My Sister Eileen

Betty Garrett and Janet Leigh star in "My Sister Eileen," a 1955 musical also starring Jack Lemmon, Bob Fosse, Tommy Rall and Kurt Kasznar. This is not the musical "Wonderful Town" but it has delightful music by Jule Style. It's the story of the Sherwood Girls, Ruth and Eileen, who come to Greenwich Village from Ohio to "make it" -Eileen as a performer and Ruth as a writer. The two are conned by a landlord (Kasznar) into renting (for a whopping $65 a month) a basement apartment that shakes like crazy during subway construction. Not to mention, with their window placed the way it is, they may as well be living in the street.

The Ruth character is based on the writer of the original story, Ruth McKenney. Eileen is the freshly beautiful blonde who always has men swarming around her; in comparison, the pretty, funny and stylish Ruth feels like a plain Jane. She sublimates by being dedicated to her career until she meets a publisher (Jack Lemmon) and falls for him. He's interested in her story, "My Sister Eileen," and she's so insecure, she tells him that she is the sought after Eileen - it's another aspect of her personality, she says.

The Greenwich Village aspect makes the film as the movie captures its atmosphere perfectly and gives a real feel for the New York of the 1950s. Betty Garrett is great as Ruth. Her singing and acting are both wonderful. Surprisingly, though it's the title role, the part of Eileen really isn't much. (Sadly, the real Eileen died very young. She married writer Nathanael West and died with him 8 months later in a 1940 car accident.) Janet Leigh is pretty and sweet, putting over the necessary naiveté as Eileen, plus she gets to show off her singing and dancing. Fosse, who also choreographed, and Tommy Rall are suitors of Eileen and do some fabulous dancing. Dick York has a small but showy role as a young man in Ruth's and Eileen's building. Jack Lemmon, in an early role, is slightly miscast as the sophisticated publisher but is very likable.

Well-directed by Richard Quine, it's a shame that "My Sister Eileen" hasn't gotten more attention. It's pretty to look at and to listen to with wonderful, vibrant performances. Check it out.

"On the Town"'s Betty Garrett and Janet Leigh play two sisters looking for romance from their slightly seedy flat on the wrong part of town.

Eileen (Leigh) is the pretty one who has all the attention, while her sister waits quietly for her talents and charms to be appreciated. In the cast are Jack Lemmon, Bob Fosse, and Tommy Rall (so some excellent dancing going on here).

There are a number of OTT moments, not least the all-inclusive conga number near the end, but this musical version of a 40s classic manages to add something new and showcase the talents of its cast well.

I'm not sure what the story was with Harry Cohn and this film. Back in the early Forties My Sister Eileen was a big comedy hit for Columbia Pictures starring Rosalind Russell and Janet Blair about the two sisters from Ohio moving to Greenwich Village. So Cohn in fact did own the screen rights.

My Sister Eileen moved to Broadway in the early Fifties with Rosalind Russell repeating her role on stage in a musical adaption renamed Wonderful Town. Leonard Bernstein and Betty Comden and Adolph Green wrote a fine musical score.

So what does Harry Cohn do, he decides to remake My Sister Eileen, but does he shell out any money to Bernstein, Comden and Green for their songs. He does not and pays Jule Styne and Leo Robin to write yet another score. It was one of the weakest scores these two worthy song writers were ever associated. In fact it keeps this version of My Sister Eileen from being a great film.

Still it's not a bad one with Betty Garrett and Janet Leigh stepping nicely into the roles created by Russell and Blair. As before and as on stage the film is about the Sherwood sisters from Ohio, sensible and witty older sister Garrett and pretty Janet Leigh with a nice pair of weapons of mass destruction. Men just fall over themselves trying to do for her, two of them in this film are dueling dancers Tommy Rall and Bob Fosse.

Jack Lemmon has one of his early roles in My Sister Eileen as a publisher who is interested in both Betty Garrett who is an aspiring writer and the one story that he's interested in is the one she's written about her sister Eileen.

Garrett retains all the witty bite of Rosalind Russell and Leigh is guaranteed to get the hormones racing of the male population. My Sister Eileen misses being a great film because of the mediocre songs, but fans of the players shouldn't miss it. Look also for a great performance by Kurt Kaszner as the Sherwood sisters Bohemian landlord.

I had heard that this second musical version of "My Sister Eileen" (the first being the Broadway show "Wonderful Town") was very underrated. Well, it's not.

Columbia Pictures owned the movie musical rights to "Eileen" and when Leonard Bernstein wanted too much money for "Wonderful Town", Columbia passed on adapting the Broadway hit, and created its own musical film adaptation. Unfortunately, this version isn't just inferior to "Wonderful Town" - the score and script are truly mediocre in their own right. The songs are all forgettable, which is surprising given that the composer is the great Jule Styne who went on to write "Gypsy" and other shows. Either he and lyricist Leo Robin had very little time to write the score or inspiration took a vacation.

The two saving graces in this film are Betty Garrett, who plays the more tomboyish Ruth. Unlike Rosalind Russell who played Ruth both in the non-musical film and in "Wonderful Town," Garrett can really sing and she's less self-conscious about being the center of attraction - she's much more natural in the role.

The other occasional grace is Bob Fosse's choreography. In some numbers, especially one dancing "duel" between him and the terrific Tommy Rall, the film comes alive. Unfortunately, some of the other dances - particularly the climactic "Conga" sequence, fall flat, perhaps due more to director Quine than Fosse.

Janet Leigh plays Eileen and she's very charming, though not quite the kind of looker who would have men literally at her feet all the time. She sings fairly well, and dances rather better. And since she's top billed, the script gives her character more emphasis than the original play. Jack Lemmon plays a publisher on whom Ruth has a crush; Lemmon is good, though his one song is far from a highlight - he's no singer.

It's a pity that Columbia and Bernstein didn't see eye to financial eye - it would have been great to see Garrett do "Wonderful Town," though Leigh and Lemmon would never be able to handle their parts in that score.

Unlike the comedy-driven 1942 version, this one is a musical. Trouble is the songs are forgettable, while director Quine has difficulty blending zaniness with the musical score. The result is a patchwork that fades into a few memorable scenes. Then too, none of the characters have time to really register as the scenes constantly shift focus, and without needed close-ups that would emphasize personality.

Nonetheless, two dance numbers remain real eye-catchers. Rall and Fosse face-off in an acrobatic duel that still has me dizzy, while the cute bandstand number shows that Leigh can shake a leg with the best of them. But these are the highlights, and I'm sorry to say Lemmon's comedic talents are almost totally wasted in a rather routine role. Then too, I agree with the reviewer who finds a rather dour Garrett unconvincing as Leigh's sister, maybe because she was just coming off the Hollywood blacklist. However, this movie does something few dare do-- grammarian Ruth reminds us not to end a sentence with a preposition. Now I know why I flunked English.

Anyway, director Quine would soon prove a real strength with pure comedy. Among others, catch his neglected Operation Madball (1957), where Lemmon and Dick York carry the laughs superbly, (along with a mockingly villainous Ernie Kovacs). My Sister Eileen, however, remains a harmless time-passer, nicely photographed with expert rug-cutting and candy-box colors that keep the eye entertained, even when the narrative falters.