Harold Arlen Movies

Larry Weinstein's Stormy Weather: The Music of Harold Arlen is about the final years of the great songwriter. As a heavily medicated, elderly Arlen (Paul Soles) goes about his days with his nurse, he remembers his life's accomplishments and imagines performances of some of his most well known songs. Among the singers who appear performing in the film are Rufus Wainwright, Jimmy Scott, and Sandra Bernhard. This film was screened at the Victoria Film Festival. ~ Perry Seibert, All Movie Guide

Sidney Poitier makes his long-overdue return to films in the 1988 thriller Shoot to Kill. Poitier plays an FBI agent, on the trail of an elusive killer. Reluctantly teamed with tracker Tom Berenger, the citified Poitier braves the wilds of the Pacific Northwest in search of his quarry. For Berenger, the pursuit is personal; the killer, whose identity is not immediately revealed, has joined a hunting party being guided through the country by the tracker's girlfriend Kirstie Alley. Though only bearing the slightest resemblance to Real Life (you'll love the scene between lifelong city-dweller Poitier and a huge grizzly bear), Shoot to Kill delivers the goods in the suspense department. ~ Hal Erickson, All Movie Guide

Considered one of the great box-office turkeys of its decade, Ishtar was an attempt by writer/director Elaine May and stars Dustin Hoffman and Warren Beatty to do a modern-day road picture in the style of the much-loved Bob Hope and Bing Crosby comedy classics. Beatty is Lyle Rogers, a dimwitted songwriter who befriends and partners with Chuck Clarke (Hoffman), who is only slightly more intelligent but every bit as untalented. Together the duo dreams of becoming a big-time lounge act, but their songs, with titles like "That a Lawnmower Can Do All That," are unintentionally hilarious. Chuck becomes suicidal, but just when it seems they'll never strike it rich, the boys are offered a shady gig at a North African hotel, entertaining U.S. troops stationed in the tiny nation of Ishtar. On their way to accept the job, Lyle, Chuck, and their blind camel are sidetracked by a mysterious woman (Isabelle Adjani) and a scheming CIA agent (Charles Grodin), who are involved in a rebellion against the country's emir. The memorable songs crafted by Chuck and Lyle were written by actor and composer Paul Williams. ~ Karl Williams, All Movie Guide

This standard, tongue-in-cheek, gangsters and good guys saga is carried on the star power and screen presence of Clint Eastwood as Lt. Speer, a taciturn, tough, play-it-by-the-book cop, and on Burt Reynolds as Mike Murphy, Speer's old friend in the force, now turned private eye but still a captivating rogue at heart. With a sub-text of playing their well-known screen personas off each other, Eastwood and Reynolds provide more than a surface interpretation of the characters that made them famous. After Murphy's partner is murdered, he focuses on pitting one mob boss against another in an attempt to have both mobsters kill each other. In the meantime, Lt. Speer -- who has never approved of Murphy's private detective business -- does not really know if Murphy is for or against the two top gangsters. Set in the era of speakeasies and Prohibition, an added layer of "film noir" can be discerned under the complex plot, verbal repartée, and episodes of toned-down violence (a kind of parody in themselves). Although this may not be the best film either star has made, it is still interesting to see them together on screen. ~ Eleanor Mannikka, All Movie Guide

The most interesting aspect of The Swinger is the name of the character played by Ann-Margret: the former Ann Margaret Olsson essays the role of Kelly Olsson. A naive small-town girl, Kelly aspires to become a writer in the Big City. When her stories are rejected because they aren't exciting and provocative enough, she decides to do some hands-on research by posing as the titular "swinger." She is so successful at this subterfuge that Hefner-like publisher Anthony Franciosa makes it his mission in life to reform the "fallen" Kelly. Didn't they do this one in the 1930s as Theodora Goes Wild, with Irene Dunne and Melvyn Douglas? ~ Hal Erickson, All Movie Guide

Carroll Baker, the Sharon Stone of the sixties, plays another classy-looking blonde with a sordid background in Sylvia. Millionaire Peter Lawford is about to marry the glamorous but secretive Sylvia (Baker). Before taking the plunge, he hires private eye George Maharis to do a background check on the girl. Whew, what he finds out! Apparently the only sin Sylvia doesn't commit is robbing parking meters, but we have no idea what might happen after the final fadeout. Shortly before it opened, Sylvia was the subject of several magazine articles, trumpeting the fact that Carroll Baker had conducted extensive interviews with real-life prostitutes in order to prepare herself for her role. This apparently left her no time to consult an acting coach. ~ Hal Erickson, All Movie Guide

In this collection of clips from The Judy Garland Show, which ran for 26 episodes on CBS television in 1963 and 1964, the legendary singer and actress performs a number of songs, several of them collaborations with up-and-comer Barbra Streisand, grand dame Ethel Merman, and Garland's own daughter, the then-teenaged Liza Minnelli. Garland's solos include several of her signature numbers, from "I'm Nobody's Baby," which she performed as a fresh-faced MGM star in 1940's Andy Hardy Meets Debutante, to "The Man That Got Away," written especially for 1954's comeback vehicle A Star Is Born. Garland and Streisand alternate friendly banter about hating each other's talent with solo renditions and two extended medleys. The most famous of these pairings is their show-stopping combination of the standards "Get Happy" and "Happy Days Are Here Again"; Garland had performed the former in 1950's Summer Stock, while Streisand recorded the latter the same year the program aired. In another segment, Merman appears in the middle of the audience and joins Streisand and Garland for a leather-lunged rendition of "There's No Business Like Show Business." The Merman and Streisand footage was taped on October 4, 1963, for episode nine of Garland's eponymous program. A sequence featuring three duets and lots of clowning with Minnelli was taped a few months earlier, on July 16, for episode three. Several years after her program was cancelled, Garland was set to play Helen Lawson, a character based on Merman, for the film version of Jacqueline Susann's Valley of the Dolls; she was replaced, however, by Susan Hayward. Streisand would go on to star in her own remake of A Star Is Born, while Minnelli would mine her mother's legacy in her own repertoire. ~ Brian J. Dillard, All Movie Guide

Gladys Glover (Judy Holliday) is an unsuccessful model and actress who believes that a jolt of publicity will do her career a world of good. She gets that publicity by renting a billboard in the middle of Manhattan, emblazoned with her name and photograph. As a result, Gladys is showered with endorsement by (Peter Lawford). He becomes enamored with Gladys, which irritates her "unofficial" boyfriend, documentary-director Pete Sheppard (Jack Lemmon) (in his film debut). Pete grows tired of Gladys' publicity stunt, feeling that it is turning her into an object rather than a human being, but Gladys luxuriates in the fame and fortune. A happy ending may be inevitable, but it's a hard-won happiness for both hero and heroine. Scriptwriter Garson Kanin had intended this as a vehicle for Danny Kaye, but Kanin's wife Ruth Gordon suggested the gender-switch to Judy Holliday, noting that what might seem aggressive from Kaye would appear merely whimsical from Holliday. In one of the best scenes, real-life celebrities Melville Cooper, Ilka Chase and Constance Bennett show up as talk-show panelists -- the ideal magnet for the likes of Gladys Glover, who has become famous merely for being famous. ~ Hal Erickson, All Movie Guide

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, All Movie Guide

Eddie Cantor does a sketch alone, then teams up with Brian Donlevy in another before Eddie Fisher and Frank Sinatra make several musical contributions. ~ John Bush, All Movie Guide

Ezio Pinza stars as the title character, a prince who falls for nightclub singer Fredda Barlo (Lana Turner) when the two meet on vacation in Italy. After more than a decade, they reunite, only now Barlo is a Hollywood superstar and Imperium has ascended to the throne of king. ~ Jason Ankeny, All Movie Guide

Summer Stock represented Judy Garland's swan song at MGM. Garland plays the owner of a New England farm which entrepreneur Gene Kelly hopes to convert into a summer theatre. Gloria DeHaven, a member of Kelly's troupe, also happens to be Garland's sister. Aware that the farm is having financial difficulties, DeHaven talks the recalcitrant Garland into allowing the troupe to set up shop in the barn. All sorts of romances wind their way through the summer air as Kelly mounts his production. In the long-anticipated finale, Garland herself steps into the leading-lady slot vacated by her petulant sister DeHaven, and of course the show is a smasheroo. To watch Garland joyfully perform such numbers as "Friendly Star," "If You Feel Like Singing, Sing," and her legendary "drag" specialty "Get Happy," you'd never suspect that she was on the verge of a nervous breakdown (the film opened while Garland was recovering from a suicide attempt). Adding to the overall exuberance of Summer Stock are such dependable supporting players as Eddie Bracken, Phil Silvers, Marjorie Main and Hans Conried (cast as the troupe's resident romantic baritone!) ~ Hal Erickson, All Movie Guide

Though Republic had decided to forego plans for an annual film edition of Earl Carroll's Vanities, their reciprocal deal with the Broadway impresario was still very much in effect in 1946: Hence the creation of the musical extravaganza Earl Carroll Sketchbook. The highly forgettable plot involves a serious composer named Tyler Brice (William Marshall) who "sells out" to write radio commercials. Artistically redeemed by heroine Pamela Thayer (Constance Moore), Brice decides to lend his talents-both as composer and singer-to producer Earl Carroll's newest nightclub revue (Richard Lane plays the Carroll character, here named Richard Starling). The Jule Styne-Sammy Cahn tunes are hardly classics, though "I've Never Forgotten" has possibilities. The film also revives Harold Arlen and Ted Koehler's "I've Got a Right to Sing the Blues", first introduced in the 1932 edition of Vanities. TV prints of Earl Carroll's Sketchbook have been retitled Hats Off to Rhythm ~ Hal Erickson, All Movie Guide