Arthur Schwartz Movies

Woody Allen's gentle and nostalgic tribute to the glory days of radio and coming-of-age during World War II plays like Fellini's Amarcord filtered through Neil Simon. The nominal star is Seth Green as Joe, a teenage Jewish boy, growing up with a house full of relatives in Brooklyn. Allen cuts between Joe's working class neighborhood of Rockaway Beach, Queens, and the glittery and glamorous world of radio in Manhattan. ~ Paul Brenner, 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

One of the most subtle and sophisticated of the musical comedies that came out of MGM's Arthur Freed Unit in the '40s and '50s, The Band Wagon stars Fred Astaire as Tony Hunter, a movie star whose career is in a downturn. Looking for a boost, Tony decides to try starring in a Broadway musical. His friends Lester and Lily Marton (Oscar Levant and Nanette Fabray) have written a show they feel would be just right for Tony, and the three team up with Jeffrey Cordova (Jack Buchanan), a self-styled "genius" director, who gets the idea to turn the play into a revised version of Faust. Cordova's more pretentious ideas don't always sit well with the Martons, and Tony isn't too happy with his leggy co-star, Gaby Gerard (Cyd Charisse), whom he's convinced is too tall (then again, she thinks he's too old). But when the show proves a disaster in out-of-town tryouts, everyone realizes they have to put aside their differences if they want a show that will be on Broadway for longer than four hours. The Band Wagon featured a rare American appearance for British musical star Jack Buchanan, who does a fine soft-shoe with Fred Astaire on "I Guess I'll Have to Change My Plan." Astaire also shines in the numbers "Shine on Your Shoes" and "The Girl Hunt," a witty Mickey Spillane parody. ~ Mark Deming, All Movie Guide

Excuse My Dust is one of the few Red Skelton musicals in which Skelton is not obliged to share screen space with the likes of Eleanor Powell, Esther Williams or Fernando Lamas. Set in 1900, the film stars Red as zany inventor Joe Belden. Enchanted by the new-fangled horseless carriages, Belden vows to become the Henry Ford of his small community. The climax finds Joe competing in a cross-country auto race for a $5000 prize. Though light on slapstick, this closing sequences scores on the nostalgic value of the several genuine vintage autos pressed into service. Sally Forrest co-stars as Skelton's sweetheart, while MacDonald Carey plays his obnoxious rival. The songs for the most part are well-integrated into the story, save for one anachronistically modern production number (explained away as a "dream sequence" wherein Skelton imagines what life will be like in 1950!). ~ Hal Erickson, All Movie Guide

Faced with the challenge of writing a screenplay based on the life of fabulously wealthy, fabulously successful composer Cole Porter, one Hollywood wag came up with a potential story angle: "How does the S.O.B. make his second million dollars?" By the time the Porter biopic Night and Day was released, the three-person scriptwriting team still hadn't come up with a compelling storyline, though the film had the decided advantages of star Cary Grant and all that great Porter music. Roughly covering the years 1912 to 1946, the story begins during Porter's undergraduate days at Yale University, where he participated in amateur theatricals under the tutelage of waspish professor Monty Woolley (who plays himself). Though Porter's inherited wealth could have kept him out of WWI, he insists upon signing up as an ambulance driver. While serving in France, he meets nurse Linda Lee (Alexis Smith), who will later become his wife. Focusing his attentions on Broadway and the London stage in the postwar years, Porter pens an unbroken string of hit songs, including "Just One of Those Things," "You're the Top," "I Get a Kick Out of You," "Begin the Beguine," and the title number. The composition of this last-named song is one of the film's giddy highlights, as Porter, inspired by the "drip drip drip" of an outsized rainstorm, runs to the piano and cries "I think I've got it!" The film's dramatic conflict arises when Porter is crippled for life in a polo accident. Refusing to have his legs amputated, he makes an inspiring comeback, even prompting a WWI amputee to remark upon his courage! Corny and unreliable as biography, Night and Day is redeemed by the guest appearances of musical luminaries Mary Martin (doing a spirited if disappointingly demure version of her striptease number "My Heart Belongs to Daddy") and Ginny Simms, the latter cast as an ersatz Ethel Merman named Carole Hill. Jane Wyman, seen as Porter's pre-nuptial sweetheart Gracie Harris, also gets to sing and dance, and quite well indeed. Beset with production problems, not least of which was the ongoing animosity between star Grant and director Michael Curtiz, Night and Day managed to finish filming on schedule, and proved to be an audience favorite -- except for those "in the know" Broadwayites who were bemused over the fact that Cole Porter's well-known homosexuality was necessarily weaned from the screenplay. ~ Hal Erickson, All Movie Guide

Thanks to its Jerome Kern/Ira Gershwin/Yip Harburg score and the luminescence of stars Rita Hayworth and Gene Kelly, Cover Girl has taken on a legendary status in recent years. In truth, the film has a banal and predictable premise: a chorus girl (Hayworth) is given a chance for stardom by a wealthy magazine editor (Otto Kruger), who years earlier had been in love with the girl's mother. Offered an opportunity to be a highly-paid cover girl, our heroine would faithfully remain with her tacky nightclub act if only the club manager (Kelly), whom she pines for, would ask her. He loves her too, but doesn't want to stand in her way, so he fakes an argument to send her packing. You don't need a crystal ball to known that the girl and her guy will be reunited for the finale. Phil Silvers, everybody's best friend, and Eve Arden, Kruger's acid-tongued assistant, provide comic relief. The story sags badly at times, but the fans went home happy thanks to the powerhouse musical numbers, including Long Ago and Far Away and Kelly's famous "alter-ego" dance. The film skyrocketed both Hayworth and Kelly to superstardom, and didn't do Silvers any harm, either. Cover Girl is an extraordinarily lavish Technicolor production from the usually parsimonious Columbia Pictures. ~ Hal Erickson, All Movie Guide

Practically everybody on the Warner Bros. lot shows up in the wartime morale-boosting musical extravaganza Thank Your Lucky Stars. Believe it or not, this one has a wisp of a plot. A pair of enterprising producers, played by S.Z. Sakall and Edward Everett Horton, want to hire singer Dinah Shore for their upcoming Cavalcade of Stars. Unfortunately, this means they must deal with Shore's boss, radio comedian Eddie Cantor. The egotistical Cantor insists upon joining the show himself, driving everyone crazy with his take-charge attitude. Meanwhile, singer Dennis Morgan, hoodwinked by a crooked agent into thinking he's signed a contract with Cantor, shows up backstage at Sakall and Horton's rehearsal, only to be given the boot. While all this is going on, aspiring actress Joan Leslie has befriended a bus driver named Joe Simpson--who happens to be a dead ringer for Eddie Cantor (and why not? Ol' "Banjo Eyes" plays both parts). Turns out that Joe is another showbiz wannabe, but he has been denied a break because he looks too much like Cantor. You see what's comin' now, right, folks? Morgan and Leslie will get their big breaks when Joe Simpson impersonates Eddie Cantor, who's been kidnapped by Indians (bet you didn't see that one coming!) All of this expository nonsense is merely an excuse to show off Warners' talent roster in a series of engaging specialty numbers: John Garfield talk-sings Blues in the Night, Jack Carson and Alan Hale do a buck-and-wing, a jitterbug number is performed by Ida Lupino, Olivia de Havilland and George Tobias, Hattie McDaniel and Willie Best strut their stuff in Ice Cold Katie, and so on. Highlights include Errol Flynn's That's What You Jolly Well Get, an English music hall-style sendup of Flynn's movie heroics, and Bette Davis' peerless (and endearingly off-key) rendition of They're Either too Young or Too Old. As a bonus, Humphrey Bogart shows up long enough to be browbeaten and intimidated by S.Z. Sakall ("Gee, I hope none of my movie fans see this!" moans Bogart as the soundtrack plays a mocking rendition of Who's Afraid of the Big Bad Wolf?) Subtle and sophisticated it isn't, but Thank Your Lucky Stars is so entertaining that you'll forget all about its multitude of flaws. ~ Hal Erickson, All Movie Guide

An innocent man is put on trial, but is he really as innocent as he claims? Diplomat David Talbot (William Powell) and his bride Lucienne (Hedy Lamarr) are enjoying a honeymoon in Paris when David is confronted by extortionists who demand money in exchange for not turning him in to the police. David has no idea what the men are talking about and ignores their threats, but the men prove good to their word, and David finds himself on trial for a series of thefts. At the trial, David's name is cleared when Henri Sarrow (Basil Rathbone) testifies that he knew the man who committed the crimes, a friend of his who recently died. However, after the trial, David meets Sarrow, who informs David that he lied under oath; according to Sarrow, David did indeed commit the robberies while suffering from amnesia after a severe blow to the head, and if he wants to keep the facts quiet, he'll do whatever Sarrow says. ~ Mark Deming, All Movie Guide

Humphrey Bogart plays Gloves Donahue, a rough-hewn but essentially decent New York gambler. The Runyonesque plot gets moving when Gloves tries to find out what's holding up his favorite restaurant's daily shipment of cheesecake. Paying a call on the bakery, Gloves stumbles into a Nazi spy ring, masterminded by Conrad Veidt. Mixed up in all this is nightclub singer Kaaren Verne, whose loyalties are in question in her early scenes but who turns out to be as true-blue as the patriotic Gloves. Combining a quick wit with quicker fists, Gloves and his "mob" thwart the Nazis before they're able to skip the country. The cast is a movie buff's dream, ranging from Jane Darwell as Bogart's mom to Peter Lorre as a cynical Nazi flunkey to William Demarest, Frank McHugh, Phil Silvers and Jackie Gleason as Bogie's favorite cohorts. The film's best scene would have us believe that Bogart could confound a gang of erudite Nazis with a steady stream of Manhattan slang. One shudders to think how leaden All Through the Night would have been had George Raft accepted the role of Gloves Donahue. ~ Hal Erickson, All Movie Guide