arneblaze

This is a lightweight piece of musical fluff- very stagebound from the Broadway hit as it is transferred to early musical film. The libretto isn't much and only one of the seven songs became a hit - I'VE TOLD EVERY LITTLE STAR. However, it is the star personalities that make this a delightful romp.

Gloria Swanson and John Boles are the protypes for Fred and Lili Graham, the feuding husband and wife leads in KISS ME KATE. Here they perfectly assess the comedic and vocal requirements of their roles and play them to the hilt. As the young male lead Douglass Montgomery gives one of his finest performances, full of joy and innocence. June Lang fares somewhat less as the ingenue support, registering neither talent nor personality. Al Shean does his usual Charles-Winniger want to be turn as the old song writer. Marjorie Main has a silent role as Swanson's maid.

The score contains two dances and the songs: SCHOOL PRAYER; BEYOND THE HILL; WE BELONG TOGETHER; I'M COMING HOME; ALL ALONE; ONE MORE DANCE; and the hit I'VE TOLD EVERY LITTLE STAR.

A must-see for Swanson fans - after seeing this and TONIGHT OR NEVER, it stll baffles me why she wasn't a big talkies star - she could do anything - drama, comedy, musical - with flair and inventiveness. It was certainly our loss.

A private collector has finally allowed me to see this almost forgotten musical -and it deserves to be forgotten. It is a 50 minute Hal Roach musical programmer that is grade B in every way - there is an erroneous official timing of 71 minutes that proliferates but I am trying to get that removed.

The plot is almost non-existant. The characters are thinly drawn and the direction, acting and production values are beneath contempt.

George Givot plays a man on the lam from a divorce and alimony. He disguises himself as a tour guide for five young socialites. The lead socialite, Marjorie Woodworth, is looking for love from a latin singer she idolizes - the reason for the trip - but is romanced by a pilot. Eventually all things end happily. The only bright spot is a midget, Jerry Bergen, who plays the comic foil for the detective who is trying to nail Givot.

The score (five forgettable numbers) and the song PENNIES FOR PEPPINO earned Oscar noms - totally and irrevocably undeserved - these were the days when every studio could submit its "best" as nominees in the categories of sound, score, scoring, song and special effects.

It took me over forty years to find this turkey and the result was not worth the effort. Note that lyricists Chet Forrest and Bob Wright went on to create SONG OF NORWAY and KISMET on Broadway.

This is perhaps Warren Beatty's best screen performance- he is perfectly cast as the Italian gigolo and both his accent and his heavy-lidded loucheness, not to mention his beauty, bring Paolo to life. One feels more for him than for the person we are supposed to feel for- poor Karen Stone. Vivien Leigh with her newly developed deep contralto voice plays Karen in an emotional vacuum. She "walks through" the role and we never "feel" what she is supposed to be feeling. Perhaps this is Quintero but I doubt it. I just think Ms. Leigh was tired and unable to dredge up the required feelings on cue.

The film goes on a bit too long - the languidity of certain scenes which merely repeat what has already been established draws it out longer than necessary.

All said, the best thing in it (and deservedly Oscar-nominated) is Lotte Lenya's Contessa - in nine perfectly crafted and acted scenes, she steals the film and is the one character we remember the most.