Phyllis Kennedy Movies

Only one of three films directed by screenwriter Charles Lederer, known for movies as disparate as The Thing (1951) and Gentlemen Prefer Blondes (1953), this crime comedy-drama-musical obviously defies categorization. Mixing James Cagney as a gangster out to control a big union, with musical numbers and cute songs is about like mixing onions and vanilla pudding. Jake MacIllaney (Cagney) wants to be elected president of Longshoreman's union 26 and, being a top mob boss, is used to getting his way. He is not past almost any stunt or method of coercion to get votes. Dan Cabot (Roger Smith) is Jake's lawyer, and after Jake meets Cabot's wife Linda (Shirley Jones), he sets his sights on conquering her affections. Disregard the husband, he can be taken care of. Setting this to music introduces some entertaining songs (I'm Sorry -- I Want a Ferrari) but the seriousness of the mobster's immorality and power is hard to reconcile with a perky tune about not stealing the small stuff. ~ Eleanor Mannikka, All Movie Guide

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, All Movie Guide

Set in the 1920s and 1930s, 20th Century-Fox's You're My Everything borrows elements from several true-life showbiz stories, include the rise to fame of Fox's own Shirley Temple. Vaudeville hoofer Timothy O'Connor (Dan Dailey) sweeps proper New England gal Hannah Adams (Anne Baxter) off her feet. Hannah joins O'Connor's act, eventually soaring to popularity as a silent-film star. When talkies come in, Hannah is finished, but her precocious daughter Jane (played by Shirley Temple sound-alike Shari Robinson) becomes America's sweetheart. Musical highlights include the title song, "The Good Ship Lollipop" (featuring Dan Dailey in politically incorrect blackface), and one new number, "I Want to be Teacher's Pet." Featured in the supporting cast are Alan Mowbray as a bombastic director and Buster Keaton in an unbilled guest shot. In his autobiography, Keaton recalled that he came onto the set, dropped a tray full of dishes, performed a pratfall, and collected $1000, without ever knowing what the film was about! ~ Hal Erickson, All Movie Guide

In this courtroom drama, two opposing lawyers lead a double life. In the courtroom they are ruthless toward each other, but once the day is over they become passionate lovers. Unfortunately their newest case may well threaten their relationship as the defense attorney is defending a corrupt district attorney who happens to be her ex-husband. The prosecutor knows nothing of their past relationship; all he knows is he wants to nail the crook and his cronies to the wall. Unfortunately, the truth comes out in court and mayhem ensues. ~ Sandra Brennan, All Movie Guide

Despite MGM's insistence that star Gene Kelly, just returning from military service in 1947, appear exclusively in big-budget Technicolor musicals, maverick director Gregory La Cava showcased Kelly in the modest black and white tunefest Living in a Big Way. Kelly is cast as an ex-GI who discovers that his wealthy war bride (Marie McDonald) is an insufferable snob. Flying in the face of his in-laws, Kelly insists upon using his wife's money to open a charity home for the families of those soldiers who didn't come back. Kelly's major musical number, which takes place during the building of his dream home, is a bizarre ballet utilizing such props as ladders and two-by-fours. Living In a Big Way turned out to be the flop that MGM had predicted, but the film was impressive enough to win La Cava the coveted directorial post for Mary Pickford Productions' One Touch of Venus. ~ Hal Erickson, All Movie Guide

Based on Norman Corwin's satirical radio play My Client Curley, Once Upon a Time is an engaging bit of whimsy, completely dominated by the personality of star Cary Grant. It all begins when fly-by-night Broadway producer Jerry Flynn (Grant) learns of a trained caterpillar (!) that dances to the tune of "Yes, Sir, That's My Baby." In short order, Jerry has promoted Curly the Caterpillar to international stardom-and in the process he alienates both Pinky Thompson (Ted Donaldson), the impressionable 9-year-old who owns Curley, and Pinky's attractive older sister Jeanne (Janet Blair). Eventually, Flynn comes to his senses and regains his essential decency-though it's too late to continue capitalizing on Curley, who has turned into a non-dancing butterfly! Full of delightful contemporary references and "cameo appearances" by such celebrities as producer Walt Disney and radio commentator Gabriel Heatter (both played by uncredited impressionists), Once Upon a Time proved an agreeable diversion for wartime audiences. ~ Hal Erickson, All Movie Guide

In this light romantic comedy, William B. Whitley (William Powell) is an astronomer who is very excited about his latest discovery, a comet that has been named after him. However, Whitley has been so busy tracking the course of his comet as its path leads straight into the moon that he's been ignoring his new wife, Vicky (Hedy Lamarr). Bored and lonely, one day Vicky visits an astrologer who informs her that she will -- on a specific day -- meet a handsome stranger, and they will fall in love. A bit perplexed at this news, Vicky shares the astrologer's report with William; however, he's so appalled that she would waste her time on pseudo-scientific hooey like astrology that he storms out of the house, moving into his observatory for a few days. On the predicted day, Vicky is wondering what happened to her dream man when an air raid warden, Lloyd Hunter (James Craig), shows up to confront Vicky and ends up going inside her house and shutting off her lights. Vicky and Lloyd strike up a conversation, and she begins to realize that he could well be the man the astrologer predicted she would meet; Vicky is interested in him, but just as he's leaving, William returns. William, however, senses that Vicky is infatuated with Lloyd, and he quickly hatches a devious plan to win back her good graces. ~ Mark Deming, All Movie Guide

Jinx Falkenburg supplies the music and beauty and Bert Gordon provides the chuckles in Columbia's Laugh Your Blues Away. In his standard "Mad Russian" characterization ("How do you doooooo!"), Gordon plays an unemployed actor who poses as one Count Boris Rascalnikoff at the home of Texas cattleman Conklin (Dick Elliot). Also along for the ride is the actor's pretty sister Pam (Ms. Falkenburg), who impersonates the Countess Olga. It's all part of a scheme engineered by the social-climbing mother (Isobel Elsom) of Jimmy Westerly (Douglass Drake) to marry off her son to Conklin's daughter Priscilla (Phyllis Kennedy). But when Jimmy falls in love with Olga-er, Pam-the borscht hits the fan. ~ Hal Erickson, All Movie Guide

Yankee Doodle Dandy is no more the true-life story of George M. Cohan than The Jolson Story was the unvarnished truth about Al Jolson -- but who the heck cares? Dandy has song, dance, pathos, pageantry, uproarious comedy, and, best of all, James Cagney at his Oscar-winning best. After several failed attempts to bring the life of legendary, flag-waving song-and-dance man Cohan to the screen, Warners scenarist Robert Buckner opted for the anecdotal approach, unifying the film's largely unrelated episodes with a flashback framework. Summoned to the White House by President Roosevelt, the aging Cohan is encouraged to relate the events leading up to this momentous occasion. He recalls his birth on the Fourth of July, 1878; his early years as a cocky child performer in his family's vaudeville act; his decision to go out as a "single"; his sealed-with-a-handshake partnership with writer/producer Sam Harris (Richard Whorf); his first Broadway success, 1903's Little Johnny Jones; his blissful marriage to winsome wife Mary (a fictional amalgam of Cohan's two wives, played by Joan Leslie -- who, incredibly, was only 17 at the time); his patriotic civilian activities during World War I, culminating with his writing of that conflict's unofficial anthem "Over There" (performed by Nora Bayes, as played by Frances Langford); the deaths of his sister, Josie (played by Cagney's real-life sister Jeanne), his mother, Nellie (Rosemary DeCamp), and his father, Jerry (Walter Huston); his abortive attempt to retire; and his triumphant return to Broadway in Rodgers & Hart's I'd Rather Be Right.

His story told, Cohan is surprised -- and profoundly moved -- when FDR presents him with the Congressional Medal of Honor, the first such honor bestowed upon an entertainer. His eyes welling up with tears, Cohan expresses his gratitude by invoking his old vaudeville curtain speech: "My mother thanks you, my father thanks you, my sister thanks you, and I thank you." Glossing over such unsavory moments in Cohan's life as his bitter opposition of the formation of Actor's Equity -- not to mention George M.'s intense hatred of FDR! -- Yankee Doodle Dandy offers the George M. Cohan that people in 1942 wanted to see (proof of the pudding was the film's five-million-dollar gross). And besides, the plot and its fabrications were secondary to those marvelous Cohan melodies -- "Give My Regards to Broadway," "Harrigan," "Mary," "You're a Grand Old Flag," "45 Minutes from Broadway," and the title tune -- performed with brio by Cagney (who modifies his own loose-limbed dancing style in order to imitate Cohan's inimitable stiff-legged technique) and the rest of the spirited cast. Beyond its leading players, movie buffs will have a ball spotting the myriad of familiar character actors parading before the screen: S.Z. Sakall, George Tobias, Walter Catlett, George Barbier, Eddie Foy Jr. (playing his own father), Frank Faylen, Minor Watson, Tom Dugan, John Hamilton, and on and on and on. In addition to Cagney, music directors Ray Heindorf and Heinz Roemheld also won Oscars for their efforts. ~ Hal Erickson, All Movie Guide

Bob Hope plays a famous movie star who does his best to avoid the pre-war draft, but ends up in uniform all the same. Hope marries Dorothy Lamour, the daughter of Army colonel Clarence Kolb, in hopes that this union will help him sidestep military service. Stuck in boot camp, Hope is a class-A screw-up until redeeming himself during a sham battle--though his "heroic" commandeering of a tank began as yet another boo-boo. Still not entirely certain that Hope could carry a film by himself, Paramount teamed him with Eddie Bracken and Lynne Overman--a sort of Abbott and Costello plus One. Despite the efforts to make Bob Hope part of an ensemble, it is clear from the first frame to the last who is truly the star of Caught in the Draft. ~ Hal Erickson, All Movie Guide

Billy Wilder was among the screenwriters of this easy-to-take Bing Crosby musical. Basil Rathbone dominates the proceedings as Oliver Courtney, a popular composer whose most successful tunes were actually ghost-written by musician Bob Summers (Crosby) and lyricist Cherry Lane (Mary Martin). Unaware of each other's existence at first, Bob and Cherry eventually discover that they've been duped by the pompous Courtney. They decide to break away from their employer and team up on their own, but the powerful Courtney manages to block their professional efforts. Ultimately, hero and heroine emerge triumphant, and Courtney is forced to help them get started on the road to success lest he be exposed as a charlatan. Piano prodigy Oscar Levant essays his first full-out comedy role as Courtney's sarcastic assistant, taking time out to poke fun at his own real-life phobias (in his memoirs, Levant recalled that he spent many a pleasant afternoon listening to the middle-aged Basil Rathbone discuss his digestive problems in vivid and eloquent detail!) None of the seven original songs in Rhythm on the River grew up to be hits, but the title tune did manage to get generous airplay thanks to Bing Crosby. ~ Hal Erickson, All Movie Guide

Leo McCarey's classic tale of romance stars Irene Dunne and Charles Boyer as two strangers who fall in love on an ocean voyage. Charles Boyer is Michel Marnet, engaged to be married to Lois Clarke (Astrid Allwyn). Irene Dunne is Terry McKay, also engaged to be married, in this case to Kenneth Bradley (Lee Bowman). But when Michel and Terry meet aboard a ship, they fall instantly in love. In order to prove to themselves their love affair is not just a shipboard romance, they agree to meet six months hence on the top of the Empire State Building. If they still feel the same way about each other, they will bid adieu to their fiancees and start their affair anew. Six months later, they are still thinking about each other and proceed to their meeting at the Empire State Building. Michel awaits Terry's arrival, but Terry, on the way to their meeting, is involved in a terrible car accident, leaving her a cripple. Later, by a twist of fate, they are reunited and Michel vows to stay with Terry to help her walk again. ~ Paul Brenner, All Movie Guide

James Stewart and Ginger Rogers were "an item" when Vivacious Lady was filmed, and their obvious real-life affection for one another pours over onto the screen. Stewart plays Peter Morgan, a young botany professor who while on a visit to New York impulsively marries free-spirited nightclub singer Francey (Rogers). A few obstacles lie in the path of connubial bliss, however, including Peter's bitchy ex-fiancee Helen (Frances Mercer) and his stern college-dean father Peter Morgan Sr. (Charles Coburn). Hoping to break the news of his marriage gently to Helen and his father, Pete contrives to keep the union a secret, with the expected embarrassing results. Before the final fade-out, both Morgan Senior and Morgan Junior are on the outs with their respective wives, and it takes an uproariously tearful reunion on a passenger train to straighten things out. In his first outing as a producer, director George Stevens shows off his two-reel-comedy training with a number of hilarious comedy setpieces (the best is a slapsticky cat-fight between the two rivals for Pete's affections), though things tend to slow down towards the end. Stevens also finds room for several of his favorite character actors, including Grady Sutton, Franklin Pangborn and Willie Best, to do their time-honored specialties. Best of all is Beulah Bondi as James Stewart's mother (one of several such assignments), delivering a most unusual and touchingly funny performance. In short, Vivacious Lady was a guaranteed box-office smash even before the cameras began to turn. ~ Hal Erickson, All Movie Guide