Ray Henderson Movies

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, Rovi

Reviewing Bill and Coo for a major magazine, an otherwise restrained critic was moved to describe the film as "by conservative estimate, the God-damnedest thing I've ever seen." Conceived by producer/comedian Ken Murray as a showcase for George Burton's trained birds, who'd previously been featured in Murray's long-running Los Angeles stage review Blackouts, the film is set in the mythical all-bird community of Chippendale. The characters -- hero, heroine, villain -- are all birds, displaying the most human of emotions and impulses. When the romance between lovebirds Bill and Coo is threatened by the evil Jimmy the Crow, all Heck breaks loose, culminating in Bill's rescue of Coo from a burning building. As a bonus,the feathered featured players sing, dance and play musical instruments! The winner of a special Academy Award, Bill and Coo was later reissued with a new introduction by the enterprising Ken Murray. ~ Hal Erickson, Rovi

This adaptation of the oft-filmed Jean Webster novel Daddy Long Legs has been tailored to the talents of Shirley Temple. The orphaned daughter of vaudeville entertainers, Elizabeth Blair (Temple) is the most precocious charge at super-strict Lakeside Orphanage, regularly disrupting protocol with her extemporaneous performance of such songs as "Animal Crackers in My Soup" at the dinner table. While paying a visit to the orphanage, wealthy trustee Edward Morgan (John Boles) is enchanted by cute little Elizabeth -- and even more so by the girls more mature sister Mary (Rochelle Hudson). He secretly arranges for the sisters' release from the institution, sets them up in a lavish mansion, and finances their education. When Mary almost falls in love with another man, it is miss-fixit Elizabeth who brings Mary and Edward together, capping this bit of cupidity with her trademarked exclamation "Oh, my goo'ness!" The first Shirley Temple vehicle specifically aimed at children, Curly Top contains some wonderful character bits from its adult cast, notably Etienne Girardot, Rafaela Ottiano and Jane Darwell as the orphanage officials and by Arthur Treacher and Billy Gilbert as the hero's household servants. ~ Hal Erickson, Rovi

Divesting herself of her own production company, silent-screen queen Gloria Swanson entered into a two-picture deal with producer Joseph M. Schenck, which paid her a straight (and very hefty) salary for both productions. The first film completed under this arrangement was the trivial romantic comedy- musical Indiscreet, scripted and scored by songwriters Buddy G. DeSylva, Ray Henderson, and Lew Brown and directed by the matchless Leo McCarey. Swanson plays Geraldine "Gerry" Trent, a worldly socialite who endeavors to protect her sister Joan (Barbara Kent) from the lecherous machinations of Jim Woodward (Monroe Owsley). But when Joan discovers that Jerry and Woodward were once lovers themselves, she mistakenly believes that Jerry's attempts to break up her romance is motivated by jealousy. In fact, Jerry is completely committed to Joan's brother Tony Blake (Ben Lyon). One of the more successful of Gloria Swanson's talkies, Indiscreet posted a much-needed profit for financially strapped United Artists. ~ Hal Erickson, Rovi

This musical, based on a Broadway show, was filmed in two-color technicolor. Set upon a golf course, it chronicles the attempts of a handsome golfer to teach a young woman how to play the game. This causes her gossipy rival to start a string of vicious rumors about the two. It seems that her rival is jealous of the golfer's attentions. Songs include: "A Peach of A Pair", "It Must Be You", "You Wouldn't Fool Me, Would You?", "Button Up Your Overcoat", "I Want to Be Bad" and "I'm Hard To Please". ~ Sandra Brennan, Rovi

The opening attraction at New York's Hollywood Theatre, Hold Everything was adapted from the DeSylva-Brown-Henderson musical of the same name that had served as a vehicle for Bert Lahr. For the film, both Lahr and most of the score were jettisoned, replaced by Joe E. Brown and songs by Al Dubin and Joe Burke. Brown plays Gink Schiner, a third-rate fighter who is at the same training camp as Georges LaVerne (played by Georges Carpentier), a contender for the heavyweight championship. Although he needs to be concentrating all of his energies on the upcoming bout, Georges keeps getting distracted: Norine Lloyd, a society dame, has a distinct interest in him, but the interest is strictly one-sided. Georges prefers Sue, an old buddy and confidante. Gink has woman trouble of his own, as his flirtations do not sit at all well with Toots, his erstwhile girl friend. More trouble arrives when Larkin, manager of current heavyweight champ Bob Morgan, appears at the camp with the goal of fixing the fight. He is sent packing, after which he attempts to slip a Mickey Finn to the challenger -- a plan which goes awry when Gink switches the drinks. Meanwhile, Gink, who is fighting in a preliminary in advance of the big fight, actually wins. Things don't look so bright for Georges, who initially gets the worst of it in his encounter with Morgan, but who eventually comes out on top. ~ Craig Butler, Rovi

The DeSylva-Brown-Henderson Broadway musical Good News was first brought to the screen by MGM in 1930. The scene is Tait College, where everyone is in a blue funk over the dilemma of gridiron star Tom (Stanley Smith). Since the only thing he's ever passed is a football, Tom is in danger of flunking out before the Big Game. Plain-looking Connie (Mary Lawlor) is enlisted to tutor Tom through his final exams, and in the process the two students fall in love -- much to the dismay of campus vamp Patricia (Lola Lane). Managing to finagle a marriage proposal out of Tom, it looks as though Patricia will emerge triumphant, but all is set aright during the lavish Technicolor finale. Good News is an instructive example of how Hollywood perceived the movie musical during this period: While much of the film is shot in the static, nailed-down-camera technique so common to early talkies, several isolated sequences -- most of them featuring comedy-relief characters Bessie Love and Gus Shy -- are cleverly and inventively photographed (as Love shoots dice with the football team, the camera records her reactions from the dice's point of view!) Many of the original play's songs are retained in the film, including the title number, "The Best Things in Life are Free" and the lively "Varsity Drag," performed con brio by soubrette Dorothy McNulty (later known as Penny Singleton) and including such esoterica as animated wall paintings and a superimposed thermometer which boils over as the dancing gets "hotter. Future writer-director Delmer Daves has a good supporting role as surly campus jock "Beef." Existing prints of Good News are minus the final Technicolor reel, but Turner Films has provided a videotaped synopsis, complete with production stills, for television showings. Good News was remade -- and vastly improved upon -- by MGM producer Arthur Freed in 1947. ~ Hal Erickson, Rovi

A custody battle for a little boy forms the basis of this domestic comedy, a talkie that is so early that title cards are interspersed amongst the dialog. The parents are in the midst of a bitter divorce when the boy's mother talks her sister into kidnapping him because she is terrified that her husband will take the boy out of the country after the divorce. The nervy sister takes the lad to the apartment of her sister's husband's lawyer who believes that she has gone away for a time. A merry mix-up ensues when he returns to the apartment with his parents in tow. To maintain appearances, the sister must pose as the lawyer's wife. Eventually she decides to take the boy and flee, but then she realizes that the boy has vanished. It seems he saw an interesting theater marquee, climbed down the fire escape, and went to the movies. The adults arrive just in time to hear a rousing rendition of "Sonny Boy." ~ Sandra Brennan, Rovi

Warner Baxter, sporting a black mustache and a musical-comedy Mexican accent, stars as the Cisco Kid, the "Robin Hood of the Old West" created by O. Henry. Edmund Lowe co-stars as Cisco's "friendly enemy" Sgt. Mickey Dunne, the role that was originally to have gone to Raoul Walsh. Both men are madly in love with dusky beauty Tonia Maria (Dorothy Burgess), and in fact Cisco is so "far gone" that he composes a song in the girl's honor (actually, "My Tonia", first heard during the opening credits, was written by Fox studio tunesmiths Lew Brown, B.G. DeSylva and Ray Henderson). Alas, Tonia ends up betraying Cisco to Sgt. Burke. But the crafty, cold-blooded Cisco arranges for Tonia to be killed in the trap set for him (this plot resolution is faithful to O. Henry's original conception of the Cisco Kid, who wasn't really meant to be a "good guy"). ~ Hal Erickson, Rovi