Can't Help Singing

"CAN'T HELP SINGING" - I first saw this charming colour film on television and treasured the tape recording for many years.

My late mother liked Deanna and had a "Deanna Durbin" Hat and told me that she once visited Paris in the late 30's and misplaced this cherished hat and was asking everyone if they'd seen "mon chapeau" - she retrieved it! The hat is remembered from "100 Men and A Girl" with the theatre caretaker watching the moving feather as Deanna was hiding behind the theatre seats.

The songs from "Can't Help Singing" are memorable and they are repeated nicely in the colourful dress-changing finale of the film. I believe "continuity" was a bit apprehensive, but Deanna said "no one will notice"! I love the public bath-house scene and note the slightly cross look Deanna throws her co-star's way when he insists on joining in the song at one point - as if she wants to keep the song's delivery entirely to herself! It is a great scene along with the bonus confusion at the end of it, when Robert Page eagerly awaits the unknown singer.

"More and More" is performed beautifully with Deanna serenading her travelling companion. I like the the bells at the end of "Any Moment Now" at which Deanna reacts. "Californ-i-ay" is another highlight. A super happy film with quite a bit of hilarity at the end.

Thanks Deanna!

Alan Jay Lerner came to France to play her his unfinished score of My Fair Lady, hoping she'd come out of retirement to play Eliza on Broadway; she turned down Kiss Me, Kate and other properties; she would have been wonderful in Showboat...as Anna in the King and I...but all Deanna Durbin wanted was to be a nobody and raise her children out of the spotlight.

At least her youth, voice and acting ability have been preserved, and in "Can't Help Singing," she's preserved in color.

Durbin plays Caroline, a young woman who runs away from home to join the man she loves (David Bruce) in Ft. Badger. Joining a wagon train, she meets and falls for Lawlor (Robert Paige), a gambler. Meanwhile, her father (Ray Collins) is after her, and two con artists posing as Russians (Leonid Kinskey and Akim Tamiroff) keep appropriating her trunk.

If the plot is silly and the Jerome Kern score is nice but not exceptional. However, the score is beautifully sung by Durbin and Robert Paige amidst glorious Utah scenery. Durbin's rich voice never sounded better, and she looks stunning.

I keep reading on this site that Deanna didn't like her last films, but this wasn't one of them. In the only interview she's given since her retirement in 1948, to Richard Shipman in 1983, she said her four last films were awful and Universal wasn't trying very hard with the scripts assigned to her.

This was always the problem with Universal; though she saved the studio from bankruptcy, Universal didn't seek out the best properties for her, and they never seemed to want to spend a lot of money.

For "Can't Help Singing," though, no expense was spared, and it shows.

Forget the plot -- this is a feast for the eye and ear. Sixty-four years after her retirement (she turns 91 in December 2012) Deanna Durbin is still delighting audiences with her singing and acting.

Toward the end of her career at Universal, they finally splurged on technicolor and fancy scenery for an enjoyable, tuneful,colorful western-comedy-romance, 'Can't Help Singing' featuring a musical score by Jerome Kern. Deanna's father (Ray Collins) wants her to forget the Army officer she loves (David Bruce) and sends him off to California during the Gold Rush days. Deanna decides to go west to find him--but en route falls in love with a handsome cowboy (Robert Paige). Against some stunning technicolor scenery, much of the music is given the full treatment by Durbin at her best--her voice was richer than ever. She does a standout job on 'Can't Help Singing', 'More and More', and 'Cali-for-ni-ay' and even duets with Robert Paige for a reprise of the title song (both in outdoor bathing tubs up to their necks in soap bubbles). Some of the comedy routines seem a bit strained and weak--but overall it's a wonderful showcase for Deanna Durbin and her fans certainly should appreciate the chance to see her at her radiant best. AMC shows it in a beautifully restored technicolor print.

Deanna Durbin's one Technicolor movie gives her a decent showcase, and adds a Jerome Kern score plus plenty of good settings and scenery, to make for enjoyable light entertainment and pleasant viewing. Its pluses include Durbin's singing and the colorful outdoors photography.

The period setting makes it different from the stories in most of Durbin's other movies, but fortunately her character (an independent-minded Senator's daughter) is similar enough to many of her other roles, in giving her a lively character with a variety of material to work with. (It wasn't really necessary, though, to make her hair so much lighter - her dark hair would have looked great in color.) The settings range from 1840s Washington DC to the unsettled expanses of the Old West. In itself, the period atmosphere works pretty well, and it also throws in one or two ironic details along the way.

As Durbin's co-star, Robert Paige is a bit bland as a character, but his singing is up to par. Akim Tamiroff has a good role as one of the scamps heading west with Durbin's character. In smaller roles, Ray Collins and Thomas Gomez give good performances. The combination of Durbin's voice, energy, and charm with the period story and settings works rather well.

You don't need to be a Deanna Durbin fan to find this film delightful. It should appeal to anyone who enjoys traditional musicals like "Oklahoma" and "Showboat".

Can't Help Singing is filled with humor and wit, played with a wink to the audience and genuine gusto--not dated in the least. Akim Tamaroff is especially funny; you can clearly see how he was the model for "Boris Badinov" in the "Bullwinkle" cartoons.

The songs are first rate; Kearn's melodies are beautiful and Harburg's lyric to "Californiay" is full of wit, creativity, and surprises; his other lyrics are well done, but nothing special.

Another layer of delight and interest to someone who knows about the history of movie musicals, like myself, is how far ahead of it's time this film is. The large majority of it is filled outdoors, a lot of it on location. This is unique and innovative in an era when virtually all musicals were filmed inside sound stages with some use of the studio back lot. One of the musical numbers features Durbin in outdoor locations which vary from shot to shot, while she continues to sing seamlessly. This is something that became common a decade or more later, but certainly pioneering in 1944.

Durbin and Paige are both fine singers, most likable, adept at playing the light humor their roles call for. This is a film that should be much better known and appreciated.