Tag Archives: bing crosby

Well, It’s Not Good, But It’s a Reason

Posted on by under 4-star films, carrie's faves, holiday picks, magnificent musicals

 

I am so excited to post about one of my absolute favorite Christmas classics: White Christmas. Starring Bing Crosby and Danny Kaye as two former soldiers who met during WWII, this film has everything that makes the classics (and Christmas movies) great–comedy, music, very talented cast, quotable script, misunderstandings, and of course, a happy ending.

“Isn’t this cozy? Boy, girl, girl, boy?”

Love, You Didn't Do Right By Me

It wouldn’t be quite accurate to say that White Christmas got me into classic film, but it was one of the first that I loved. It’s isn’t Christmas until I’ve watched it (or perhaps watched it repeatedly). I love the music. In addition to some great catchy tunes and of course, “White Christmas,” I love Rosemary Clooney’s performance of “Love, You Didn’t Do Right By Me.” I love her tone, her taking her time with it. It’s beautiful, and in my opinion, no one quite matches her performance of it.  No wonder you’ll find it in The Essential Rosemary Clooney.  During this scene in the film, you may also recognize one of her dancers from West Side Story. But, I digress.

“If you had nine kids and spend five minutes, just five minutes with each of them, that’s 45 minutes, and I’d have time to go out and get a massage or something.”

Phil and Judy

Watching Phil and Betty (Clooney)’s sister Judy try to pair Bob and Betty is quite the comedic act with all the confusion of a Shakespearean comedy. Add to that Bob’s special Christmas surprise for the former General and you have the makings of a great comedy. Danny Kaye manages nice comedic expression and timing, although is more inclined toward dance than physical comedy. Still, his abilities in the musical performing arts serve him well, here. He comes off as a bit less of a clown than comedic classics like Donald O’Connor (but who can match “Make ‘Em Laugh” for physical comedy? Not many), but he maintains a lovable Puckish quality that offsets Crosby’s straight-man quite nicely.

Bing Crosby, Danny Kaye, Rosemary Clooney

“I don’t seem to have my wallet.”

“What? Did you leave it in your snood?”

And Bing Crosby. I almost hesitate to comment, because what more is there to say? The essential Christmas crooner moves smoothly through the film, maintaining a consistency that allows the other characters’ idiosyncrasies to really shine through, be it Phil or General Waverly’s meddling housekeeper Emma. And he sings “White Christmas.” ‘Nuff said.

Getting to the finale...

“I got along just fine without you in the army.”

“Yes, and it took fifteen thousand men to replace me.”

Mandy... there's a minister handy.

Betty’s sister Judy is played by Vera Ellen (or Vera-Ellen, if you prefer). Judy is a pinnacle dancer and certainly wasted if not on stage.  In short: amazing. The obligatory musical numbers that fit into this particular plot as rehearsal for a huge Christmas show are charming and enjoyable, instead of distracting.  Off-stage, watching her with Danny Kaye is a treat as well, as Judy leads Phil into a diabolical plan that even makes his conniving conscience nervous.

“Let’s just say we’re doing it for an old pal in the army.”

Betty and Judy: Sisters

Phil and Bob: Sisters

So, have a cup of tea or coffee or hot chocolate or cider, and curl up with White Christmas this year.  I want to reiterate our thanks for reading True Classics… we can’t wait for more next year!

Merry Christmas!

Carrie

*Note: Film quotes may not be exactly verbatim, but they’re close.

Happy holidays!

Posted on by under holiday picks

In addition to some of our regular posts this month, we’re going to be looking at several of our favorite Christmas flicks from over the years–an admittedly  cliched “12 Days of Christmas” celebration, if you will, highlighting some of our classic faves as well as maybe a couple of “modern” Christmas classics.

We’ll be kicking things off tomorrow, but in the meantime, while Uncle Bing sings us a song …

… tell us: what are your go-to classic Christmas films every year?

 

We’ll go for a jolly ride!

Posted on by under classic cartoons, classic disney, saturday morning cartoons

This week for Saturday Morning Cartoons, we’re taking a little journey with Disney into the annals of literature. Released in 1949, The Adventures of Ichabod and Mr. Toad marks the final “package film” released by the Disney animation studios in the wake of World War II. A year later, Disney would be back in the business of full-length animated features with the release of Cinderella.

Adventures relates two classic stories: The Wind in the Willows by Kenneth Grahame, and “The Legend of Sleepy Hollow” by Washington Irving. Both segments are narrated by Hollywood stars: Willows by Basil Rathbone (cinema’s preeminent Sherlock Holmes), and “Hollow” by crooner Bing Crosby.

Willows tells the tale of J. Thaddeus Toad, a toad-about-town (so to speak) who, along with his loyal horse Cyril, lives for fun and excitement, much to the chagrin of his friends, Ratty, Moley, and Angus McBadger. When Mr. Toad’s wild life explodes into chaos and he is accused of stealing a motorcar, however, he quickly learns the importance of friendship and the value of other things in life … for a while, anyway.

The Disney-fied version of the story changes Graham’s story by making Mr. Toad more hapless than deliberately wasteful, as he is depicted in the original. As per his usual, Disney takes the sometimes serious tone of Graham’s tale and adds a goofy sense of fun to better appeal to younger audiences. This doesn’t take away from the story, though–the spirit of Disney’s version, combined with some rather charming animation, makes this a highly enjoyable feature.

The Willows segment gave birth to Mr. Toad’s Wild Ride at the Walt Disney theme parks–one of the original rides from the park’s 1971 opening–and this ride was the source of one of the most embarrassing moments of my childhood. When I was ten years old, my family embarked on our first trip to Disney World in Florida. When we went on this ride, my younger brother (he was six) and I rode in a cart separate from our parents. I’m not quite sure why, but the ride terrified the hell out of me. And when it broke down, I broke down. I screamed bloody murder for my mom and tried to get out of the cart to go find her before it started back up again. My mother was absolutely mortified when we finally came out of the ride and no less than fifteen employees were waiting to make sure I was okay.

When I rode it again seven years later, however, I couldn’t believe I’d ever been frightened of it in the first place (it was dismantled the following year, so I’m glad I got to ride it one last time and see that it wasn’t really the stuff of nightmares, after all). But over the past few weeks, we’ve seen how truly scary some of Disney’s earliest films really were, so looking back now, I can’t say I’m completely surprised at my youthful horror.

“The Legend of Sleepy Hollow” is both hilarious and frightening, and is a somewhat faithful adaptation of the original material. Ichabod Crane is a young schoolmaster who falls in love with local beauty Katrina Van Tassel. His competition for lovely Katrina’s hand is Brom Bones, the big man in town, who ridicules Ichabod’s odd appearance (looking, as he does, like a “scarecrow”). Brom frightens Ichabod by relating the story of the Headless Horseman, who is said to haunt the roads of town on Halloween. On his way home that night, Ichabod encounters the Horseman, and a terrifying chase ensues.

While the original tale makes it much clearer that readers are to believe that the supposed “Headless Horseman” is really Brom Bones in disguise, the Disney depiction of the legend is obviously meant to be seen in a more ghostly light. The addition of Bing Crosby to this segment is especially wonderful: that voice was just made for storytelling.

In the years after its initial release in theaters, the film was broken up into its individual segments and shown separately in various venues. The movie was finally released in its original form on DVD in 2000. Many of the characters from the Willows segment, in the meantime, appeared in the 1983 Christmas short “Mickey’s Christmas Carol,” a wonderfully amusing adaptation of the Charles Dickens holiday tale. “The Legend of Sleepy Hollow” was featured as part of Disney’s Halloween Treat, which Nikki linked to this past Sunday. All in all, it’s a testament to the strengths of these segments that each one can be shown separately and still retain its unique, individual effectiveness.

Thus we come to the end of Disney’s package film era. Later today, I’ll be posting an examination of Song of the South, one of the most controversial releases in the history of Disney animation. And again, next week we’ll be back to examining full-feature releases with 1950′s fairy tale to beat all fairy tales, the inimitable Cinderella.

SUtS: Katharine Hepburn

Posted on by under 5-star films, best.films.ever., brandie's faves, carrie's faves, classic pairings, hahas, magnificent musicals, screwball legends, summer under the stars

Brandie’s choice: Bringing Up Baby (1938)

Airing at 12:00AM EST

There are a handful of movies I would personally label the funniest films of all time, and Bringing Up Baby would be near the top of that list. In fact, when I endeavor to introduce someone to the world of classic film, this is one of the first films I recommend viewing. It just sucks you in–in the very best way. And screwball comedy–of which this movie is one of the supremest examples–is always a great way to introduce a reluctant party into the world of classic cinema because … well, who doesn’t love to laugh?

Baby stars Katharine Hepburn as a dizzy heiress, Susan Vance, who falls head over heels in love with a hapless paleontologist, David Huxley (a sexily disheveled and bewildered Cary Grant). Through her machinations, David loses a very valuable bone–the “intercostal clavicle”–that belongs to the skeleton of a brontosaurus. Susan also inadvertently jeopardizes David’s attempts to secure a million dollars’ worth of funding for his museum. And to add to the craziness, Susan has recently received a rather intimidating gift–a large leopard named Baby–which she plans to take to her family’s farm in Connecticut, of all places. Add in a nosy aunt, a bumbling big-game hunter, a concerned psychiatrist, and an idiotic constable, and you can imagine the chaos that ensues.

Considering how hilarious and utterly charming this film is, it’s amazing to think today that this movie was once considered a notorious flop, even contributing to star Katharine Hepburn’s assignation as “box office poison” in the late 1930s. Hell, it’s difficult to think of a time when Kate Hepburn wasn’t considered a monumental success and a pinnacle of movie stardom. Her legendary career came complete with four Academy Awards for Best Actress–a feat unmatched by any other actress (or actor!) in the history of film–and a litany of iconic film roles opposite some of the biggest names to ever grace the screen. But once this film was completed, Hepburn, in the midst of a string of unsuccessful films, chose to buy out her RKO contract to avoid being cast in the low-budget drama Mother Carey’s Chickens (which had been assigned to Hepburn as a sort of studio punishment because of her poor box-office performance). She would spend the next two years on the stage until her triumphant return to the screen in 1940′s wildly popular The Philadelphia Story (also co-starring Grant; see Carrie’s rec below).

Hepburn and Grant made a total of four films together; in addition to Baby and Philadelphia, these included the delightful Holiday (1938) and the cross-dressing romantic comedy Sylvia Scarlett (1935). In each of their pairings, Hepburn and Grant are a wonder to behold–not only do they play off of one another very well, but their on-screen interactions demonstrate a true camaraderie and mutual respect that only heightens the chemistry between them.

And that chemistry was never more sparkling than it was in Baby. Grant, whose career began in vaudeville, takes a page from acrobatic silent screen legend Buster Keaton and throws his body around without reservation, all in pursuit of a laugh. And Hepburn is right there with him, shattering the normally reserved persona she had crafted in previous films and demonstrating a comedic timing that had heretofore only been hinted at in her career. Each brings out the best in the other, and neither was ever really able to capture that same effortless, effervescent magic with another co-star (though Hepburn came close with some of her later screen partnerships with Spencer Tracy, particularly 1949′s Adam’s Rib).

The film is not all about Hepburn and Grant, however; there are some great supporting performances, too. Charlie Ruggles is delightful as the befuddled Major Horace Applegate, who can’t understand why he’s hearing leopard calls in the middle of Connecticut. Walter Catlett, who plays the overzealous constable, Slocum, and May Robson, who plays Susan’s Aunt Elizabeth, are both sharply funny. And classic film fans might recognize the little terrier playing George, the dog who steals David’s bone: the same dog, Skippy, also played Asta in the Thin Man movies and almost stole the show in 1937′s The Awful Truth (also co-starring Grant).

It’s not hyperbole to say that Bringing Up Baby is one of the BEST DAMN FILMS ever made. If you have never had the opportunity to see this movie, this is your chance. You won’t stop laughing until the final credits roll.

Carrie’s choice: The Philadelphia Story (1940)

Airing at 2:00AM EST

I’m so excited- it’s Katharine Hepburn Day!!!!  Katharine Hepburn is one of my biggest heroines. She’s amazing, and I flat out adore her. The spunk. The attitude. The coolness. Her well-honed sneer and smooth sarcasm served her well in Hollywood, and especially in The Philadelphia Story.

I love this movie, and oddly, I love the remake High Society. It took me a while to decide which I preferred, and I’d like to take you through my debate very quickly. Actual debate took a number of years.

The Philadelphia Story has Katharine Hepburn playing a snide, wealthy young woman whose father has been discovered in a scandalous affair. To save face, her wedding (second marriage) is now open to the press, in particular a sleazy operation–with pictures. To make matters worse, her ex-husband is hanging around, “not” sabotaging the wedding. Father  believes he has done nothing wrong-no remorse–and Tracy (KH) wants to torture them all. Yes, cast KH, because, let’s face it, no one knows how to emotionally destroy with pitch-perfect style and class quite like her.  For this reason, she’s an awesome Tracy. Add to this that she’s starring …

… between Cary Grant and James Stewart, and the  most casual reader of this blog needs no further comments on the matter.

High Society: Bing Crosby, Grace Kelly, Frank Sinatra

Later, High Society does well, but Tracy, played by Grace Kelly (also talented and lovely, no argument) is not quite as, say, conniving and snarky as KH. Tracy is a little softer in this version, which has the added musical charms of Bing Crosby (Dexter, the ex), Frank Sinatra (Mike, the reporter) and Louis Armstrong (as himself, added to the plot because, let’s face it–he’s Louis Armstrong, and why not?) Because that trio is a trio I also adore, points to High Society. I also prefer the little sister (two different names in the different movies–go figure) in High Society. She’s just hilarious, and possibly a bit of a stronger character.

Yet, my winner is still The Philadelphia Story.  Don’t get me wrong–I’ll watch High Society any time I see that it’s on, and I own it. It’s great, but there is one essential element (other than the obvious–KH) that makes The Philadelphia Story work for me more than High Society.  That is a detail in the plot.

In the end (I guess a spoiler …), Tracy apologizes for her behavior and basically accepts a human fallibility. In High Society, she does this to her father, and while forgiving him and thus having a release would be acceptable, she actually capitulates and admits that she really is at fault and shouldn’t be angry that he humiliated the family by publicly cheating on Mother, even though he has never asked for forgiveness or admitted any wrong-doing. This bothers me. A lot. It always did bother me, but I pushed it aside.

Then I paid due attention to The Philadelphia Story. In this film, Tracy makes her admission to Dexter, who has actually done good things for her, and possibly was judged unfairly. He actually is there for Tracy and has some redeeming qualities, despite his imperfections.

Now, we can play philosophy a little here, for those who have seen these films. Part of the theme is loving someone unconditionally, even if unworthy. That’s great. Perhaps Tracy apologizing to her father was to solidify that, showing Tracy’s growth. She made a mistake and is still lovable, and so it’s a two-way street–Dad is lovable, too. Now, I’m great with forgiveness–it’s healthy. But they still went a little far. Tracy falls only short of condoning his behavior; she blames herself for how she felt about it and that actually seeing a problem with his long-term cheating is wrong, all the while actually taking responsibility for her single indiscretion. It does tie their parallels together, but not in any kind of realistic, human, very believable, or particularly healthy way (IMHO).

So, with her apology to Dexter, who actually is redeemed throughout the movie and who actually does show her unconditional love (which her father fails to do), I have to give the best of the two to The Philadelphia Story.

That said, definitely watch both. They’re fabulous.  And without question, make time for The Philadelphia Story. The lines are fabulous. The acting is fabulous. It’s a real winner and is Katharine Hepburn in a role written with her in mind–it simply can’t miss!

SUtS: Bob Hope

Posted on by under 3-star films, brandie's faves, classic pairings, hahas, magnificent musicals, summer under the stars

Carrie’s choice: Boy, Did I Get a Wrong Number (1966)

Airing 11:30AM EST

Yeah. You’re right. It’s a great title. This is a recommendation mostly because it looks hilarious.

It begins with a fairly popular plot of escape: an actress is trying to escape from Hollywood, because they do not take her seriously enough as an actress. In proper Bob Hope fashion, a real estate agent helps by inviting her to his cabin, but then has to hide her from everyone- including his wife. And as we used to say in improv: hilarity ensues.

Bob Hope is simply one of “those” people. One of the people that are so important to culture that we periodically have to just pick a day to acknowledge them. Bob Hope is primarily known for entertainment value, and I generally expect amusement from him. This film is no exception. The plot and style seem to be the gold standard of comedy for film at this time, and if I haven’t pointed it out yet, the classic film comedies are my favourites. This is the kind of movie to watch curled up on the couch after a long day, which, I think, is one of the best kinds.

Brandie’s choice: Road to Morocco (1942)

Airing 8:00PM EST

Of all of the Road movies, this one, and the first, Road to Singapore (1940, incidentally airing at 1:15PM today), are my favorites.

Each of the Road movies has its particular charms, to be sure. Bob and Bing are an absolute hoot, and their habit of breaking the fourth wall to converse with the audience is something unusual and fun, as if the audience itself has a role right there in the picture. One of my favorite of these asides occurs in Road to Bali (1952, incidentally also airing today, at 6:15PM) when, as Bing prepares to serenade Dorothy Lamour in the moonlight, Bob turns to the camera and whispers, “He’s gonna sing, folks. Now’s the time to go and get your popcorn!”

These kinds of moments abound through this series of films, and it’s a testament to the friendship between these two men and their respective comedic abilities that they are able to maintain their hilarious, almost manic energy through seven pairings. Road to Morocco is the third film pairing the duo, and it is the first of the Road pictures that was written specifically for Hope and Crosby (instead of being rewritten from pre-existing scripts).

The appeal of these movies doesn’t come from the songs, which are decent if not memorable, or from the exotic settings, though that only adds to the craziness. Nor are these films strictly about plot. The joy and the hilarity of these films comes from their subversive insistence on poking fun at the Hollywood establishment, and Hope and Crosby latch onto this element of the script with an almost indecent sense of glee. The movies are not mere comedy or musical; each is a sometimes biting satire of the movie business, with Hope and Crosby taking on the roles of critics, commentators, and enthusiastic roasters. Lamour serves as the eye candy, and the object of affection over which Hope and Crosby spar throughout the film–a rather thankless role, to be sure, but Lamour shines in every instance, and the films would not be nearly as effective, nor as enjoyable, without her.

And in Road to Morocco, the human actors are almost overshadowed by their camel counterparts.

The camel’s spit take at the end of this clip wasn’t planned, but everyone loved the duo’s reactions to the camel’s impropriety, and the shot was left in the final film. And thank God for that–it’s one of the most memorable moments in a series of memorable moments from these films.

Yes, this is only a taste of what you’re in for with the Road films. So try to catch all of the ones being shown today (in addition to the ones already mentioned, TCM is also showing 1941′s Road to Zanzibar at 2:45PM and 1946′s Road to Utopia at 4:30PM) to see all of the hilarity.

But if you can only see one, make it Road to Morocco. Trust me–you’ll be hooked.