy. One day he gives a radio station secretary a lift. She prattles on about a sponsor's new contest. The sponsor, a prominent cheese company, is looking for a singing gondolier to participate in their newest campaign. Later the secretary and the head cheese go to Venice to look for the real McCoy, unaware that the determined cabbie is already there waiting for them. Sure enough, they are fooled and he is hired. Things go really well until he feels compelled to tell the truth during a major broadcast. Songs include: "Lulu's Back in Town", "The Rose in Her Hair", "Lonely Gondolier", and ""You Can Be Kissed"". ~ Sandra Brennan, Rovi