Gordon MacRae Movies

An airline pilot wages a desperate battle against the alcoholism that is destroying his life and risking the lives of others in this drama. The film is also known as Danger in the Skies. ~ Sandra Brennan, All Movie Guide

A music performance video, an old TV special of performances of Porter's music. ~ All Movie Guide

Carousel was adapted from the 1945 Rodgers and Hammerstein Broadway musical of the same name--which, in turn, was based on Liliom, a play by Ferenc Molnar. Gordon MacRae stars as carnival barker Billy Bigelow, who much against his will falls in love with Maine factory girl Julie Jordan (Shirley Jones). Billy proves an improvident and unreliable husband, but Julie stands by him. Upon discovering that Julie is pregnant, the unemployed Billy sees an opportunity for some quick money by joining his unsavory pal Jigger (Cameron Mitchell). The scheme goes awry, and Billy dies. Standing before the Pearly Gates, Billy is given a chance to redeem himself by the kindly Starkeeper (Gene Lockhart). He is allowed to return to Earth to try to brighten the life of his unhappy 15-year-old daughter Louise (Susan Luckey). Billy offers Louise a star that he has stolen from the sky; when Louise backs off in fear, Billy slaps her. He feels like a failure until he and his Heavenly Friend (William LeManessa) attend Louise's school graduation ceremony. There the invisible Billy watches as the principal (Gene Lockhart again) inspires Louise (and, by extension, Julie) by assuring her that so long as she has hope in her heart, she'll never walk alone. Frank Sinatra, the film's original Billy Bigelow, dropped out of the production due to laryngitis. ~ Hal Erickson, All Movie Guide

Rodgers and Hammerstein's 1943 Broadway musical was considered revolutionary for a multitude of reasons, not least of which were the play's intricate integration of song and storyline, and the simplicity and austerity of its production design. The 1955 film version of Oklahoma! retains the songs (except for Lonely Room and It's a Scandal!, which are usually cut from most stage presentations anyway) and the story, but the simplicity is sacrificed to the spectacle of Technicolor, Todd-AO, and Stereophonic Sound. The story can be boiled down to a single sentence: a girl must decide between the two suitors who want to take her to a social. In her movie debut, 19-year-old Shirley Jones plays Laurie, an Oklahoma farm gal who is courted by boisterous cowboy Curley (Gordon MacRae) and by menacing, obsessive farm hand Jud Frye (Rod Steiger). Fearing that Jud will do something terrible to Curley, Laurie accepts Jud's invitation to the box social. But it's Curley who rescues Laurie from Jud's unwanted advances, and in so doing wins her hand. On the eve of their wedding, Laurie and Curley are menaced by the drunken Jud. During a fight with Curley, Jud falls on his own knife and is killed (this sudden-death motif was curiously commonplace in the Rodgers and Hammerstein ouevre). The local deputy insists that Curley be arrested and stand trial, but he is outvoted by Curley's friends, and the newlyweds are permitted to ride off on their honeymoon. Counterpointing the serious elements of the story is a comic subplot involving innocently promiscuous Ado Annie (Gloria Grahame), her erstwhile sweetheart Will Parker (Gene Nelson) and lascivious travelling salesman Ali Hakim (Eddie Albert). None of the Broadway cast of Oklahoma! was engaged for the film version, though Charlotte Greenwood is finally able to essay the role of Auntie Eller that had been written for her but she'd been unable to play back in 1943. The evergreen songs include Oh, What a Beautiful Mornin', Surrey with the Fringe on Top, People Will Say We're In Love, I Cain't Say No, and the rousing title song. Two versions of Oklahoma! currently exist: the Todd-AO version, filmed on 65-millimeter stock, and the simultaneously shot CinemaScope version, shipped out to the theaters not equipped for the wider-screen Todd-AO process. Both versions have been issued in "letterbox" form on laser disc, and the subtle differences in performance style and camera angles in each and every scene are quite fascinating. ~ Hal Erickson, All Movie Guide

Though it isn't obvious at first glance, Three Sailors and a Girl is the fourth screen version of the George S. Kaufman stage comedy The Butter and Egg Man. The titular gobs are Jones, Twitch, and Parky, played respectively by Gordon MacRae, Gene Nelson, and Jack E. Leonard. On leave in New York with their pockets full of money, our trio of heroes are convinced by wheeler-dealer Joe Woods (Sam Levene) to invest their money in a musical show. It soon becomes obvious that the boys have backed a turkey, but with the help of pert leading-lady Penny (Jane Powell), a potential disaster is converted into a smashing success. The Sammy Cahn-Sammy Fain musical score is tuneful if forgettable, while LeRoy Prinz' choreography is first-rate. A cute celebrity cameo appearance caps this happy little film. ~ Hal Erickson, All Movie Guide

About Face is a musicalized remake of the old stage and film comedy Brother Rat. The basic story remains the same, as military-school cadet Boff Roberts (Eddie Bracken) tries to keep his forbidden marriage to Alice Wheatley (Phyllis Kirk) a secret. Meanwhile, Boff's roommates Tony Williams (Gordon MacRae) and Dave Crouse (Dick Wesson) do their best to woo and win lovely Betty Long (Virginia Gibson) and Lorna Carter (Ailene Stanley Jr.). Cliff Ferre co-stars as the much-hated Lt. Jones, who turns out to be an accomplished tap-dancer in the film's closing sequence (but that's only after he's been "humanized" when his hair is dyed blue!) Future Cabaret star Joel Grey has a few funny moments as a put-upon "plebe." ~ Hal Erickson, All Movie Guide

Booth Tarkington's Alice Adams, coupled with his Penrod stories, were incorporated in the script of the 1951 Warner Bros. musical On Moonlight Bay. The role of the incorrigible Penrod is played by future Father Knows Best regular Billy Gray, but his is a strictly secondary part herein. The emphasis is on Penrod's hoydenish older sister, played by Doris Day. She falls in love with Gordon MacRae, whose mildly anti-capitalist sentiments sit not at all well with Doris' banker dad (Leon Ames). Once a subplot involving Penrod's prevarications concerning his father's drinking habits is out of the way, we are treated to several romantic scenes involving Doris and Gordon, and a steady stream of early-20th-century standards like "Till We Meet Again," "I'm Forever Blowing Bubbles," "Cuddle Up a Little Closer," and the title song. On Moonlight Bay ends with MacRae marching off to World War I and Doris promising she'll wait for him; she did, as was proven in the 1953 sequel By the Light of the Silvery Moon. ~ Hal Erickson, All Movie Guide

James Cagney delivers a vibrant performance as a down-on-his-luck Broadway musical director in The West Point Story, featuring songs by Sammy Cahn and Jule Styne. Cagney plays out-of-work director Elwin "Bix" Bixby, who reluctantly accepts a job from producer Harry Eberhart (Roland Winters) to stage a show at West Point written by Harry's nephew Tom Fletcher (Gordon MacRae). Harry thinks Tom's show could be a Broadway success if he would only quit West Point. Bix travels to West Point, with his girlfriend, Eve (Virginia Mayo), in tow, to whip the show into shape. But Bix is frustrated by the academy's rules, which interrupt his rehearsal schedule. In frustration, Bix hits a cadet. In order to continue to work on the show, Bix must become a cadet himself, and deal with the attendant hazing that entails. When the one of the show's stars, Jan Wilson (Doris Day), is brought out to work on the production, Tom falls in love with her and goes AWOL to return with her to Hollywood. Bix, in order to save Tom's military career, has to go to Hollywood and bring Tom back to West Point. ~ Paul Brenner, All Movie Guide

This Gay-90s musical interweaves a number of fictional characters with real-life theatrical impresario Tony Pastor (played by Gordon MacRae, who resembles the real Pastor not at all). The plot involves a roisterous Irish papa (James Barton) who, when not on a drunk, tries to keep his two daughters (June Haver and Debbie Reynolds) from the clutches of predatory men. The older daughter (Haver), who entertains notions of a stage career, meets Tony Pastor during an audition, and promptly falls in love. She becomes a star singing such turn-of-the-century hits as the title song, while Pastor tries to suppress his own warm feelings towards the girl. Warner Bros. stalwart S.Z. Sakall shows up in Daughter of Rosie O'Grady, fully justifying his nickname "Cuddles." ~ Hal Erickson, All Movie Guide

The short but colorful life of American musical comedy star Marilyn Miller is given the standard prettified Hollywood treatment in Look for the Silver Lining. June Haver, an accomplished dancer-singer in her own right, is well-cast as Miller, who rises from an appendage in her parents' vaudeville act to the toast of Broadway. Along the way, she suffers such personal tragedies as the wartime death of her first husband, songwriter Frank Carter (Gordon Macrae), but manages to smile through the tears and go on to even loftier showbiz heights. The film ends in 1936, the year of Miller's death; we last see her "giving her all" to her audience, while an offstage observer makes ominous comments about her future. The Phoebe and Henry Ephron/Marian Spitzer screenplay (based on a story by Bert Kalmar and Harry Ruby) glosses over Marilyn Miller's notorious prima donna behavior; she is shown lording it over the "little people" in only one scene, whereupon she is gently put in her place by the remonstrative Frank Carter. Charles Ruggles and Rosemary DeCamp co-star as Miller's vaudevillian parents, while Ray Bolger is his usual ebullient self as Jack Donahue; also on hand are S.Z. Sakall and Walter Catlett, recreating a scene from Miller's 1925 Broadway triumph Sally (Catlett had appeared in the original production). Look for the Silver Lining was produced by Warner Bros., the same company that released the real Marilyn Miller's three starring films back in the early days of the talkies. ~ Hal Erickson, All Movie Guide

Not a remake of the 1923 film of the same name, East Side, West Side stars George O'Brien as John Breen, who is orphaned early on when his mother and stepfather are killed in a barge accident. With nothing holding him back, John heads to the Big City he's always dreamed about. Here he becomes a champion boxer under the patronage of wealthy architect Gilbert Van Horn (Holmes Herbert). What Breen doesn't know is that Van Horn is his real father, who was forced by his wealthy family to give up custody of the boy years earlier. After accumulating enough money in the ring to start a new career, Breen develops into a brilliant architect, again with Van Horn's help. Only when both Breen and Van Horn fall in love with the same girl (Virginia Valli) does the true relationship between father and son come to surface. Based on a novel by Felix Reisenberg, East Side West Side was remade in 1931 as Skyscraper, with Thomas Meighan and Hardie Albright. ~ Hal Erickson, All Movie Guide