Cover Girl

Cover Girl's importance lies not in its originality as a book (it's a standard backstage Cinderella story), as much as it does in what happened to each of its stars. Gene Kelly was "loaned out" to do it when MGM boss L.B. Mayer didn't have much use for him at his own studio. His performance in this film, coupled with the ground-breaking 'Alter Ego' dance solo (duo?) was so successful that it made MGM take him seriously at last (he was never loaned out again) and allowed him to flourish with the soon-to-come hits of "Anchors Aweigh," "On The Town," and "An American In Paris." Likewise for Rita Hayworth; Columbia had been grooming her for years, but she had done mostly B-level films. CG showed her off as a lead in glorious Technicolor, and paved the way for GILDA, her signature (and much more adult) role. Here she and Kelly make a sweet couple, and dance well in "Put Me To The Test" and the fresh, energetic "Make Way For Tomorrow." They are at their most poignant in "Long Ago And Far Away," but the number (played on piano by Phil Silvers and sung as they both stack up nightclub chairs) seems to beg for a dance number, then doesn't have one. Another good number is the title tune, which pays tribute to the famous American magazines/cover girl models of the day. Hayworth appears as the last model, running down a curved runway in a gold dress with her flaming mane flying behind her. A dream in Technicolor!!

It took a loan out film to Columbia for Gene Kelly's home studio MGM to realize his creative talent and give him some control over what he did in his own films. Cover Girl also became Rita Hayworth's signature film for the GIs and their pinup fantasies during World War II.

Kelly plays the owner of a small nightclub in Brooklyn where Rita is a featured dancer and Phil Silvers the comic. Of course Kelly does a bit of hoofing himself there.

Hayworth comes to the attention of millionaire Otto Kruger when it turns out that Kruger had loved and lost Hayworth's grandmother. In some flashback sequences from the gaslight era, Hayworth also plays her own grandmother with Jess Barker playing the young Kruger. You might remember Jess Barker was the husband of that other legendary screen redhead, Susan Hayward.

Broadway producer Lee Bowman also is attracted to Hayward, but he's not interested in nostalgia. He wants her for his Ziegfeld Follies revue and in fact the biggest number of Cover Girl is the title song of the film. It's nicely done in Follies style.

Hayworth also gets to sing A Sure Thing in a gaslight era number and in the only song in the show not written by Jerome Kern and Ira Gershwin, Hayworth also does an old English music hall number Poor John. When I say sing, as everyone knows Rita mouths words. Singing here is done by Nan Wynn.

The biggest hit of the show is Long Ago and Far Away which is introduced by Gene Kelly. It was one of the biggest hits of the World War II era and one of the biggest sellers Jerome Kern ever wrote. It happens in fact to be a favorite of an aunt of mine who with my uncle will be celebrating 60 years of marriage this September. Long Ago and Far Away was nominated for Best Song, but lost to Swinging on a Star.

What really sets Cover Girl apart and what makes it a milestone film for Gene Kelly is the two numbers Put Me to the Test and the Alter Ego number. Harry Cohn decided to do what Louis B. Mayer had refused at MGM, to give Kelly creative control of his own material. Kelly later said the alter ego number was one of the hardest things he ever attempted in his career. In it he dances with a pale reflection of himself and the choreography is dazzling and intricate.

In fact after one more loan out film, Christmas Holiday at Universal, Louis B. Mayer never loaned out Gene Kelly for the rest of the time he was at MGM. And he did get creative control from then on.

With that dazzling technicolor cinematography and Rita's red hair and Gene Kelly's boundless creativity, Cover Girl was and is a classic and will forever be so.

Rusty's a popular singer-dancer for small-timer Mcguire's club, but gets her head turned by fancy impresario Wheaton who wants her to leave her friends and take her talents to his swanky uptown stage show.

Talk about eye candy. There's enough glamour here to send guys into a sugar overload. I hope they didn't show this WWII production overseas, otherwise a million GI's would be swimming home. I've seen a sexier Hayworth, but never a more sparkling one. She's obviously enjoying herself, and why not, she's got Kelly as a partner and a goofy Silvers to keep her in stitches. And get a load of the hats the gals wear. Some look like they're getting messages from Mars.

Okay, except for "Long Ago and Far Away", the tunes are pretty forgettable, while that set-up in the trooper cattle car should have been seriously re-thought. Still, I thought that dancing threesome down the city street was utterly charming, and reminded me of Kelly's signature number in Singin' in the Rain (1952). Then too, actor Bowman (Wheaton) makes a perfect Manhattan lounge lizard.

For younger folks, there were a lot of references to Brooklyn during the war. That's because the New York borough came to symbolize the common man and the American melting pot-- in short, the kind of national unity that winning the war would need. So, naturally, good guy McGuire (Kelly) has his stage show there, while slickster Wheaton has his in more snobbish uptown Manhattan. So Rusty (Hayworth) has to learn it's more fun to crack oysters in a Brooklyn bar than sip martinis in an swanky lounge.

Anyhow, it's hard to think of a brighter, more colorful production than this line-up of Hollywood glamour that keeps "comin' at yuh", one pretty face after another.

For a non-MGM musical from the 1940s, this is quite a memorable and enjoyable film. Rita Hayworth, at the peak of her career, is stunning, a vision of loveliness and in full Technicolor, no less! Gene Kelly, in one of his earliest films, is a good match for her, although his character is really something of a jerk. Phil Silvers provides good comic relief, without being too obnoxious, but Eve Arden, with her dry one-liners, is an even bigger hoot.

The music score is quite good for the most part...with only one sour note ("Poor John"). The haunting "Long Ago and Far Away" is beautiful, "Put Me to the Test" is a good number for the two leads, and "Make Way for Tomorrow" is a lively, fun number. Of course, credit must be given to Gene Kelly for his fantastic "alter-ego" dance sequence, which is without a doubt, the highlight of the film.

Definitely worth seeking out for fans of Gene or Rita...this is one of the great 40s musicals. Top stars, sumptuous color, and a pleasing score. Terrific!

Two of these things are to be expected, the third is a complete surprise (that would be Phil Silvers dancing).

This is a delightful, if longer than it needs to be musical. A sub-plot with flashbacks and probably the worst Jerome Kern number ever written (Poor John), do not contribute enough to make them worthwhile. It's as if they wrote the movie, realized they didn't have enough material to produce a full-length picture, and added these other scenes to "fill it out". They don't work.

It's funny to see a 1940's musical with Gene Kelly (on loan from M-G-M)clearly taking a backseat to his leading lady. His second act number where he dances with himself is one highlight of the film. Other strong points are "Make Way For Tomorrow" and the lovely, "Long Ago And Far Away" (although I thought it odd that the latter number did not have a dance sequence attached to it). "Put Me To The Test", a number where Rita and Gene get to dance together, is a very good number, but the title song does nothing for me, although it is staged wonderfully.

Rita Hayworth is absolutely breath-taking. Her dancing is excellent, and this is clearly a role that suits her. Some of her hair pieces, however are awful. In a few scenes, the color of them do not match the color of her natural hair. Very distracting.

Phil Silvers is wonderful as Genius, Gene and Rita's friend and co-worker. Seeing him dance, especially as well as he did, was a wonderful surprise.

The major problem I had with this movie was that I never believed the relationship between the three leads. I didn't believe that Kelly and Hayworth were in love, or that Kelly and Silvers were real friends. Can't quite put my finger on it, but I didn't buy it.

Excellent supporting work by Eve Arden, Otto Kruger, Edward Brophy and Leslie Brooks.

6 out of 10