George Sidney Movies

British musical star Tommy Steele had starred in Half a Sixpence in London and on Broadway, thus he was first choice for this garish film version. Based on the H.G. Wells story Kipps (previously filmed in 1941 with Michael Redgrave), Half a Sixpence tells the tale of a humble London drapery clerk (Steele) who inherits a fortune. He briefly forgets his old mates and his faithful girl friend (Julia Foster), but soon discovers that High Society isn't his cup of tea. Filmed during the "monster musical" cycle fostered by The Sound of Music, Half a Sixpence isn't really suited for the spectacular approach dictated by co-producer Charles H. Schneer. Fortunately, the guiding directorial hand is the film's other producer: George Sidney, a veteran of MGM's Arthur Freed unit, who knew how to successfully weld music with story. Thanks to Sidney and star Steele, Half a Sixpence never gets too out of hand, though we'd argue with some of the eyestrain-inducing color choices in the bigger numbers. The film might have done better at the box office had the score yielded a few hit songs. ~ Hal Erickson, Rovi

Viva Las Vegas, one of Elvis Presley's most popular vehicles, adheres as rigidly to formula as a Kabuki dance. Elvis plays a race-car driver competing in the Las Vegas Grand Prix opposite his principal rival, Cesare Danova. To finance his entry, Elvis takes a job as a casino waiter. Naturally, he is occasionally prevailed upon to sing, making one wonder why he didn't choose this talent as a means of making some quick cash. As always, Elvis chases all the wrong girls, only to ignore the "right" one, portrayed by Ann-Margret in her considerable youthful prime (We're supposed to believe that A-M is the daughter of irascible William Demarest. So much for the reliability of gene pools). With a pre-fat Presley, an indescribably gorgeous Ann-Margret, and no fewer than 12 songs on the soundtrack, how could Viva Las Vegas help but reap a fortune at the box office? ~ Hal Erickson, Rovi

This light romantic comedy finds a young widow with three young boys investigated by the Navy. Amy Martin (Shirley Jones) has a curious child who inadvertently sends out a distress signal in Morse code by the blinds on his upstairs bedroom window. Commander Weedon (Gig Young) and crew observe the signal from their ship and investigate. The commander falls for the young mother and proposes marriage. Amy is reluctant to have her family live out of a suitcase and initially declines. Gramps (Edgar Buchanan) tries to bring her on board to sail the sea of love with the commander, but it's the youngest son Alex (Billy Mumy) who flies high an hits the mark as Cupid. Alex sets sail with some helium balloons and floats out over the ocean. The commander must save the boy and return him to his mother, creating another opportunity for his mother to be captured by the romantic suitor. Red Buttons and Carolyn Jones also find romance in this feature directed by George Sidney. ~ Dan Pavlides, Rovi

A screwball comedy that turns into political farce, this film was something of a throwback even in 1960. Real-life husband and wife Tony Curtis and Janet Leigh star as David and Ann Wilson. David is a university professor who is kissing one of his students when Ann walks in on them. She demands a divorce. David turns to his old friend, a television writer, Michael Haney (Dean Martin), who cooks up a cover story. They convince Ann that David is working undercover for the FBI, and that the kiss was part of a sting. The gullible Ann believes the story. Later, when she sees David and Michael in a restaurant with two women, she suspects that the women are spies, and passes David his empty gun. This touches off a disturbance that is filmed by TV news crews. Some real Russian spies think that David really is an FBI agent, and the spies grab the Wilsons and Haney, take them to a secret chamber beneath the Empire State Building, and give them truth serum. From there, the film continues to twist and turn in wildly wacky ways. ~ Michael Betzold, Rovi

The John O'Hara/Richard Rodgers/Lorenz Hart Broadway musical Pal Joey created quite a stir during its original theatrical run in 1940. Here we had a heel of a hero who sleeps with a wealthy older woman in order to realize his dream of owning his own nightclub, and who breaks the heart of the girl who truly loves him when she impedes his plans to get ahead. Blossom Time it wasn't. Due to the seamy nature of the plot and the double- and single-entendre song lyrics (especially the original words for "Bewitched, Bothered and Bewildered", which you aren't likely to hear on most mainstream recordings of this tune), Pal Joey could not be faithfully filmed back in the 1940s. Even this 1957 version, made at a time when movie censorship was beginning to relax, was extensively sanitized for public consumption. Ambitious singer/dancer Joey (Frank Sinatra) is still something of a louse, but a redeemable one. The relationship between Joey and his older benefactress Vera Simpson (Rita Hayworth, who was actually a few years younger than Sinatra) is one of implication rather than overt statement. And Joey's true love, chorine Linda English (Kim Novak), is as pure as the driven snow, who vehemently expresses distaste at having to perform a striptease. The Rodgers and Hart songs ("I Could Write a Book" the aforementioned "Bewitched, Bothered and Bewildered") which seemed so cynical and ironic back in 1940, are given the typically lush, luxurious Hollywood treatment (many of the tunes, notably "There's a Small Hotel", were borrowed from other Rodgers and Hart shows, a not uncommon practice of the time). Pal Joey is nice to look at and consummately performed, but don't expect the bite of the original play, or the John O'Hara short stories which preceded them. ~ Hal Erickson, Rovi

Esther Williams' long association with MGM came to an abrupt end with Jupiter's Darling, which even she will admit was her silliest film. Based on Robert Sherwood's satirical play The Road to Rome, the film cast as Williams as Amytis, fiancee of vacillating Roman statesman Fabius Maximus (George Sanders). When it appears as though the forces of Hannibal (Howard Keel) will conquer Rome, Amytis takes it upon herself to halt the invasion. In the process, she and Hannibal embark upon a tempestuous romance, much to the consternation of the barbarian general's aide-de-camp Mago (William Demarest) and the bemusement of Hannibal's official chronicler Horatio (Richard Haydn). A subplot concerns the romance between Varius (Gower Champion), who tends Hannibal's fabled elephants, and spunky slave girl Meta (Marge Champion). Somewhere along the line Williams performs a water ballet with "living statues", and Varius and Meta come up with a herd of pink elephants. The Burton Lane-Harold Adamson songs are as forgettable as the film itself. Curiously, Jupiter's Darling opened to good reviews, but the film was killed by word of mouth. ~ Hal Erickson, Rovi

This costume drama was based on the historical fiction of Margaret Irwin, which embellishes the facts of the early years of England's eventual Queen Elizabeth I. It's told in flashback style, starting with the horrible day when King Henry VIII (Charles Laughton) sends away the future queen, young Bess (Jean Simmons), and executes her mother, Anne Boleyn (Elaine Stewart). Some years and several wives later, Henry VIII invites Bess to return to the palace to live with Catherine Parr (Deborah Kerr), her new stepmother. When the king dies, Bess' young half-brother, Edward (Rex Thompson), assumes the title of regent. Bess falls in love with the Navy's top admiral, Thomas Seymour (Stewart Granger), but has her brother compel him to marry Catherine. After Catherine dies, Thomas confesses his love to Bess. But his scheming brother Ned (Guy Rolfe) finds out about Thomas' feelings and accuses him of seducing Bess. ~ Michael Betzold, Rovi

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, Rovi

George Sidney directs this pleasant romantic comedy concerning mayoral love. During a convention of mayors in San Francisco, Clarissa Standish (Loretta Young), the mayor of a small town in Maine, meets Steve Fisk (Clark Gable), the down-to-earth leader of a tiny northern California community. During the rowdy proceedings of the convention, the two find themselves pushed together frequently, with the typical result -- they fall in love. After the convention, the two head back to Steve's town, where crooked local politician Les Taggart (Raymond Burr) is squaring off against Fisk in a mayoral election. With the help of Clarissa, Steve gears up for his reelection bid. ~ Paul Brenner, Rovi

The third talkie version of Dumas' The Three Musketeers, this splashy MGM adaptation is also the first version in Technicolor. Gene Kelly romps his way through the role of D'Artagnan, the upstart cadet who joins veteran Musketeers Athos (Van Heflin), Porthos (Gig Young) and Aramis (Robert Coote) in their efforts to save their beloved Queen Anne (Angela Lansbury) from disgrace. They are aided in their efforts by the lovely and loyal Constance (June Allyson), while the villainy is in the capable hands of Milady De Winter (Lana Turner) and Richelieu (Vincent Price). Notice we don't say Cardinal Richelieu: anxious not to offend anyone, MGM removed the religious angle from the Cardinal's character. While early sound versions of Three Musketeers eliminated the deaths of Constance and Milady, this adaptation telescopes the novel's events to allow for these tragedies. True to form, MGM saw to it that Lana Turner, as Milady, was dressed to the nines and heavily bejeweled for her beheading sequence. Portions of the 1948 Three Musketeers, in black and white, showed up in the silent film-within-a-film in 1952's Singin' in the Rain, which of course also starred Gene Kelly. ~ Hal Erickson, Rovi

Too long by at least two reels, Holiday in Mexico is nevertheless one of the more enjoyable MGM Technicolor musicals of the 1940s. Walter Pigeon is top billed as Jeffrey Evans, American ambassador to Mexico. Captivated by the charms of her adopted homeland, Evans' impulsive daughter Christine falls in love with the decidedly mature piano virtuoso Jose Iturbi (cast as himself). Amused by Christine's ardor, Iturbi agrees with Evans that the girl would be far better off with someone closer to her own age-namely, British ambassador's son Stanley Owen (Roddy McDowell). Meanwhile, Christine plays matchmaker between her widowed father and glamorous Hungarian Toni Karpathy (Ilona Massey). Holiday in Mexico was Jane Powell's first MGM effort, and it is clear that producer Joe Pasternak intended to transform the teenaged soprano into the "new Deanna Durbin", though of course Powell eventually developed her own distinctive style. In addition to the musical contributions of stars Powell and Iturbi, the film costars the inimitable Xavier Cugat, doing his Xavier Cugat thing. ~ Hal Erickson, 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

If you've never seen a '40s singing, swimming musical this may be the one to catch. Featuring a mammoth cast, including such notables as Xavier Cugat, Basil Rathbone, Red Skelton, and Esther Williams, this is a swimming spectacular. The plot's quite thin: Skelton plays a lovesick songwriter who enrolls in a girls' school to stay near his new wife who ditched him shortly after the wedding bells rang and was hired on as the college's swim teacher. Of course Esther Williams is the beautiful swimming instructor who spends most of her time in the pool performing in a score of choreographed pieces. ~ Rovi