Sylvia Fine Movies

The Five Pennies is the life story of influential jazz cornetist Red Nichols, played here by a remarkably straight-faced Danny Kaye. The somewhat romanticized screenplay chronicles Nichols' rise from obscurity, annotates the many future bandleaders who would play with Nichols' "Five Pennies," and details his self-destructive streak and (seeming) inability to conform to changing musical tastes. Weaving in and out of the main story is a sentimental subplot concerning Nichols' physically impaired daughter Dorothy, played by Susan Gordon as a child and by Tuesday Weld (in her movie debut) as a young woman. Nichols's long-suffering wife is portrayed by Barbara Bel Geddes. The storyline occasionally lapses into sappiness and the ending is almost impossibly lachrymose, but the musical highlights save the day. Especially memorable is Danny Kaye's duet with Louis Armstrong. Among the real-life musicians who grace the supporting cast of The Five Pennies are Bob Crosby, Ray Anthony, Shelly Manne, and, as Jimmy Dorsey, Bobby Troup. ~ Hal Erickson, All Movie Guide

With the exception of the brilliant The Court Jester, Knock on Wood must rank as the best of Danny Kaye's movie vehicles. Capitalizing on the star's recent successful engagement in London, the film casts Kaye as a neurotic American ventriloquist performing in England and Europe. In a parody of the 1946 thriller Dead of Night, Kaye is unable to control the words coming out of his dummy, resulting in a near-nervous breakdown. On the advice of his manager (David Burns), Kaye seeks out the help of a psychiatrist, who turns out to be beautiful Mai Zetterling. But first, he heads to a local repair shop to pick up one of his dummies. What Kaye doesn't know is that a set of stolen blueprints for a top-secret weapon have been secreted into his dummy's head. Before he knows what's happening, our hero is up to his ears in spies, counterspies, and corpses. Falsely accused of murder, Kaye spends the rest of the film adopting one disguise after another to elude both the authorities and the various enemy agents roaming about. Filled to overflowing with musical and comedy highlights, Knock on Wood includes the famous "under the table" bit wherein Kaye finds himself literally between two warring spy factions, and a climactic ballet sequence reminiscent of (and superior to) the comic-opera finale of Kaye's Wonder Man (1945). And of course, the audience is treated to the tongue-twisting patter songs written for Kaye by his wife Sylvia Fine. ~ Hal Erickson, All Movie Guide

On the Riviera is a remake of 1941's Weekend in Havana, which in turn was a remake of 1934's Folies Bergere. The plot remains the same in all three incarnations: for business purposes, a nightclub entertainer is coerced into posing as his look-alike, a powerful financier/aviator. This time it's Danny Kaye who essays the dual role of American cabaret comedian Jack Martin and French financial wizard Henri Duran. While impersonating Duran, Martin is forced to make amorous advances towards Duran's neglected wife (Gene Tierney), proving himself the better lover in the process. Meanwhile, Martin must mollify his genuine sweetheart (and nightclub partner) Collette (Corinne Calvet) without revealing his ruse. A little too top-heavy in the plot department, On the Riviera must be regarded as a second-echelon Danny Kaye vehicle, though Sylvia Fine's specialty numbers -- especially the eerily autobiographical "Popo the Puppet" -- are well up to standard. One of the uncredited specialty dancers is future Broadway star Gwen Verdon. ~ Hal Erickson, All Movie Guide

James Thurber wasn't too happy with the Sam Goldwyn film adaptation of his 1939 short story The Secret Life of Walter Mitty, but the Technicolor musical comedy proved to be a cash cow at the box office. Danny Kaye stars as Walter, a milquetoast proofreader for a magazine publishing firm. Walter is constitutionally incapable of standing up for himself, which is why his mother (Fay Bainter) has been able to arrange a frightful marriage between her son and the beautiful but overbearing Gertrude Griswold (Ann Rutherford). As he muses over the lurid covers of the magazines put out by his firm, Walter retreats into his fantasy world, where he is heroic, poised, self-assured, and the master of his fate. Glancing at the cover of a western periodical, Walter fancies himself the two-gun "Perth Amboy Kid"; a war magazine prompts Walter to envision himself as a fearless RAF pilot; and so on. Throughout all his imaginary adventures, a gorgeous mystery woman weaves in an out of the proceedings. Imagine Walter's surprise when his dream girl shows up in the flesh in the person of Rosalind van Horn (Virginia Mayo). The girl is being pursued by a gang of jewel thieves headed by Dr. Hugo Hollingshead (Boris Karloff), a clever psychiatrist who manages to convince Walter that he's simply imagining things again, and that Rosalind never existed. At long last, Walter vows to live his life in the "now" rather than in the recesses of his mind: he rescues Rosalind from the gang's clutches, tells his mother and Gertrude where to get off, and fast-talks his way into a better position with the publishing firm. Substituting the usual Danny Kaye zaniness for James Thurber's whimsy, Secret Life of Walter Mitty works best during the production numbers, especially Kaye's signature tune "Anatole of Paris." ~ Hal Erickson, All Movie Guide

It is said that producer Sam Goldwyn had a habit of addressing his new star of the 1940s, Danny Kaye, as "Eddie", confusing Kaye with Eddie Cantor. If true, it may be because Kaye's first starring film for Goldwyn, Up in Arms, was a remake of Cantor's Whoopee--which in turn was a musical version of that old theatrical chestnut The Nervous Wreck. Kaye plays Danny Weems, a hopeless hypochondriac who finds himself drafted into the army. While a passenger on an overseas transport ship, Danny is obliged to hide his girl friend Mary Morgan (Constance Dowling), who has stowed away on board, from the authorities. The plot (what there is of it) contrives to have Danny and Mary, together with Virginia (Dinah Shore), who's in love with Danny, and Joe (Dana Andrews), who's in love with Mary, arrive simultaneously on the same South Sea island. After numerous comic and romantic complications, Danny emerges as the hero of the hour by capturing a whole bunch of Japanese soldiers. The film shows signs of post-production tampering-an offscreen narration, an abrupt ending-indicating that, as yet, Sam Goldwyn wasn't quite sure how to package Danny Kaye for the screen. Despite its erratic editing and uneven scenario, Up in Arms contains some priceless moments, including Kaye's rapid-patter songs "The Lobby Number" and "Melody in 4F", both written by Sylvia Fine (Mrs. Kaye) and Max Liebman. There are also a few cute "inside" jokes referring to the illogical nature of the plotline and such esoterica as the out-of-nowhere appearances of the Goldwyn Girls (one of whom was Kaye's future leading lady Virginia Mayo). ~ Hal Erickson, All Movie Guide