Cole Porter Movies
For fairly obvious technological reasons, the film credits of celebrated Broadway composer Cole Porter begin with the 1929 all-talkie The Battle of Paris. Fifty Million Frenchman, filmed in 1931, started out as a reasonable faithful adaptation of Porter's Broadway hit. By this point in time, however, the filmgoing public was tired of musicals, thus Warner Bros. blithely chopped out all the tunes: we repeatedly hear the build-up to You Do Something to Me, but never the song itself! (Porter's "leftover" score was later presented intact in the 1934 Bob Hope 2-reeler Paree, Paree). Any other composer might have been crushed by this cavalier treatment, but Porter had never been defeated by any of life's disappointments -- probably because he was cushioned by his vast inherited wealth and a lavish, globetrotting social life. Educated at Yale, Harvard, and the Paris Schola Cantorum, Porter was by 1931 internationally renowned as a composer of sophisticated, wryly risque show tunes, so his early "failure" in Hollywood posed no threat to his career. Porter continued to be represented in films via adaptations of his Broadway successes (Gay Divorcee (1934), Anything Goes (1936)) until 1936, when he penned several original songs for MGM's Born to Dance, including I've Got You Under My Skin and Easy to Love. Among Porter's later direct-to-screen compositions were such hits as Don't Fence Me In (for Hollywood Canteen (1944)), Be a Clown (The Pirate (1948)) and True Love (High Society (1955)). Shortly after completing work on MGM's Rosalie (1937), Porter was seriously injured in a riding accident. Though his crushed legs caused him excruciating pain, Porter continued to maintain his flamboyant lifestyle, stubbornly refusing to allow the doctors to amputate until it became a life-or-death situation in 1958. When Warner Bros. produced its Cole Porter biography Night and Day (1946), with Cary Grant in the lead, the studio used Porter's crippling accident as the film's central dramatic crisis. After all, you couldn't do a rags-to-riches story with a leading character whose life was all riches-to-riches. ~ Hal Erickson, All Movie Guide- 1929
Paris served as the talkie debut for French music-hall favorite Irene Bordoni, who though never quite attaining screen stardom remained popular on American radio. Bordoni is cast as Vivienne Rolland, a Parisian chorus girl in love with Massachusetts boy Andrew Sabbot (Jason Robards Sr.) Andrew's snobbish mother Cora (Louise Closser Hale) tries to break up the romance, and it is her scenes which give the film what little life it has. British song-and-dance man Jack Buchanan (remember him in 1953's The Band Wagon?) likewise makes his talking-picture bow as Guy Pennell, the leading man in Vivienne's revue. Four reels of this 10-reel epic were originally lensed in two-color Technicolor. Paris was adapted from the Cole Porter Broadway musical of the same name -- inexplicably minus the Porter songs! ~ Hal Erickson, All Movie Guide
- Starring:
- Irene Bordoni, Jack Buchanan, (more)
- 1929
The great British stage star Gertrude Lawrence was seldom seen to her best advantage in films. In Paramount's Battle of Paris, Lawrence stars as Georgie, a British singer stranded in not-so-gay Paree during WWI. To keep food on the table, Georgie teams up with amiable pickpocket Zizi (Charlie Ruggles). Among the pockets picked are those of handsome artist Tony (Walter Petrie), with whom Georgie falls in love. Hired as Tony's model, our heroine soon becomes the "poster girl" for the French and British armies, which somehow leads to a barrage of musical numbers by Cole Porter (his first direct-to-screen score). Gertrude Lawrence tries hard, but is defeated by a so-so script and surprisingly tepid music. ~ Hal Erickson, All Movie Guide
- Starring:
- Gertrude Lawrence, Charlie Ruggles, (more)
- 1931
Cole Porter's Broadway musical 50 Million Frenchmen was brought to the screen in 1931 with one minor alteration -- all of the music was removed! Set in Paris, the story concerns the exploits of wealthy Jack Forbes (William Gaxton), who bets his friend Michael Cummings (John Halliday) that he can woo and win Looloo Carroll (Claudia Dell) without using any of his money or connections. Cummings hires Simon and Peter (Ole Olsen and Chic Johnson), a pair of erstwhile detectives, to make sure that Forbes doesn't win his bet. Instead, Simon and Peter befriend our hero and decide to help him out. Olsen & Johnson have all the best material, notably an early double-entendre encounter with randy American tourist Helen Broderick and a scene in which Olsen impersonates mind-reading fakir Bela Lugosi (who loses his clothes in the process!) The finale is right out of Harold Lloyd, with the comedians being chased by every law officer in Gay Paree. Evidently, the Cole Porter songs had been filmed for 50 Million Frenchmen, but were cut from the final print just before release: William Gaxton keeps building up to singing You Do Something for Me but never quite gets there (Warner Bros. later utilized the Porter score in Paree! Paree!, a 2-reel remake of Frenchmen starring Bob Hope). Originally released in Technicolor, 50 Million Frenchmen is presently available only in black and white. ~ Hal Erickson, All Movie Guide
- Starring:
- William Gaxton, John Halliday, (more)
Based on Dwight Taylor and Cole Porter's play of the same name, The Gay Divorcee centers on Mimi (Ginger Rogers), a woman seeking a divorce from her husband. Mimi travels to an English seaside resort, pursued by the love-stricken Guy (Fred Astaire), whom she mistakes for the hired correspondent in her divorce case. Among the many musical numbers featured are "Night and Day," the only song from the original Broadway musical included in the film, and "The Continental," which won the first ever Academy Award for Best Song. Directed by Mark Sandrich, the film features supporting performances by Alice Brady and Edward Everett Horton. ~ Matthew Tobey, All Movie Guide
- Starring:
- Fred Astaire, Ginger Rogers, (more)
- 1936
A never-completed stage musical was the source for the MGM superproduction Born to Dance. The plot is another three-sailors-on-leave affair, with Ted (James Stewart), Mush (Buddy Ebsen) and Gunny (Sid Silvers, who also co-wrote the script) romancing the eminently romanceable Nora (Eleanor Powell), Peppy (Frances Langford) and Jenny (Una Merkel). Nora aspires to become a dancing star, but her career nearly ends before it begins when she inadvertently comes between Broadway luminary Lucy James (Virginia Bruce) and her producer-lover McKay (Alan Dinehart). If anyone watching back in 1936 really cared about the plot, they probably weren't music lovers. The lovely Cole Porter score (his first written directly for the screen) includes "I've Got You Under My Skin", sung by Virginia Bruce to James Stewart, and "Easy to Love", warbled by Stewart to Eleanor Powell. Highlights include Reginald Gardiner's impersonation of a symphony-conducting traffic cop (a routine he'd previously performed on stage) and Eleanor Powell's climactic tap routine on board an art-deco battleship (a sequence later re-deployed for the climax of 1944's I Dood It). ~ Hal Erickson, All Movie Guide
- Starring:
- Eleanor Powell, James Stewart, (more)
- 1936
Anything Goes is a fun-filled but hardly faithful adaptation of the same-named Cole Porter Broadway musical, with additional songs by Hoagy Carmichael, among many many others. Set on a luxury liner, the story gets under way when Moonface Mullins (Charlie Ruggles), Public Enemy No. 13, slips on board disguised as a bishop. As he weaves in and out of the story, Billy Crocker (Bing Crosby) romances Hope Harcourt (Ida Lupino), titled Englishman Evelyn Oakleigh (Arthur Treacher) also pursues Hope, and brassy entertainer Reno Sweeney (Ethel Merman) chases after Sir Evelyn. Critics in 1934 complained that the original Broadway production's Victor Moore was replaced by Charlie Ruggles, but none could fault Ethel Merman's rendition of "I Get a Kick Out of You", nor her duet with Bing Crosby, "You're the Top" (the only two songs retained from the Porter score!) Anything Goes was remade in 1956, again with Bing Crosby, and again with little fidelity to the original (this remake required MCA Television to retitle the 1936 version as Tops is the Limit). ~ Hal Erickson, All Movie Guide
- Starring:
- Bing Crosby, Ethel Merman, (more)
- 1938
More burdened with leaden production numbers than plot, Rosalie took Sigmund Romberg and George Gershwin's 1928 Broadway hit, threw out most of the songs, including "How Long Has This Been Going On?," but retained the spindly story of the incognito Princess Rosalie of Romanza (Eleanor Powell), who falls head-over-heels in love with All-American Dick Thorpe (Nelson Eddy), although she finds him conceited at first. But Dick gallantly flies to Romanza where the crooning Charles Lindbergh lands in the middle of yet another comic opera revolution. Rosalie, of course, is engaged to someone else, but after a series of misadventures and a colossal closing number, the star-crossed lovers decide to settle down together in democratic America. Cole Porter was hired to write a new score and Eleanor Powell, Nelson Eddy, and newcomer Ilona Massey perform "I've Got a Strange New Rhythm in My Heart," "Why Should I Care?," "Spring Love is in the Air," "It's all Over but the Shouting," "Who Knows?," "To Love and Not to Love," and, most memorably, "In the Still of the Night." ~ Hans J. Wollstein, All Movie Guide
- Starring:
- Nelson Eddy, Eleanor Powell, (more)
- 1940
Love Thy Neighbor was produced to capitalize on the famous radio feud between comedians Jack Benny and Fred Allen. The two stars (actually friends in real life) play "themselves," constantly at each other's throats due to real and imagined slights. Benny complicates matters by falling in love with Allen's niece, played by Mary Martin. The battling comics briefly patch up their differences when Benny rescues Allen from an out of control motorboat, but the truce doesn't last long. The final scene takes place during a musical revue starring Benny, which Allen tries to break up with a slingshot. The Benny-Allen feud was already old news by the time of Love Thy Neighbor, and the film is merely an uninspired attenuation of a threadbare premise. The result is a letdown for fans of both Jack Benny and Fred Allen--though there are a handful of genuinely funny one-liners, as well as adroit supporting contributions from Mary Martin and Eddie "Rochester" Anderson. The best scene in Love Thy Neighbor is the animated opening-credits sequence, produced by Warner Bros.' "Looney Tunes" mentor Leon Schlesinger. ~ Hal Erickson, All Movie Guide
- Starring:
- Jack Benny, Fred Allen, (more)
MGM's third follow-up to its landmark Broadway Melody is short on story, but that's okay, since the plot is merely a clothesline upon which to hang sleek and opulent musical production numbers by Fred Astaire and Eleanor Powell -- particularly a breathless and eye-popping gloriously black-and-white six-minute tap dance finale between Astaire and Powell to Cole Porter's "Begin the Beguine." The tale itself is a typical backstage contrivance: Johnny Brett (Fred Astaire) and King Shaw (George Murphy) are a couple of hoofers working in a dance hall for peanuts. Due to mistaken identity, King gets tapped for the lead in a Broadway show opposite big star Clare Bennett (Eleanor Powell) rather than Johnny. But when King drowns his trouble in booze on opening night, Johnny covers for him, taking his place in the show. ~ Paul Brenner, All Movie Guide
- Starring:
- Fred Astaire, Eleanor Powell, (more)
You'll Never Get Rich was the first of two films made by Fred Astaire at Columbia, and also the first in which he was paired with his favorite female dancing partner--not Ginger Rogers or Cyd Charisse, but Rita Hayworth. Fred and Rita play a team of Broadway dancers whose partnership is abruptly rent asunder when Fred is drafted into the Army. Unable to adapt to military routine, Astaire frequently ends up in the guardhouse; during one of these visits, he and the Delta Rhythm Boys collaborate on the lively song-and-dance number "The A-starable Rag." Back to the plot: Rita shows up on the army base as the girl friend of captain John Hubbard. This leads to more fancy footwork, and, of course, a happy ending for our stars. Though the Cole Porter score yielded no hits, one of the songs, "Since I Kissed My Baby Goodbye", was nominated for an Academy Award. Robert Benchley provides comic relief, as he would in the subsequent Astaire vehicle The Sky's the Limit. You'll Never Get Rich was followed by the even better Astaire-Hayworth pairing You Were Never Lovelier. ~ Hal Erickson, All Movie Guide
- Starring:
- Fred Astaire, Rita Hayworth, (more)
- 1942
Cole Porter's musical hit Panama Hattie originally starred Ethel Merman on Broadway. But Merman was not a proven movie commodity, thus it was Ann Sothern who appeared in the film version as Hattie, brassy but golden-hearted proprietress of a Canal Zone hotel. Accustomed to dealing with such raucous cohorts as she-sick sailors Red (Red Skelton), Rags (Rags Ragland) and Rowdy (Ben Blue), Hattie isn't quite certain how to handle herself when she falls in love with wealthy and cultured Dick Bulliett (Dan Dailey Jr.) Socialite Leila Tree (Marsha Hunt), who'd previously set her cap for Dick, does her best to break up the romance, but Hattie is championed by Dick's kid sister Geraldine (Jackie Horner) and family butler Jenkins (Alan Mowbray). The play's original storyline, which shifted into gear when Hattie began picking up Nazi shortwave radio broadcast in the fillings of her teeth, is virtually nonexistent here, as is Porter's score, save for "I've Still Got My Health" and "Let's be Buddies" (Lena Horne does, however, show up to sing "Just One of Those Things", a carryover from an earlier Porter musical). A notoriously troubled production, Panama Hattie was completely refilmed after a disastrous preview, delaying its scheduled release by nearly a year. ~ Hal Erickson, All Movie Guide
- Starring:
- Red Skelton, Ann Sothern, (more)
- 1943
Let's Face It is adapted from the Broadway musical of the same name, which in turn was based on the old Norma Mitchell/Russell G. Medcraft stage chestnut The Cradle Snatchers. The basic story of three neglected wives who hire a trio of young men as professional companions is updated for the World War II era: The three young men are now lonely GIs. Bob Hope is the funniest member of the threesome engaged by the wives in order to make their wandering hubbies jealous. He is paired off with vivacious Betty Hutton, both of whom fight a complex situation-comedy plotline in order to find time for their expected specialties. Hope's best moment is a parody of the cigarette-lighting bit from Now, Voyager, in which he winds up with six burning cigarettes in his mouth. The stage version of Let's Face It was essentially a vehicle for Danny Kaye, who of course played the role essayed in the film by Bob Hope. ~ Hal Erickson, All Movie Guide
- Starring:
- Bob Hope, Betty Hutton, (more)
The racy, ribald Cole Porter musical Du Barry Was a Lady is here given a thorough dry-cleaning by prudish MGM. Richard "Red" Skelton takes over the role of Louis Blore (played on Broadway by Bert Lahr), while Lucille Ball steps into the shoes of the original play's Ethel Merman. The story proposes that Blore is a men's room attendant in a New York nightclub who has a yen for gorgeous showgirl May Daly (Lucille Ball). After drinking a potent mixture, Louis dreams that he is King Louis XV of France, and May is the magnificent Madame Du Barry. Also showing up in Louis' dream is Alex Howe (Gene Kelly), who in "real life" is the guy who ends up with May at fade out-time. It's hard to determine what's more fun to watch in Du Barry Was a Lady: the three stars, the antics of supporting player Zero Mostel, or the incredible sequence in which Tommy Dorsey & His Band -- including drummer Buddy Rich -- perform in 18th century garb and powdered wigs. Five of the original Cole Porter songs are retained for this Technicolor-ful film: "Katie Went to Haiti," "Do I Love You, Do I?," "Well, Did You Evah?," "Taliostro's Dance,", and, best of all, "Friendship." ~ Hal Erickson, All Movie Guide
- Starring:
- Red Skelton, Lucille Ball, (more)
- 1943
This backstage musical offers a peek at vaudeville behind-the-scenes. The story centers on a recently divorced woman who decides to use her generous alimony settlement to stage an old fashioned vaudeville show. Unfortunately her chief backer insists on being the star. Fortunately, at the last minute, a very talented person replaces the no-talent backer. Songs include: "I Always Knew," "Hasta Luego," "Lotus Bloom," "Something to Shout About," "Through Thick and Thin." The song "You'd Be So Nice to Come Home To," was nominated for an Academy Award. ~ Sandra Brennan, All Movie Guide
- Starring:
- Don Ameche, Janet Blair, (more)
- 1943
In later years, director Vincente Minnelli would dismiss I Dood It as his worst picture, though a more deserving candidate for that "honor" would be Minnelli's valedictory film A Matter of Time. In this remake of Buster Keaton's Spite Marriage, Red Skelton plays pants-presser Joseph Rivington Reynolds, who develops a crush on glamorous stage star Constance Shaw (Eleanor Powell). "Borrowing" a tuxedo from one of his customers, Joe courts Constance backstage and at a fancy nightclub. Jilted by her fiance, the temperamental Constance marries Joe out of spite, leading to a series of silly situations. In the original Spite Marriage, Buster Keaton proved his worth to the heroine by rescuing her from bootleggers: in the remake, Joe saves Constance from a nest of Nazi spies. Some of the routines-notably a scene in which Joe makes a shambles of a Civil War play, and a lengthy bit in which he puts his drunken bride to bed-were lifted directly from Spite Marriage, no surprise considering that Buster Keaton was one of the I Dood It gag writers. Musical highlights are provided by Lena Horne, Hazel Scott and Jimmy Dorsey, while the film's finale is lifted bodily from the 1936 Eleanor Powell musical Born to Dance. ~ Hal Erickson, All Movie Guide
- Starring:
- Red Skelton, Eleanor Powell, (more)
The Cole Porter Broadway musical Something for the Boys was brought to the screen by 20th Century Fox with three new non-Porter tunes thrown in. The dated libretto (by Herbert and Dorothy Fields) involves a crumbling Southern plantation which is converted into a home for servicemen's wives. Running the operation are three cousins: Michael O'Shea, Vivian Blaine, and, from the South American branch of the family, Carmen Miranda. When money runs out, the threesome contrive to put on a fundraising show -- which of course looks far too expensive to break even, but since Carmen Miranda's in the picture, who knows. Perry Como makes his movie debut in Something for the Boys singing a handful of pleasant songs, while Judy Holliday shows up in a funny bit as a defense-plant welder with peculiar dental problems. ~ Hal Erickson, All Movie Guide
- Starring:
- Carmen Miranda, Michael O'Shea, (more)
Having previously introduced Cole Porter's hit song "Don't Fence Me In" in Hollywood Canteen, Roy Rogers performs the song once again in this same-named Republic "special." When he's not singing, Rogers is dealing with nosy female journalist Toni Ames (Dale Evans), who hopes to learn the truth about Wildcat Kelly a notorious outlaw who flourished back at the turn of the century. Said outlaw has supposedly been dead for 40 years, but garrulous old-timer Gabby Whittaker (Gabby Hayes) offers to give Toni the lowdown on Kelly. After a series of convoluted complications, Roy and Toni discover what the audience has suspected all along: Gabby Whittaker and Wildcat Kelly are one in the same. Perhaps because of its saleable title, Don't Fence Me In was treated with more industry respect than most Roy Rogers westerns, earning excellent reviews and choice play-dates. ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Rogers, Dale Evans, (more)
When Alfred Lunt and Lynn Fontanne appeared in S. N. Behrmann's The Pirate on Broadway, there were no musical numbers whatsoever. But with Gene Kelly and Judy Garland in the leading roles of the 1948 filmization of The Pirate, the MGM production staff would have been drawn and quartered had there not been song after song. The story is merely serviceable: on a Caribbean isle in the early 19th century, sheltered young Garland comes to believe that travelling troubadour Kelly is in reality "Mack the Black," a notorious pirate. Kelly realizes that the surest way to win Garland's heart is to impersonate the romantic buccaneer, and this is what he does--nearly getting himself hanged in the process. Cole Porter's marvelous score yielded only one bona-fide hit: "Be a Clown", which has practically nothing to do with the storyline, but do you care? Highlights include the magnificently staged "Mack the Black," a heady combination of Broadway glitz and Caligariesque nightmare. Seven MGM screenwriters toiled away on The Pirate, though only the team of Albert Hackett and Frances Goodrich were credited. While The Pirate was not a huge moneymaker on its first release, it has since been embraced by the cultists, who apparently can never get enough of Judy Garland. ~ Hal Erickson, All Movie Guide
- Starring:
- Lester Allen, Judy Garland, (more)
- 1948
Cole Porter's Broadway musical Mexican Hayride was optioned by Universal in the mid-1940s, then remained in "development hell" until 1948. By the time the property made it to the screen, the entire Porter score had been removed, and the play's original star Bobby Clark was replaced by Bud Abbott and Lou Costello. The story takes place South of the Border, where American fugitive from justice Joe Bascom (Costello) searches for con man Harry Lambert (Abbott), for whom Bascom had been a fall guy. Also in Mexico is Joe's hometown-sweetheart Mary (Virginia Grey), now known as Montana, the country's foremost female bullfighter. Joe catches up with Harry at the bull arena, where Montana is about to choose the "Amigo Americano" in a publicity scheme cooked up by Harry. When she spots Joe in the crowd, Montana (angry at our tubby hero for bilking her out of her life savings -- it was actually Harry's doing), furiously throws her hat at him. When Joe catches the hat, he's elected Amigo Americano and extended every hospitality that Mexico can afford. Sensing yet another opportunity to make a dishonest dollar, Harry exploits Joe's newfound celebrity to promote a phony gold-mining scheme. The gorgeous Dagmar (Luba Malina), Harry's partner in crime, romances Joe to secure his cooperation. Somehow all of this ends up back in the bull ring, with poor Joe facing a very belligerent "el toro." A bit too plot-heavy for Abbott & Costello, Mexican Hayride still has several choice moments, including a priceless verbal exchange involving gold ore ("gold or what?") and a "Mother Lode." ~ Hal Erickson, All Movie Guide
- Starring:
- Bud Abbott, Lou Costello, (more)
Stage Fright toys with our notions of the dividing line between reality and artifice by being set in the London theatre world. On the lam from the police, Richard Todd takes refuge in the home of his former girlfriend, RADA student Jane Wyman. Todd has been spotted fleeing the scene of a murder, but he insists that he's innocent. Wyman believes his story, but knows that the police won't, so she decides to play detective herself. She also plays several other roles in a variety of disguises so as to escape the notice of genuine detective Michael Wilding. Top-billed Marlene Dietrich plays a Dietrich-like chanteuse whom Wyman pigeonholes as the real murderer. ~ Hal Erickson, All Movie Guide
- Starring:
- Jane Wyman, Marlene Dietrich, (more)
Cole Porter's Kiss Me Kate is a musical within a musical -- altogether appropriate, since its source material, Shakespeare's The Taming of the Shrew, was a play within a play. Howard Keel and Kathryn Grayson star as famous Broadway singing team who haven't worked together since their acrimonious divorce. Keel, collaborating with Cole Porter (played by Ron Randell), plans to star in a musical version of The Taming of the Shrew titled "Kiss Me Kate." Both he and Porter agree that only one actress should play the tempestuous Katherine, and that's Grayson. But she isn't buying, especially after discovering that Keel's latest paramour, Ann Miller, is going to be playing Bianca. Besides, Grayson is about to retire from showbiz to marry the "Ralph Bellamy character," played not by Bellamy, but by Willard Parker. A couple of gangsters (James Whitmore and Keenan Wynn) arrive on the scene, convinced Keel is heavily in debt to their boss; actually, a young hoofer in the chorus (Tommy Rall) owes the money, but signed Keel's name to an IOU. But since Grayson is having second thoughts about going on-stage, Keel plays along with the hoods, who force Grayson at gunpoint to co-star with her ex-husband so that they'll get paid off. Later the roles are reversed, and the gangsters are themselves finagled into appearing on-stage, Elizabethan costumes and all, though that scene is less of a comic success. This aside, Kiss Me Kate is a well-appointed (if bowdlerized) film adaptation of the Porter musical. Virtually all of the play's songs are retained for the screen version, notably "So in Love," "Wunderbar," "Faithful in My Fashion," "Too Darn Hot," "Why Can't You Behave?," "Brush Up Your Shakespeare" (a delightful duet delivered delightfully by Keenan Wynn and James Whitmore), and the title song. Additionally, Porter lifted a song from another play, Out of This World, and incorporated it in the movie version of Kiss Me Kate; as a result, "From This Moment On" has been included in all subsequent stagings of Kate. This MGM musical has the distinction of being filmed in 3-D, which is why Howard Keel and Kathryn Grayson throw so many chairs, dishes, and pieces of fruit at the camera in their domestic battle scenes. ~ Hal Erickson, All Movie Guide
- Starring:
- Kathryn Grayson, Howard Keel, (more)
High Society is a glossy Technicolor-and-VistaVision musical remake of Philip Barry's The Philadelphia Story (1940), decked out with million-watt star power and a Cole Porter score. Set amongst the rich and famous in Newport, RI, the story revolves around the wedding plans of socialite Tracy Lord (Grace Kelly). Tracy is all set to marry stuffy George Kittridge (John Lund), while magazine writer Mike Connor (Frank Sinatra) and photographer Liz Imbrie (Celeste Holm) intend to cover the ceremony. Meanwhile, Tracy's ex-husband C.K. Dexter-Haven (Bing Crosby) also comes calling, ostensibly to the attend the annual Newport Jazz Festival, but actually for the purpose of winning Tracy back. In the course of events, Mike falls in love with Tracy, and she with him. The Jazz Festival subplot allows scriptwriter John Patrick to bring Louis Armstrong into the proceedings, much to the delight of anyone who cares anything about music. The Cole Porter tunes include the Crosby-Sinatra duet "Well, Did You Evah?," the Crosby-Armstrong teaming "Now You Has Jazz," the Kelly-Crosby romantic ballad "True Love," and the Sinatra solo "You're Sensational." Though it lacks the satiric edge of the Philip Barry original (Barry, incidentally, is not given any screen credit), High Society succeeds on its own lighthearted terms. The film represents Grace Kelly's final acting assignment before her real-life wedding to Prince Rainier of Monaco. ~ Hal Erickson, All Movie Guide
- Starring:
- Bing Crosby, Grace Kelly, (more)
- 1956
For its first broadcast of the 1956-57 season, the monthly CBS variety anthology Ford-Star Jubilee offered a full-color salute to composer Cole Porter. Opening with (what else?) "Another Opening, Another Show (from Porter's Kiss Me Kate), the 90-minute special featured an all-star cast performing a veritable cornucopia of the songwriter's hits. Highlights included Dorothy Dandridge's renditions of "You Do Something to Me" and "My Heart Belongs to Daddy"; Oklahoma costars Gordon MacRae and Shirley Jones, dueting on a medley of Porter love songs; dancers Sally Forrest and George Chakiris (still five years away from his Oscar win for West Side Story performing to the tune of "Night and Day"; trumpeter Louis Armstrong, belting out "Blow Gabriel Blow"; and a few Porter comedy numbers, sung by Peter Lynd Hayes and Mary Healy. Also appearing in this live telecast were singer Dolores Gray, actor George Sanders and Cole Porter himself, with a filmed segment featuring Bing Crosby, who was then starring in a movie version of Porter's 1934 Broadway musical Anything Goes. David Rose conducted the orchestra for You're the Top, which currently exists in black-and-white kinescope form. ~ Hal Erickson, All Movie Guide
Les Girls is the Rashomon of MGM musicals. The film is told in flashback, as Mitzi Gaynor and Taina Elg, two-thirds of a popular cabaret trio, attempt to legally block the third, Kay Kendall, from writing her memoirs. Each of "Les Girls" has her own interpretation of the group's previous professional and amorous escapades. To make sense of these wildly diverse recollections, the court must rely upon a fourth party to straighten things out. Enter Gene Kelly, the dancing star who organized "Les Girls" in the first place. But can Kelly be believed? The "truth" of the many reminiscences in Les Girls is secondary to the dazzling beauty of its female stars, and to the delightful musical numbers, the best of which is an extended Marlon Brando parody titled "Why Am I So Gone About That Gal?" This was Gene Kelly's last musical effort for MGM, the studio he joined way back in 1943; the film was the inspiration for the short-lived 1963 TV series Harry's Girls, which starred Larry Blyden, Susan Silo, Dawn Nickerson and Diahn Williams. ~ Hal Erickson, All Movie Guide
- Starring:
- Gene Kelly, Mitzi Gaynor, (more)
Silk Stockings, a musical version of the 1939 Greta Garbo film Ninotchka, was adapted for the stage by George S. Kaufman, Leueen McGrath (the then-Mrs. Kaufman) and Abe Burrows, with music and lyrics by Cole Porter. The Broadway production, starring Hildegarde Neff and Don Ameche, ran 478 performances. The 1957 film version cast Fred Astaire as a movie producer and Cyd Charisse as dedicated communist functionary Ninotchka. In the original 1939 film, Ninotchka was sent from Mother Russia to Paris to check up on three commissars, who in turn had been ordered to retrieve a fortune in Czarist jewels. This time the commissar trio, played by Peter Lorre, Jules Munshin and Joseph Buloff, have been dispatched to Paris to reclaim defecting Soviet composer Wim Sonneveld. Since Astaire wants the composer to write the songs for his newest musical, he plies the commissars with wine, women and song, dissuading them from their mission. When Ninotchka shows up to retrieve the errant Russians, Astaire turns on the old charm with her as well. She gradually succumbs to the combined lures of romance and capitalism, but returns to Russia when she believes that Astaire has thrown her over for film-star Janis Paige (delivering a hilarious take-off of swimming star Esther Williams). But Astaire convinces her that he truly loves her, and all is well. Most of the Cold-War comedy in the Broadway production of Silk Stockings remains intact in the movie version (Soviet official George Tobias, seeking information on his predecessor, looks up the man's record in "Who's Still Who"). Also surviving virtually untouched is the Cole Porter score, including "All Of You," "A Chemical Reaction," "Without Love," "Satin and Silk," "The Red Blues," "Stereophonic Sound," and the rollicking "Siberia" (which offers the spectacle of a singing, dancing Peter Lorre!) Watch for Fred Astaire's future TV-special partner Barrie Chase as one of the dancers. ~ Hal Erickson, All Movie Guide
- Starring:
- Fred Astaire, Cyd Charisse, (more)
