Call Me Madam

I remember seeing Call Me Madam as a teenager when it first came out as a movie in 1953. There was the great Ethel Merman on the screen. I had never heard of her before as to who she was, but I saw the movie so many times that it is still very vivid in my mind. Always yelling "Hello Harry" every time the phone rang, when Billy De Wolfe tried to tell her that one of his jobs was to tell her how to dress, and she looked at him in his outfit with striped pants and quipped, "You're going to tell me how to dress? Your coat and pants don't even match!" But, the surprise of the movie was George Sanders singing especially his song "Marrying for Love". Who would have known that he had such a rich baritone voice. This was probably Vera Ellen's best movie including "Three Little Words" with Fred Astaire. She and Donald O'Connor were perfect in their dance numbers together. Ethel Merman's rendition of "The International Rag" was brassy and sassy the way only Ethel Merman could deliver it with the end of the song singing, "Oh, oh! Wiggle your personality!" and someone in the audience said, "She sure can wiggle it; can't she?" It was if as soon as you sat down to watch this wonderful musical, it was time to leave the theater. I understand that the film is finally going to be released on Video. It's about time. I'll buy one copy to look at and another to keep just in case. Wonderful entertainment. One of the best!

There's been a long wait to revisit the delights of this brassy film recreation of a big Broadway hit, but now we can once again enjoy it, fairly bursting from the screen, with its several lively production numbers, John DeCuir's classy production design, Irene Sharaff's flattering costumes, plus Robert Alton's absolutely first-rate choreography. Check out Vera-Ellen and an ultra-well-rehearsed chorus of dancers in "The Orcarina" number, as well as her amazing dance duets with Donald O'Connor, who smoothly displays his exceptional terpsichorean ability, so well showcased two years earlier in MGM's "Singin' in the Rain." George Sanders's singing is a wonderful surprise, holding his own with leather-lunged Madame Merman, who had triumphed on Broadway with this votive offering to her stardom, so cleverly crafted by Irving Berlin. Alfred Newman's Oscar for his endlessly inventive musical direction was more than well-deserved. For anyone who thinks that M-G-M was the only studio to adequately mount a film musical, this one might convince fans of this genre otherwise. (The DVD, by the way, is a very nice transfer, and boasts a quite informative commentary by "Musical Film Scholar" Miles Kreuger.)

Ethel Merman was unique in the annals of the American Musical Theater -she was responsible for the success of more shows, and introduced more songs that became Broadway standards (and by the best composers) than any other performer - even Mary Martin and Gwen Verdon never quite de-throned the First Lady of Musical Theater. But Merman is one of those whose talent didn't quite transcend the big screen, despite several attempts. Anyone seeing her on the screen today may well wonder what all the fuss was about, but take it from an eyewitness: Merman was a force of nature who had to be seen live to be appreciated - when she set foot on a stage, she OWNED that stage, the scenery, and every seat, patron, and brick of that theater.

Although it came along too late to make her a real movie star (she was in her mid-40s already and, unfortunately, wasn't aging gracefully), CALL ME MADAM is her best movie, and gives us the closest approximation of how the Merman magic lit up the stage (and the box-office). MADAM was very much a star vehicle, the kind they don't have today (let's face it: because they don't have such stars), and there wouldn't have been any point in filming it with anyone else - every situation, line, lyric and note of music was tailored to her style, personality, and, of course, voice (aside from the fact that the show is very dated politically, that's the other reason it was seldom revived without her. GYPSY, though a much better show, was considered a sacred Merman vehicle until Angela Lansbury tackled it in 1973 - it's been revived regularly ever since). Merman was known for 'freezing' a performance, seldom varying it by a syllable throughout a show's long run, and often claimed to be thinking about her grocery list while she was belting out a song. Though she probably 'tweaked' her performance for the screen, what we see here is very likely the way she played Sally Adams hundreds of times before and after the movie.

Although she certainly dominates the proceedings, Merman surprisingly doesn't hog the show (she even gave one of her songs over to Donald O'Connor, "Something To Dance About") - everyone gets their chance to shine, from George Sanders (not playing a cad for once, and displaying an excellent singing voice) to the wonderful Donald O'Connor and Vera-Ellen. O'Connor was riding the crest of his success in SINGIN' IN THE RAIN, and he's almost as good here - his performance is a joy, whether dancing with Vera-Ellen, by himself, or teaming up with Merman for the legendary duet of "You're Just In Love" that stopped the show cold on-stage (he was fond of saying that one of the Merm's high notes bent his eardrum!).

So pop this one in, sit back and have a wonderful time watching several seasoned troupers doing what they did best - entertaining!

is an acquired taste. Apparently enough folks developed it enough to keep Ethel's shows running for a couple of decades.

One of the "Queens of Broadway" (with Mary Martin) Ethel Merman's brassy voice belted through many a record-breaking run, thrilling thousands.

What a rare treat to see her in a role she made her own! "Call Me Madam" is a dandy musical, rich with a great Irving Berlin score and lively performances.

Equally rare is the excellent singing performance of George Sanders. His beautiful baritone is heard in "It's an Old-fashioned Idea" and other lovely ballads. As he played Gen. Constantine, I couldn't help but wonder how his reported troubled private life might have gone had he done more light, musical fare.

Sanders' whole demeanor is different: he's warm, relaxed, sincere and fun-filled--what a departure from the cynical cads he was almost always engaged to portray! [N. B. History shows he was signed to star in a stage production of "South Pacific," and his recording of solo ballads, "The Sanders Touch: Songs to the Lovely Lady"--released five years after this film--has become one of the hottest collectors' items around.] All I can say is, his singing is gorgeous in "Call Me Madam."

If this Fox musical has the somewhat look and feel of an MGM production, there's Donald O'Conner and Vera-Ellen lending their aura from the latter studio. Director Walter Lang, an old-hand at Fox musicals and light comedies, keeps things on track, while Bob Alton's dances really hit-the-mark.

"Call Me Madam" is a most delightful diversion, and a lasting testament to the gifted Merman--the "hostest with the mostest."

Call Me Madam is an excellent film, that I don't think is as appreciated as much as it should be. One of the film's main merits is that it is beautifully designed, with stunning cinematography, and Ethel Merman's dresses especially were to die for. The only things that let it down that let it down were its length and that one or two scenes could have simplified. However, these are fully compensated by the marvellous Irving Berlin songs and the dazzling choreography, evident in Donald O'Connor and Vera Ellen's dance routines. Now for the performances-Ethel Merman lends her big brassy personality to the character of Mrs Adams and does a highly commendable job. Whether she gave the best performance of the film is up for debate, personally I think not, for Donald O'Connor is a sheer delight as her assistant, and Vera Ellen looked beautiful and danced a dream. Though special mention should go to George Sanders as Cosmo Costantine, who not only shone with his charm and charisma, but also his singing was absolutely beautiful. Overall, a very well done musical, where the performances, songs and choreography shine through considerably, and fully compensate for the film's minor flaws. 8/10 Bethany Cox