Irving Brecher Movies

Predictable and demeaned by low-brow humor, this comedy-drama by George Marshall revolves around the amorous entanglements of four G.I. photographers on leave in Japan from their last mission in the Korean War. The men, headed by officer Andy Cyphers (Glenn Ford) check into a house with four resident geishas and immediately misunderstand what a geisha does for a living. Once they get straightened out about the musical, cultural, and educational background of geishas -- and after spending some time with the four women, the men begin to pair off. More misunderstandings are in store but it definitely looks like at least two of the men will not go back to the U.S. alone. ~ Eleanor Mannikka, Rovi

Written and directed by Irving Brecher, best known for his weekly TV series Life of Riley and The People's Choice, Somebody Loves Me is the highly fictionalized life story of vaudeville and Broadway star Blossom Seeley (Betty Hutton) and her husband-partner Benny Fields (Ralph Meeker). Unflatteringly, the film depicts Fields as something of an opportunist, who maneuvers Blossom into marriage for the benefit of his own career. Eventually he does penance for his callousness, particularly in a scene wherein Fields is reduced to playing straight for a pair of crummy Burlesque comedians. Meanwhile, Blossom also goes into an eclipse as a "single." The tearful finale is, like the rest of the film, a bit at odds with the truth, but effective nonetheless. Betty Hutton does pretty well as Seeley, even though she looks and sounds nothing like genuine article; Meeker seems uncomfortable, except when lip-synching to the prerecorded voice of Pat Morgan as Benny Fields. Jack Benny makes an amusing cameo appearance. ~ Hal Erickson, Rovi

This comedy is based on the enduring radio series and chronicles the attempts of an airplane riveter to find a better paying, less physically taxing job. Chester A. Riley gets his chance when his employer's son falls in love with Riley's daughter. Wanting to make her father happy, the daughter, who does not really love the boss's son, agrees to be his wife if her father can be promoted to an executive. This happens and the reluctant but honorable young woman prepares to become a bride until Riley finds out and sets things right. ~ Sandra Brennan, 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

Sally Benson's short stories about the turn-of-the-century Smith family of St. Louis were tackled by a battalion of MGM screenwriters, who hoped to find a throughline to connect the anecdotal tales. After several false starts (one of which proposed that the eldest Smith daughter be kidnapped and held for ransom), the result was the charming valentine-card musical Meet Me in St. Louis. The plot hinges on the possibility that Alonzo Smith (Leon Ames), the family's banker father, might uproot the Smiths to New York, scuttling his daughter Esther (Judy Garland)'s romance with boy-next-door John Truett (Tom Drake) and causing similar emotional trauma for the rest of the household. In a cast that includes Mary Astor as Ames' wife, Lucille Bremer as another Ames daughter, and Marjorie Main as the housekeeper, the most fascinating character is played by 6-year-old Margaret O'Brien. As kid sister Tootie, O'Brien seems morbidly obsessed with death and murder, burying her dolls, "killing" a neighbor at Halloween (she throws flour in the flustered man's face on a dare), and maniacally bludgeoning her snowmen when Papa announces his plans to move to New York. Margaret O'Brien won a special Oscar for her remarkable performance, prompting Lionel Barrymore to grumble "Two hundred years ago, she would have been burned at the stake!" The songs are a heady combination of period tunes and newly minted numbers by Ralph Blane and Hugh Martin, the best of which are The Boy Next Door, The Trolley Song, and Have Yourself a Merry Little Christmas. As a bonus, Meet Me in St. Louis is lensed in rich Technicolor, shown to best advantage in the climactic scenes at the St. Louis World's Fair of 1904. ~ Hal Erickson, Rovi

Five original cast members of the hit Broadway musical Best Foot Forward appear in this Technicolor MGM screen adaptation. Set at a small town military prep school, the story gets under way when movie star Lucille Ball (played by movie star Lucille Ball) pays a visit to the campus for publicity purposes. Several of the students, led by Bud (Tommy Dix), offer to make Lucille the queen of the upcoming prom. But the plot dictates that Bud and his pals are forced to back off from their offer, and to hide Lucille's presence from the faculty. Cast as a hoydenish blind date, Nancy Walker steals the show with her spirited rendition of "Buckle Down, Winsocki"; but of the five carryovers from the original Broadway production, only June Allyson went on to lasting film stardom. Enhancing the film's box-office appeal was MGM's decision to add Harry James and His Music Makers to the cast: James' performance of "The Two O'Clock Jump" is worth the admission price in itself. ~ Hal Erickson, Rovi

For Me and My Gal, a leisurely period musical, represents the first on-screen dancing of MGM's new star Gene Kelly. Judy Garland plays a member of a vaudeville troupe consisting of herself, George Murphy, Ben Blue and Lucille Norman. She leaves the act to join up with Kelly, who promises to propel her to the big time. Two unsuccessful years later, Garland and Kelly are still struggling in the small time, while Murphy and his bunch are headliners. Kelly nearly throws Garland over for singer Marta Eggerth, but Judy remains loyal--at least until Kelly deliberately breaks his hand to avoid serving in World War I. Having lost her brother Richard Quine to the war, Garland denounces Kelly as a coward and walks out. Kelly redeems himself by joining an overseas entertainment troupe, saving several lives when he finds himself under attack on the front. Judy and Gene are at last reunited in Paris. A major break for both Gene Kelly and Judy Garland (who proved once and for all in this film that she was no longer just a "juvenile"), For Me and My Gal was based on a story by Howard Emmett Rogers. ~ Hal Erickson, Rovi

The Marx Bros.' Go West was on the drawing boards as early as 1936, when MGM executive Irving Thalberg commissioned Bert Kalmar and Harry Ruby to come up with a script in which the Marx boys get involved with a rodeo. The project was shelved in favor of A Day at the Races, then revived in late 1939, two years after Laurel and Hardy's Way Out West proved the commercial viability of comedy-Westerns. By this time, Kalmar and Ruby were no longer involved, and the script became virtually the sole responsibility of Irving Brecher, who'd previously penned the disappointing Marx vehicle At the Circus. If Go West is an improvement over Circus, it is probably because the Marxes were permitted to try out their material on tour before a variety of live audiences. Set in 1870, the story begins as S. Quentin Quayle (Groucho Marx) tries to raise enough money for a train ticket to the West. He spots a couple of likely pigeons, prospectors Rusty (Harpo Marx) and Joe (Chico Marx), and attempts to sucker them out of the required 500 dollars. In what turns out to be the film's funniest scene, Rusty and Joe turn the tables on Quayle, divesting him of everything he owns -- including his trousers. The plot then rears its ugly head as villains Beecher (Walter Woolf King) and Baxter (Robert H. Barrat) scheme to wrest a lucrative railroad contract from hero Terry Turner (John Carroll). Rusty and Joe make things easy for the bad guys by stupidly signing over a valuable gold mine deed which they were supposed to deliver to heroine Eve Wilson (Diana Lewis). With the help of Quayle, Rusty and Joe try to recover the deed, only to be sidetracked by a bevy of dance-hall girls. After several middling complications, the film boils down to a race between heroes and villains to register their bids and win the railroad contract. This requires Quayle, Rusty, and Joe to keep a locomotive in commission by chopping up the passenger cars for fuel, one of several Keatonesque sight gags packed into the film's hilarious finale. The opening and closing scenes of Go West are so good that one is willing to forgive and forget the dull romantic subplot and the misfire gags in the midsection. ~ Hal Erickson, Rovi

In her only Warner Bros. starring film, Carole Lombard plays a Hollywood movie actress who makes the park-bench acquaintance of an impoverished French marquis (Fernand Gravet). Hoping to coerce Carole into marriage, the nobleman poses as a butler and enters her household. His plan is to compromise Lombard and force her to make him an "honest man"--with the attendant cash settlement. Ralph Bellamy, as ever, is the poor clod who really loves Lombard but who loses her in the end to the chastened Gravet. Rodgers and Hart were commissioned to write several songs for this film, but found most of their efforts consigned to the cutting room floor. Fools for Scandal was based on Nancy Hamilton's stage play Return Engagement. ~ Hal Erickson, Rovi