Tony Martin Movies

The rollicking Jones family buys a trailer and heads for Yosemite in this comedy. Along the way, the older children find romance. When the eldest daughter discovers that she has fallen for a crook, all kinds of trouble follows. ~ Sandra Brennan, All Movie Guide

The first of 20th Century-Fox's college musicals, Pigskin Parade is also close to the best of them in musical terms -- though they were all at least pretty good on that level -- principally thanks to the presence of 13-year-old Judy Garland, playing an Arkansas farm girl with surprising sincerity and success (in addition to belting out a couple of numbers with the depth and sincerity of a performer at least twice that age). The plot starts rolling when the Yale University football team, looking for a credible but not too tough opponent for a charity game, accidentally invites the team from tiny Tesax State University (enrollment 700) instead of the University of Texas (enrollment 7500). Texas State has also just gotten a new football coach, Slug Winters (Jack Haley), who's had a lot of success coaching high school back in Flushing, New York but still has to prove himself with college players -- he arrives with his brassy, outspoken wife (Patsy Kelly) just ahead of the invitation from Yale, which nearly sends them running back to New York. Through sheer luck and Mrs. Winters' brainstorm, however, they figure out a way they can meet the Yale team on the field and not get steamrollered -- they come up with a fast, highly mobile brand of football that makes them contenders, but then they lose their star-player. Mrs. Winters manages to stumble onto Amos Dodd (Stuart Erwin), an Arkansas farm boy who developed his arm by tossing watermelons around, and brings him and his sister (Judy Garland) to the college. But now they have to make Amos -- who never finished high school -- eligible, and keep him interested enough in the team and the college to get him to the game. It's all a lot of fun, with lots of comic antics and a song spicing up the pace every few minutes, and Haley and Kelly are a delight to watch together. ~ Bruce Eder, All Movie Guide

In this homespun comedy, a farm family in Iowa lead a pastoral existence until old Ma decides that they must pull up stakes and head for Hollywood so their daughter can become a movie star. As it turns out, it is Pa who becomes the movie star, while the domineering stage Ma almost destroys her daughter's love life with her obsession. To protect his kin, Pa takes the family back to their peaceful farm. ~ Sandra Brennan, All Movie Guide

This lesser Astaire/Rogers vehicle is one of several screen versions of the venerable Hubert Osborne stage play Shore Leave. For reasons unknown, Fred and Ginger are virtually supporting players here, spending most of their time trying to patch up the romance between Fred's fellow sailor Randolph Scott and Ginger's sister Harriet Hilliard (better known as Harriet Nelson, of Ozzie and Harriet fame). One of the sillier aspects of the plot hinges on raising enough money to renovate a broken-down old ship; to do this, Fred and Ginger stage a lengthy musical number that must have cost five times as much money as they raised! But that number, a languorous dance rendition of Irving Berlin's "Let's Face the Music and Dance", compensates for all the nonsense that has gone before. One fringe benefit of Follow the Fleet is spotting two fresh-faced starlets named Betty Grable and Lucille Ball. ~ Hal Erickson, All Movie Guide

Autograph hound Al Babson (Eddie Cantor) accidentally disrupts the filming of a movie about Ali Baba, and is injured in the process. The filmmakers try to buy him off, but nurse Dinah (Virginia Field) suggests he be hired as an extra. He takes an overdose of painkillers, and his Arabian Nights dreams combine with the plot of the movie. His name leads the populace to think he's the son of Ali Baba, and he's taken to the palace of Sultan Abdullah (Roland Young), who's so impressed by Al that he makes him prime minister. Princess Miriam (June Lang) is in love with Yusuf (Tony Martin), the leader of the peasants, while Al has fallen for Deenah (also Virginia Field), whose father Omar (Maurice Cass) is trying to make a carpet fly. Meanwhile, the evil Prince Musah (Douglas Dumbrille) is conspiring with Sultana (Louise Hovick), one of Abdullah's many wives, to capture the princess, take over Bagdad, and kill Abdullah and Al as well. Miriam and Yusuf are unhappy because royalty and commoners cannot marry, so Al comes up with a plan to help his friends, but the plan spectacularly backfires, and Abdullah orders him to be boiled in oil. ~ Bill Warren, All Movie Guide

Alice Faye stars as aspiring playwright Judith Poe Wells. She falls in love with producer George Macrae (Don Ameche), which makes George's girlfriend Louise Hovick (Gypsy Rose Lee) see red. Judith drops from view while George loses his troublesome girlfriend and prepares to put together a Broadway musical. He chooses Judith's play for his next production, which of course reunites the pair at fadeout time. And how do The Ritz Brothers fit into You Can't Have Everything? Not very well, but the Ritzes do have one funny elongated number set in a Greenwich Village nightclub (where the extras are obviously breaking up at the boys' adlibs). ~ Hal Erickson, All Movie Guide

Thanks for Everything is an unjustly forgotten lampoon of media promotional stunts. Jack Haley wins a contest sponsored by an ad agency, which is looking for the perfect "average American." The contest's avaricious promoters (Adolphe Menjou and Jack Oakie) use poor Haley as a merchandising tool by having him endorse all sorts of products. When Haley's girl friend (Arleen Whelan) realizes that the hapless fellow is being exploited as a means of controlling the advertising industry, Haley insists that the promoters cease and desist or he'll blow the whistle. The promoters respond by discrediting Haley as a crackpot, but justice triumphs in the end. Thanks for Everything is capped by a bizarre sequence in which Menjou and Oakie convince Haley that World War II has broken out--a sequence filmed one year before this actually occurred! ~ Hal Erickson, All Movie Guide

Three manicurists hope to become entertainers through the auspices of their wisecracking agent (Fred Allen). Sally (Alice Faye) is the smart one, Irene (Joan Davis) the funny one, and Mary (Marjorie Weaver) the cute-and-innocent one. The girls secure work in a Greenwich village nitery, where Sally falls for star singer Tony Martin. The threesome's career becomes stalled until Mary inherits an old ferry boat, which she converts into a floating nightclub. Among the highlights of Sally Irene and Mary is a jitterbug number by Joan Davis and supporting appearances by Jimmy Durante and Gypsy Rose Lee (billed under her real name, Louise Hovick). The film was based on a non-musical play by Eddie Dowling and Cyril Rood, previously filmed in 1925. ~ Hal Erickson, All Movie Guide

In this lively boxing comedy, Steve Bishop is a cowboy who works a waiter in an Italian restaurant. He agrees to participate in a prizefight for charity. He has a lucky punch and knocks out his famous opponent. This leads him to become a famous and wealthy prizefighter. What he doesn't know is that gamblers have fixed all of his fights. Thinking he is indeed a champion, the fighter soon acquires an ego to match his reputation. This inspires the ire of female sportswriter Julie Harrison. She really likes him, but decides to teach him a humbling lesson before things get too out of hand. ~ Sandra Brennan, All Movie Guide

In the last of the Marx Brothers' MGM films, The Big Store, Groucho Marx plays two-bit detective Wolf J. Flywheel, hired by department-store owner Martha Phelps (Margaret Dumont) to act as bodyguard for Martha's nephew and sole heir, Tommy Rogers (Tony Martin). Crooked store manager Grover (Douglas Dumbrille) is anxious to take over the operation and to hide the fact that he's been juggling the books; to expedite this, he has arranged several "accidents" to put Tommy out of the way. Despite his monumental ineptitude, Flywheel manages to protect Tommy from harm, with the help of his mute assistant, Wacky (Harpo Marx), and Tommy's music-teacher pal, Ravelli (Chico Marx). After a series of yawn-provoking complications, Grover tries once more to kill Tommy during a musical reception given in honor of the store's merger with the Hastings Brothers. When this also fails, he kidnaps Tommy's girlfriend, Joan (Virginia Grey), a bit of skullduggery captured on film by camera-wielding Ravelli. Grover's efforts to get his hands on the incriminating photo leads to a zany slapstick chase through the department store, culminating in the villain's capture ("I told you in the first reel he was a crook," observes Flywheel) and a happy ending for Tommy and Joan. The opening routine in Groucho's seedy office and Harpo's harp solo (in which, through trick photography, he accompanies himself on flute and bass violin) are the only scenes truly worth watching in The Big Store; the big-chase finale is compromised by the fact that the Marx Brothers' stunt doubles do all the work, while the film's major production number, "Tenement Symphony," is downright embarrassing. The Marxes were so disappointed with The Big Store that they vowed to quit moviemaking altogether -- only to return to the screen five years later in A Night in Casablanca. ~ Hal Erickson, All Movie Guide

MGM's Till the Clouds Roll By is the musicalized, and highly fictionalized, life story of beloved composer Jerome Kern, who gave his blessing to the production shortly before his death in 1946. As played by a gray-templed Robert Walker, Kern is a likeable but none too exciting sort who expresses his emotions through his music. Constructed in the form of an extended flashback, the story proper begins at the turn of the century, as Kern tries to peddle his ditties to disinterested Broadway producers. His efforts to interest impresario Charles Frohman (Harry Hayden) go nowhere because Frohman is convinced that the only good music comes from Europe. Obligingly, Kern moves to London, where he meets and falls in love with his future wife Eva (Dorothy Patrick). On the verge of securing work with Frohman, Kern's hopes are dashed when the producer goes down with the Lusitania in 1915. Fortunately, Kern has developed such powerful U.S. contacts as Victor Herbert (Paul Maxey) and Oscar Hammerstein (Paul Langton), enabling him to find success as the composer of several "intimate" musicals for New York's Princess Theater. The film ends where it begins, with Kern's triumph as composer of the Broadway blockbuster Show Boat. Van Heflin weaves in and out of the proceedings as the obligatory best friend/severest critic, a musical arranger named Jim Hessler (purportedly based on longtime Kern associate Paul Sadler). No one in 1946 really cared about the dramatic passages of Till the Clouds Roll By; the film's biggest drawing card was its lineup of all-star MGM talent, performing Kern's most famous numbers. Judy Garland (as Marilyn Miller) sings "Look for the Silver Lining"; Dinah Shore performs "The Last Time I Saw Paris" before a back-projected "Gay Paree"; Kathryn Grayson does a Rita Hayworth imitation with "Long Ago and Far Away"; Virginia O'Brien deadpans "A Fine Romance"; Tony Martin warbles "All the Things You Are"; June Allyson and Ray McDonald team up for the title number; and Frank Sinatra, incongruously dressed in white tuxedo, runs through "Ol' Man River." In addition, other musical contributions are made by Van Johnson, Angela Lansbury, Cyd Charisse, Gower Champion, and Lucille Bremer (cast as Van Heflin's daughter). The film's high point comes at the very beginning with a Reader's Digest edition of Show Boat, featuring Lena Horne, as Julie (the role she was born to play, but never did again on screen), delivering a powerhouse rendition of "Can't Help Lovin' Dat Man." Since lapsing into public domain in 1974, Till the Clouds Roll By has, along with Royal Wedding, become the most readily accessible of all MGM musicals. ~ Hal Erickson, All Movie Guide

Personally supervised by Howard R. Hughes, the RKO Technicolor musical Two Tickets to Broadway stars Janet Leigh as a small-town girl who hopes to make it big in the Big Apple. Moving into a Manhattan boarding house populated by such showbiz hopefuls as Ann Miller, Tony Martin, Gloria De Haven and Barbara Lawrence, Leigh aspires to appear on the popular TV variety program hosted by bandleader Bob Crosby. Two-bit agent Eddie Bracken promises to make her dreams come true, even though he doesn't know Crosby from Adam. Along the way, Leigh falls for Martin, though the course of true love seldom runs smooth--in fact, at one point it threatens to run all the way back to Leigh's home town. Injecting their time-honored routines into the proceedings are veteran vaudevillians Joe Smith and Charlie Dale, playing a couple of stagestruck deli owners (their roles were originally slated for Stan Laurel and Oliver Hardy, but Laurel's illness precluded any film work). Despite the creative input of choreographer Busby Berkeley, the film's best number is the simplest: Let's Make Comparisons, wherein Bob Crosby explains why he's not his brother Bing. Seemingly a surefire box-office hit, Two Tickets to Broadway inexplicably posted a loss of $1,150,000. ~ Hal Erickson, All Movie Guide

Originally intended as a 3D film, this standard-issue Bob Hope musical comedy was released "flat." The 50-year-old Hope plays over-aged chorus boy Stanley Snodgrass, whose attempts to get ahead in the early 20th-century theatre world always come acropper. His luck suddenly changes when he's promoted to the leading-man role in a show headlined by Irene Bailey (Arlene Dahl). What Stanley doesn't know is that he's been set up as a decoy to bring the murderous Jack the Slasher (Robert Strauss) out in the open. It seems that Jack is obsessed with Irene, and has a nasty habit of cutting all of her male co-stars into ribbons. Meanwhile, Stanley lays waste to the show by performing all of his big numbers incorrectly, but his faithful gal Daisy Crockett (Rosemary Clooney) loves him all the same. Tony Martin also appears as Irene's boyfriend, while Millard Mitchell makes his final film appearance as Stanley's stepfather (and never mind that he and Hope were the same age!) A brief clip from Here Come the Girls showed up in, of all places, the 1953 sci-fier Conquest of Space. ~ Hal Erickson, All Movie Guide