‘White Christmas’ Still a Stellar Crowd Pleaser 1954

1954’s White Christmas, while not a classic, is still a pleasant holiday perennial, 65 years later.

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White Christmas is the holiday movie version of a fruitcake, a treat to some, indigestible to others, but for the majority, the idea of the movie is a satisfying enough experience. I find fruitcake and White Christmas one and the same—picking out the icky stuff—whether it’s neon candies in the cake or fast-forwarding anything that involves unappetizing Danny Kaye in the flick. I focus on what’s tasty, and I do like an old-fashioned cake, which White Christmas resembles: Bing Crosby and Rosemary Clooney’s smooth singing, Vera-Ellen’s excellent dancing, mostly great Irving Berlin Songs, a fine supporting cast, and lavish production values—all delightfully delicious.

The "boys" perform for the troops at the opening of "White Christmas."

The plot of White Christmas is as slim as Vera-Ellen’s figure: WWII soldiers Bob Wallace and Phil Davis (Bing Crosby and Danny Kaye) bond during war time and also revere their general, Tom Waverly (Dean Jagger.) Post-war, the duo becomes show biz dynamite, later producing their smash hit shows. They meet a sister act, Betty and Judy Haynes, (Rosemary Clooney and Vera-Ellen), and the sparks soon fly, i.e. Crosby and Clooney, and Kaye and V-E. They follow the sisters to Vermont for a gig, only to find their old general is running a white elephant of an inn, which likely won’t see a white Christmas! The guys brainstorm to bring their show to the inn and Bob/Bing goes on “The Ed Harrison Show” to promote the event. Clooney’s Betty thinks they are just exploiting the General, which causes the only dramatic tension in the film, a silly misunderstanding. By showtime, at the now snow-covered inn, all is resolved.

Crosby, Clooney, Kaye, and Vera-Ellen perform "Snow," charmingly staged.

White Christmas was a top-grossing film of 1954 and made multiple fortunes for Paramount ever since, as the movie became a perennial favorite. This movie-movie was old-fashioned, even in ’54, and that’s part of its charm. Still, had White Christmas been made even a half dozen years later, I doubt if it would have been such a mammoth hit. This film was one of the last hurrahs for studio era Hollywood, when Bing and Danny were at the peak of their movie stardom, and nearly the last movie appearances of Rosemary Clooney and Vera-Ellen. The film was the biggest hit that long-time director Michael Curtiz ever had—and this is the guy who made Casablanca and Mildred Pierce! Interestingly, 20^th Century Fox put out their own all-star Irving Berlin extravaganza in ‘54, There’s No Business Like Show Business. While it too was a commercial success, White Christmas made more than twice as much, at half the cost, than Show Business.

One of two all-star Irving Berlin musicals in '54, the other was Fox's "There's No Business Like Show Business." 

Throughout White Christmas, you have to not just suspend disbelief, but take your lumps of coal along with the gems. The film opens in ’44, with Bing and Danny as soldiers, performing for the boys. Overlook that Crosby was over 50 and Kaye was 43, and then Bing soothingly launches into his signature song “White Christmas,” with soldiers thinking longingly of home, a touching moment.

Bob Wallace and Phil Davis' rocket ride to fame, in 'White Christmas!'

After the war, Wallace and Davis launch into a warp speed rise to stardom, in one of those movie montages that always make me smile. In White Christmas’ case, especially so, since it reminded me of the old Bugs Bunny spoof, “We’re the Boys of Chorus.” When the “boys” meet the girls, we are treated to the classic duet “Sisters,” which is then spoofed by Bing and Kaye, with Danny especially having a delightful time camping it up.

'White Christmas' montage to fame reminds me of this!

Soon, the guys are tagging along with the gals to Pine Tree, Vermont, where they reunited with General Waverly, who is now an innkeeper. His hired help seems to consist mostly of the delightful Mary Wickes, a welcome presence in any film. Along with no snow, there are practically no guests. The duo decides to bring their latest show to the inn, with the help of the ladies. The “Let’s put on a show!” cliché is pretty irresistible to me, too!

Luckily, the "Minstrel Show/Mr. Bones" number segues into Vera-Ellen's "Mandy."

Unfortunately, the first number up is “I’d Rather See a Minstrel Show/Mr. Bones.” At least it wasn’t done in blackface, but it still feels mighty dated. But then comes the zingy finish, “Mandy,” a wonderful, upbeat tune that becomes a wow with the dazzling, energetic dancing of Vera-Ellen and John Brascia. Bing and Danny perform nimbly with the accomplished V-E, but when Brascia takes over, wowza! Brascia looks like a dark Richard Egan and is obviously having a great time as he struts his stuff. He also had the distinction of dancing the previous year with Joan Crawford, in Torch Song’s infamous “Two-Faced Woman,” which WAS filmed in blackface.

Even better is when sizzling John Brascia takes over the dancing with Vera-Ellen!

Bing and Rosie have a great rapport when their characters aren’t bickering. A sweet number is “Count Your Blessings (Instead of Sheep).” This is intimately performed when the duo are having a late night snack at the inn. I have never cared for Bing Crosby as a person, but as a performer, Bing’s laid back presence was great in both comedy and drama, and his natural style has aged well. Of course, Bing was blessed with a beautiful voice that served him well for many decades.

Rosemary Clooney & Bing Crosby bring their warm, mellow personas to 'White Christmas.'

Clooney didn’t make a lot of movies, they probably weren’t her forte. Plus, the singer’s natural looks and figure were at odds when beauty and glamour were still everything for a film actress of this era. But I enjoy Rosie’s relaxed style in White Christmas, and her singing is top notch, especially in her big torch number, “Love, You Didn’t Do Right By Me.”

Rosemary Clooney's torch number, "Love, You Didn't Do Right By Me," with gorgeous 20-year-old George Chakiris.

The film’s worst number comes with “Choreography.” Some folks adore Danny Kaye, but I find him insufferable. Kaye’s constant “on” demeanor makes Mickey Rooney look subdued. I find Kaye to be the male equivalent of Betty Hutton, practically begging the audience for adoration. “Choreography” is one of those reactionary ‘50’s musical numbers mocking current trends—here, modern dance and beatniks! Danny and the chorus girls are all done up in black, complete with Kaye in a beret and guy-liner. This reminds me of those “rock and roll” spoof numbers from other ‘50s musicals—also very lame. Director Curtiz too often lets Kaye go into his shtick, and it’s like watching Seinfeld’s “Kramer” go off on a fey tangent. To give Danny his due, Kaye is an agile, energetic performer, and he gets on with Bing quite well.

A little bit of Danny Kaye goes a long way. Above, Kaye camps it up in "Choreography."

The best tunes in White Christmas are the simply staged songs: Bing’s title tune for the boys; Danny and V-E’s nimble The Best Things Happen When You’re Dancing; the quartet harmonizing on Snow, charmingly performed in a train car; John Brascia and Vera-Ellen dancing like dervishes to Abraham; even Rosemary’s Love number is subtly staged, with young George Chakiris getting some face time as one of the male dancers. The showstopper numbers are fun, but the gaudy Fab Fifties colors are nearly nauseating!

Dean Jagger as General Waverly is the heart of "White Christmas."

Dean Jagger is a strong presence as General Waverly, with those brilliant blue eyes, radiating warmth and strength. Jagger provides the substance amidst the blizzard of sentiment in White Christmas. His two big bookend scenes at the beginning and finale of the film provide genuine feeling amidst the fluff. Dean is dynamic.

Vera-Ellen, right, performs "Sisters" with on-screen sister Rosemary Clooney.

Vera-Ellen performs well enough within the conventions of this kind of musical, but she really comes alive in the dance numbers. Plus, V-E looks lovely in her Edith Head costumes, showing off her whippet slim figure. Watching White Christmas hit me that Vera looked a good deal like Mitzi Gaynor, also a dancer at the tail end of the musical era. Another coincidence is that Mitzi was the second female lead of her Irving Berlin movie, There’s No Business Like Show Business.

Vera-Ellen look-a-like Mitzi Gaynor with The Merm in her Berlin bonanza,
'There's No Business Like Show Business.'

Although this semi-remake of 1942’s Holiday Inn was bookmarked for a Bing Crosby-Fred Astaire reunion, it wasn’t meant to be. Fred backed out, then Donald O’Conner got sick, that’s when Danny Kaye took over. I’m surprised frequent Crosby co-star Bob Hope wasn’t considered, or that Paramount didn’t go with their younger musical-comedy team, Martin and Lewis. However, Bing and Danny were at the zenith of their movie stardom in ’54.

Mary Wickes is wonderful as always, with Rosemary Clooney, in 'White Christmas.'

Age is a bit absurd in White Christmas. Jagger refers to Crosby as “son” when they are the same age. Par for the era’s course is the 25 year age difference between Crosby and Clooney. And Kaye’s “boyish” antics are a bit hard to take at age 43. Clooney is the older “mother hen” sister, when she was 7 years younger than Vera-Ellen.

If 'White Christmas' deleted dated numbers like "Gee, I Wish I Was Back in the Army," "I'd Rather See a Minstrel Show," & "Choreography," the result would be a near-perfect 1 hour and 45 minute movie! 

The finale is a fitting wow, though I winced at the lyrics of “Gee, I Wish I Was Back in the Army.” When Clooney sees Bing appeal to his former soldiers on “The Ed Harrison Show,” she realizes Crosby is on the level. Everyone reunites at the inn for the big tribute to the General. While it’s sentimental, Jagger and the cast put it over, with a reprise of White Christmas as the camera pulls away in a dazzling shot of the snow falling outside, the stage show, and the audience. White Christmas has its highs and lows, but ends on a lovely high note.

The fabulous closing shot of 'White Christmas.'