Tuesday, December 19, 2023

Betty Grable’s Greatest: ‘Mother Wore Tights’ 1947


Dan Dailey & Betty Grable shine as a showbiz couple in 1947's "Mother Wore Tights."


The musical comedy/drama Mother Wore Tights was of Betty Grable's greatest hits and the biggest movie for 20th Century Fox in 1947, next to Forever Amber. The Betty Grable vehicle was a big break for Dan Dailey, whose mugging was perfect for this movie’s leading man character. Betty and Dan had such strong chemistry that they were re-teamed three more times.

"Mother Wore Tights" was the first of four pairings of Betty Grable & Dan Dailey.

Based on a popular memoir by Miriam Young, Mother Wore Tights had the same flavor as Cheaper by the Dozen, a look at opposites-attract parents, viewed through the eyes of their children. Fox star Anne Baxter narrated the film with her insinuating voice, as the adult version of the oldest daughter.

Betty Grable's genuine warmth comes through in the scenes with her movie "family"
 in 1947's "Mother Wore Tights." With Mona Freeman as her oldest daughter.


Grable is at her likable best in Mother Wore Tights, especially the scenes where she’s interacting with her movie family. As Myrtle McKinley Burt, Betty’s character is ambitious and enjoys her career, though she prefers home life. But husband Frank Burt, while he loves an audience, also enjoys his wife as an on-stage partner. The two extrovert personalities strike sparks and sometimes fireworks. But the Burts adore each other and their stage act. It’s fun to see a couple where the wife is the wise, practical one—and here, Dailey’s Frank seems like a big kid at times—though a loveable one.

Dan Dailey looks downright boyish as the hoofer with the hots for Betty Grable,
in 1947's "Mother Wore Tights." Dailey & Grable make a winning team!

Dan Dailey is a terrific hoofer and musical performer here. I usually find Dailey rather repellent in the vein of Jerry Lewis and Milton Berle, but Dan is still young and fresh here, and his character is written to be a ham, so it works. Dailey is excellent in both the comedic and serious scenes, and he and Grable make a most believable film couple. As with many golden era stars, I first saw Dan Dailey in his later years, when hard living made him look very rough. It was a bit of a jolt to see him as fit and those blue eyes clear and alive. Dailey is a very energetic dancer and Betty Grable gives her all, so their performing of nostalgic vaudeville numbers are highly entertaining.

A sweet scene in "Mother Wore Tights," when Grable's Myrt informs Dailey's Frank
 that their going to have an addition in their show biz family.

Mother Wore Tights boasts a great back up cast: William Frawley as the producer in the opening scenes; Veda Van Borg as the tough chorus girl pal of Grable; and Sara Allgood as Betty's no-nonsense grandmother. Lee Patrick shows up for an entertaining musical/comedy bit on the train, and Ruth Nelson, who played John Garfield’s mother so memorably in Humoresque, is the kindly school headmaster. These are just a few of the many familiar faces in this film.

The Burt girls are sometimes mortified by their extrovert parents in "Mother Wore Tights."

Mona Freeman and Connie Marshall are endearing as Iris and Mikie Burt, Myrtle and Frank’s daughters. While playing to the era’s “adorable” juvenile mold, they’re still quite good and you really care about them. Robert Arthur is utterly adorable as the young man in love with Iris. After his acting career, Arthur went on to become a gay activist, particularly for seniors.

Robert Arthur was a charmer as the Burts' eldest daughter's beau in
1947's "Mother Wore Tights."

It's been said that Betty didn't want challenging material or leading men. I think that may be exaggerated. While Betty didn't want to do heavy drama like The Razor's Edge, which studio head Darryl F. Zanuck wanted her for, Grable may have welcomed variety within the formula pictures. Mother Wore Tights is a great example, and is said to be Betty's favorite movie. I can see why. Betty was at the height of her movie stardom, and her new marriage to Harry James was now blossoming into a family. As for leading men, usually female stars that carried a film didn't get their equals as leading men. Fox's top leading men did heavy drama, like Dana Andrews and Henry Fonda. Power had done his duty in musicals in the '30s. So Betty was often paired with Don Ameche or John Payne. That's why a pistol like Dan Dailey was a breath of fresh air. 

"Mother Wore Tights" is forward-thinking for 1947 in depicting the showbiz couple
 mixing career and family.

The story in Mother Wore Tights goes to some interesting places for a '40s movie, like working parents, and how kids cope when their show biz parents aren't around. The rapport between Betty and Dan really carries this picture, and you totally believe them as this dynamic couple who are also devoted parents.

Betty Grable as a high school senior at the start of "Mother Wore Tights" is a bit much, though Betty at 31 plays the mother of teens through half of the movie.

Though it was not uncommon for stars to play young versions of themselves, Betty Grable as a high school senior at 31 was perhaps a bit of a stretch. But Grable was not vain in the least, and happily played the mother of teens in the latter portion of the movie. Betty was pregnant during this movie and I think they may have filmed Mother Wore Tights in sequence as much as possible; in Grable's last big number, her waist is noticeably larger. That’s how they rolled in the days of stars making several films per year. Orry-Kelly shined when he designed for period films and has a field day here. Betty wears some lovely off-stage costumes in particular and in unusual but flattering colors for the blue-eyed blonde.

Betty Grable wears some stylish Orry-Kelly costumes in "Mother Wore Tights."

Mother Wore Tights is old-fashioned and sentimental but in a natural way, and is leavened by some authentic moments about parents and kids. A terrific cast, nostalgic songs, solid story, and superb production all make for a feel-good movie!

A tender moment at the finale of "Mother Wore Tights," the Burts watching their
 daughter perform their signature stage number.

Here's my look at the movie that made Betty a 20th Century Fox star!  https://ricksrealreel.blogspot.com/2023/07/betty-grable-found-stardom-down.html


Monday, December 11, 2023

Fanciful Holiday Fun: ‘The Great Rupert’ 1950

 

Jimmy Durante & "The Great Rupert!"


Even back in 1950, the small-budget film The Great Rupert was considered sentimental and far-fetched. Yet its good-natured story and clever special effects with a dancing squirrel have stuck in the minds of movie fans. The comedy-drama of a down on their luck show biz family who benefit from the former four-legged tenant benefits from a cast of familiar names, solid direction, and special effects by George Pal.

You will believe a squirrel can dance! "The Great Rupert" from 1950.


Actor-turned-director Irving Pichel directs the corny material straightforwardly and gives the whole cast their moments to shine. Pichel notably discovered child actress Natalie Wood. Special effects legend George Pal, who later went on to elaborate classics The War of the World and The Time Machine, has just one special effect in The Great Rupert: the title character, which happens to be a show biz squirrel! Rupert dances and also reacts charmingly to the human story here. Pal’s mechanical Rupert is quite convincing even by today’s standards. I’m surprised somebody hasn’t made a big-budget remake of this tall tale.

"The Great Rupert" is a sweet little fantasy film from 1950.

Rupert’s human owner, Joe Mahoney (Jimmy Conlin) can’t find them any gigs and must leave their very humble rental abode. He is released in the park, which initially struck me as horrible. But fear not, Rupert goes right back to his old home, up in the attic.

Then comes the new renters, equally as down on their luck, but with a spiel. This family is show biz folk, too, acrobats—about as much in demand as dancing squirrels by 1950. Lou Amendola is played by Jimmy Durante, always watchable and warm. Mama Amendola is played by Queenie Smith, who played Eleanor Parker’s whining mother in Caged the same year. Their teen-age daughter, Rosalinda, is played by Terry Moore, back in her sweet starlet days.

Terry Moore & Tom Drake play the young lovers in 1950's "The Great Rupert."


Their landlord Frank Dingle (played by Frank Orth) is a cheapskate who literally squirrels extra dough in his wall. Even his wife Katie (Sara Haden of the Andy Hardy family) and son Pete (MGM’s boy next door Tom Drake) think Frank’s a tightwad.

Queenie Smith has a touching scene where she prays for help for her family
in 1950's holiday-themed fantasy, "The Great Rupert."

At first Lou is hard pressed to figure where he’s going to come up with the rent, but he’s got the gift of gab to give in the meantime. Mama Amendola (Amen, dollars?) is more pragmatic and prays for help. Miraculously, money falls from the broken skylight. This scene happens about the same day each week—I won’t spoil the fun here.

After the family fixes up their rented hovel, they begin to invest in the community, and soon many of the townspeople begin to prosper—think It’s a Wonderful Life with a dancing squirrel!

Every time a squirrel drops some dough, the Amendolas buy some things!
1950's fantasy family comedy, "The Great Rupert."


Despite an unwelcome visit from the IRS, wondering where the Amendolas got their new-found dollars, The Great Rupert has a happy ending, with the characters falling into money. If you’re in the mood for an old-fashioned movie with a holiday theme, watch wonderful Jimmy Durante and a cast of pros serve up this cornball cinema fun.

Jimmy Durante brings his great humor and heart to 1950's holiday-themed
"The Great Rupert."


Monday, November 27, 2023

Robin Williams & Nathan Lane: Lovebirds in ‘The Birdcage’ 1996

 

Nathan Lane & Robin Williams make a fine pair in 1996's "The Birdcage."


Though The Birdcage is a film from 1996, it’s as timely as ever. Interesting that nearly three decades later, we're fighting again about “real” American values, gays, and drag queens. La Cage aux Folles has been continually reinvented: First as a 1973 French comedy; the farce became a smash 1983 musical; and finally came this Americanized comedy, directed by Mike Nichols.

Guess who's coming to dinner? The conservative family on the left is invited to meet
 the "de-gayed" groom's folks in 1996's farce, "The Birdcage."

Mike Nichols is a great actors' director and he gives everyone in this movie moments to shine. The movie snaps along at a great pace, the verbal and physical comedy is inspired, and the laughs at the characters’ foibles are even-handed. Much of this is the fine hand of one of movies’ smartest directors, Mike Nichols. This movie is within Nichols’ best skill set: mainstream but smart movie comedy.

Robin Williams is the gay father of Dan Futterman's Val in 1996's "The Birdcage."

Robin Williams and Nathan Lane are the gay couple, Armand and Albert Goldman, who own the title drag nightclub. Their straight son, Val, played by Dan Futterman, wants to bring home his fiancee to meet them—Calista Flockhart in an early role. Unfortunately, she brings along some baggage.

How do you handle a problem like Val's "mother?" Nathan Lane steals the show
as Albert, dramatic drag queen and doting parent, in 1996's "The Birdcage."

On Barbara’s side of the family is Republican Sen. Kevin Keeley, played by Gene Hackman, who makes hay of all the religious right rhetoric. The seemingly compliant, upbeat Republican wife, Louise, is perfectly cast with Dianne Wiest. 

Calista Flockhart in an early role as daughter Barbara to Gene Hackman's
 conservative senator in 1996's comedy, "The Birdcage."

Nathan Lane was the real scene stealer here as Albert and should have been Oscar nominated for his memorable turn. But The Birdcage was basically shut out by the Academy, but was a home run at the box office.

Like Dustin Hoffman's "Tootsie," you miss Nathan Lane's "Mother" Goldman when
 her character is unmasked--er, un-wigged--in 1996's comedy, "The Birdcage."

And Robin Williams, often cast in the comedic clown role, is the straight man—pun intended!—in The Birdcage. He has his share of funny moments for sure, but he’s the voice of reason here and just as adept in serious moments as in the comedic ones.

Robin Williams & Christine Baranski as Val's biological parents, recalling a soft shoe
 number from their college days, in 1996's charming comedy, "The Birdcage."

Hank Azaria is unlikely but hilariously cast as Agador Spartacus. He’s both physically and verbally funny, trying to walk in shoes, and sounding masculine. The scene where he joins in the family’s joyous sing-along of “I Could Have Danced All Night” is both hilarious and sweet.

Hank Azaria, a riot as Agador, the Goldmans' irrepressible servant, in "The Birdcage."

Gene Hackman, who Nichols had to sack many years ago from The Graduate—as Dustin Hoffman’s father!—is rewarded with a great comedic villain role here, and his drag scene where he looks like a latter day Dorothy Malone!

Let's face it, Gene Hackman in drag can only be used for comedic effect! Gene appears
 to be wearing Dorothy Malone's old "Peyton Place" wig in 1966's "The Birdcage."

Dianne Wiest has always reminded me of Rene Zellweger. In her comic moments as the “pleaser” wife scrunching up her face adorably, well, someone needs to cast them as mother and daughter. Yet, Wiest gets tough moments, too, when everyone around her panics. Dianne is great in both modes!

Dianne Wiest is at her best as the "good" political wife/mother in "The Birdcage."

Renee Zellweger would have been perfect as Dianne Wiest's daughter,
but Renee was busy filming a star-making "Jerry Maguire" the same year!

Dan Futterman is well-cast as Williams’ son. There’s a resemblance, the twinkle in the eye, very sly. Futterman holds his own playing a normal young guy whose plan to de-gay his parents goes off the rails.  Calista Flockhart, as shown later on Ally McBeal, has a flair for farce, as well.

Dan Futterman's a charmer as Val in 1996's "The Birdcage." Today, Dan is on
the other side of the camera, writing, and producing.

The 24 hour news cycle, tabloid journalism, political piety, and dramatic gays and drag queens all get good-naturedly spoofed. There are so many memorable scenes, the best of which is Williams trying to teach Lane how to be more masculine, by walking like John Wayne. Through all this, an old woman in a jogging suit silently observes them, priceless. The soft shoe number between Williams and ex and also Val’s mother, Christine Baranski, who recalls their theater days, is a little gem. The scene at dinner where everyone’s scrutinizing the erotic china pattern is a hoot. Perhaps my favorite part is Nathan Lane’s Barbara Bush-inspired drag as “Mother” Goldman to Val for their family dinner.

Nathan Lane wigs out as "mother's little helper"--white wine-- makes his masquerade go awry in 1996's comedy, "The Birdcage."

The Birdcage is great fun, smart mainstream entertainment that moves at a beautiful clip, with director Mike Nichols at his comedic best.

The Birdcage pairs well with 1982’s Tootsie! My review of that classic here: https://ricksrealreel.blogspot.com/2018/06/tootsie-1982.html

Nathan Lane's Albert as drag diva, in 1996's "The Birdcage."

Who wore it best? Joan Collins' Alexis in "Dynasty" drag!

Monday, November 13, 2023

All-Star Downer: ‘The Sun Also Rises’ 1957

Ava Gardner & Tyrone Power as Ernest Hemingway's troubled lovers Brett Ashley
& Jake Barnes in 1957's "The Sun Also Rises."


The last hurrah of the studio system, as demonstrated by 20th Century Fox’s roving mogul Darryl F. Zanuck, was still firmly in thrall with the making of The Sun Also Rises. While this adaptation is basically faithful to the story, Zanuck made a big-budget, wide-screen epic, with superstars and exotic locales to draw in TV watching audiences—which went against the spirit of Ernest Hemingway's personal story.

The biggest misstep was box-office stars miscast not just because of their age—but how badly they were aging. The 40-something stars hired to play lost 30-ish thrill seekers looked more like a mid-life crisis ride into the sunset than The Sun Also Rises.

The lost generation? Tyrone Power, Ava Gardner, Mel Ferrer, Eddie Albert,
& Errol Flynn star in the 1957 film version of "The Sun Also Rises."

In the 1950s, Hollywood seemed taken with Ernest Hemingway once again. Fox filmed ‘53’s The Snows of Kilimanjaro and ‘57’s The Sun Also Rises. David O. Selznick produced a mammoth remake of A Farewell to Arms in ’57. And Spencer Tracy starred in ‘58’s The Old Man and the Sea. They received mixed to bad reviews, though Snows and Farewell made much money, likely due to their leading men, Gregory Peck and Rock Hudson. Irascible Ernest Hemingway didn’t have much good to say about any of these adaptations, especially since he wasn’t receiving any profits, but he was particularly scathing about The Sun Also Rises.

Jake Barnes suffers a serious war injury that leaves him impotent, which drives
 Barnes & Brett Ashley apart, played by Tyrone Power & Ava Gardner.

It’s a shame that director John Huston got sidetracked on another Hemingway adaptation, A Farewell to Arms. He was fired early on by producer and mega-meddler David O. Selznick, who was obsessed with his star/wife, Jennifer Jones. Huston, a like-minded Hemingway pal, might have brought more grit to The Sun Also Rises. And Huston would have deftly handled alpha male Zanuck and the varied cast. Or at the least, wouldn't it be pretty to think so? Fox’s favorite studio director Henry King was chosen and did a solid if safe job.

Hemingway mocked the film’s locales, but they're quite lovely, though he was right that this adaptation feels like a tourist version of Hemingway’s “lost generation.” That was Zanuck's shrewd way of attracting audiences, but there’s surprisingly little passion in this literary adaptation. The impression I got was that in exchange for saying outright that the hero Jake Barnes is impotent after a war injury, the film treads lightly regarding the subsequent consequences in Jake’s life.

Tyrone Power as Jake Barnes, in the flashback scenes as an injured soldier, in 1957's "The Sun Also Rises." Except for his age, Power is well-cast as Jake.

Tyrone Power as Jake sports boxy, heavy suits and trench coats that look mighty hot for summery Paris and Pamplona. Similarly, his pajamas and heavy bathrobe look like they're meant for a New England winter. When Robert Cohn (Mel Ferrer) chats with Jake in the gym, he changes into a robe just to walk from the locker room to a nearby shower. These are telltale signs of how this adaptation is so buttoned-up. Especially with Lady Brett, who has men doggedly following her in a pack, yet there's barely a kiss in this movie!

Why is Tyrone Power hiding in cover ups like trench coats or jammies & bathrobes
in 1957's summer-set "The Sun Also Rises?" A puzzlement!
Tyrone Power as Jake Barnes. 

As Lady Brett, Ava Gardner's occasional displayed high spirits should have been encouraged more, but is made to act as the remorseful “bad” girl. Errol Flynn's unrepentant reprobate offers more authenticity, looking swingin’ and sweaty while living it up in Spain. In fact, Ava and Errol’s bantering scenes breathe a little life into the movie.

Tyrone Power as Jake Barnes, when he sees former flame Brett Ashley again,
in 1957's "The Sun Also Rises."

Though no longer Fox's number one leading man, Tyrone Power was brought back at 43 to play Jake Barnes. While Power’s looks were prematurely aged, he is solid as melancholy Jake. Ty was Fox's version of MGM's Robert Taylor, but was always far more sensitive and empathetic than wooden Bob. Power’s warmth is a huge plus here. It's really a shame this wasn't filmed at Fox in the late '40s when Ty was trying hard to broaden his range with The Razor's Edge and Nightmare Alley, he would have been utterly perfect. 

Errol Flynn is most fitting as Mike Campbell in 1957's "The Sun Also Rises."

Errol Flynn as Mike Campbell stole the reviews from the mixed reception The Sun Also Rises received upon release. Flynn’s at his natural best and captures Mike’s mercurial charm and cruelty. Errol also captures the rueful romantic and melancholy aspects of the character, too. However, it's shocking to see Flynn at age 47 looking like an old man, with his ravaged face, tired eyes, and thickened waistline. Errol and Ty were two of the most beautiful men ever in film and it's a shock beyond miscasting to see them both lacking their sparkling good looks and high spirits. When Flynn runs with the bulls, you half expect to see him drop dead of a heart attack. Sadly, both Power and Flynn died shortly after this film, Ty in 1958 and Errol in 1959.

A touching scene between Tyrone Power & Errol Flynn, as their characters realize
 the party's over, in 1957's "The Sun Also Rises."

Whose bright idea was it to cast Eddie Albert as one of the group, at age 50? While Albert at least looked fit, he was obviously middle-aged. Plus, his good natured stodginess seems out of place here, to say the least! This lost generation is supposed to be just past 30. Hemingway wrote The Sun Also Rises based on his own experiences in WWI and shortly after, and published before Ernest was 27.

Lady Brett and her wolf pack! From left: Mel Ferrer, Eddie Albert, Errol Flynn, & Tyrone Power, with Ava Gardner center. 1957's "The Sun Also Rises."

Mel Ferrer was one of those actors given the build-up as a leading man, but was destined to be cast as a villain, what with his skeletal face and cold demeanor. Mel was a star character actor, at best. But Ferrer was fit and fresh here, just three years younger than Power. The difference is distinctly noticeable, though watching 6’ 3” Mel at 40 acting like a petulant school boy over Brett is rather ridiculous.

Mel Ferrer hardly seemed boyish and petulant as Cohn in "The Sun Also Rises."

Ava Gardner, as Lady Brett Ashley, got lumped into the "too old" category critique as a knee-jerk generalization. Ava had just turned 34 when filming started in early '57—which was the age of Jake, Brett, and Robert in the novel. And while she was no longer the fresh starlet of a decade prior ala The Killers and The Hucksters, she still looked magnificent. Her wild child lifestyle did betray some telltale signs beneath the eyes, but they often did, much to the MGM makeup department’s consternation. However, Gardner’s streamlined faux-1920s wardrobe shows off her whippet slim figure and there are some stellar star close-ups that show off her magnificent bone structure. And she certainly is well-cast as a charismatic hedonist. I think Ava’s acting is naturalistic and mostly understated; Gardner was a great friend and admirer of Hemingway and did her best.

Our first look at Ava Gardner as Brett Ashley in 1957's "The Sun Also Rises."

Ava Gardner looks in fine form as Lady Brett when she re-enters Jake Barnes' life
in 1957's "The Sun Also Rises."

Last and least, Robert Evans is absurd as Pedro. Can you imagine a handsome NYC Jewish boy cast as a Spanish bullfighter today? He looks like a Mouseketeer with his bullfighter's cap, making goony faces at Ava’s Brett in the spectators’ stand! Let’s just say he fared better later as a flamboyant film producer.

Seriously, why didn't Darryl F. Zanuck ask Ava for recommendations on handsome bullfighters, instead of insisting on Robert Evans for "The Sun Also Rises?"

As with F. Scott Fitzgerald, Hollywood never quite did Ernest Hemingway justice. As for The Sun Also Rises, it’s worthwhile and watchable if you can get past the over-age cast and the over-discreet storytelling when it should have been passionate.

A far better Tyrone Power film, with the star as another WWI veteran torn between the love of a willful woman and trying to adjust to post-war life, is The Razor’s Edge. My take here: https://ricksrealreel.blogspot.com/2023/05/foxs-faithful-rendition-of-razors-edge.html

Here’s my appreciation of the great Ava Gardner: https://ricksrealreel.blogspot.com/2018/01/ava-gardner-faces-fifty-in-style-with.html

 

Ava Gardner and her fabulous jawline, in 1957's "The Sun Also Rises."