Greenwich Village

If you are looking for some light entertainment with a few pleasant musical numbers, this is the film for you. The story is silly, but Don Ameche is good in his role as the would-be composer. Unfortunately, the ending is abrupt and unbelievable.

Anyone looking for the Greenwich Village of bygone days will be sadly disillusioned by this film. The area known for all time for its Bohemian atmosphere and now for its outrageously overpriced just about everything will not be found here. Club owner William Bendix isn't even fond of bootleg whiskey in his joint as he's continually throwing out bootlegger Tom Dugan from his place. Of all the places in New York State during the Twenties where Governor Alfred E. Smith stated publicly he would not enforce prohibition, Greenwich Village was the area that flouted the Volstead Act the most with impunity and flare.

The score for Greenwich Village is made up mostly of old standards and the film was an opportunity for Darryl Zanuck to launch a new musical star in the tradition of Alice Faye and Betty Grable. Vivian Blaine was 'introduced' in Greenwich Village and in film she never quite got the success the other two ladies did. She did best on Broadway, most unforgettably as Adelaide in Guys And Dolls. The new songs were nothing to remember.

Young Don Ameche arrives in Manhattan from Wichita, Kansas where he was a professor of music there and he's written a concerto. No big market for concertos, but there's a passage in the concerto that sounds promising to William Bendix. It turns out to be the big hit song from the beginning of the Roaring Twenties, Whispering. Bendix has big ideas wanting to put on a big revue and if he can't get Ameche's bankroll which he's carrying, he'd sure like a loan on his talent.

It's all an excuse to put on a lot of numbers, but Greenwich Village seems to lack the creative flair of 20th Century Fox's earlier films with Betty Grable and Alice Faye. William Bendix, borrowed from Paramount where he mostly played good natured mugs, just does not strike one as a would be Ziegfeld. Carmen Miranda is just Carmen Miranda and she's the best thing about Greenwich Village.

Just not the best musical Fox ever put out.

Greenwich Village of 1922. The living is easy and the speak-easies are in abundance.

A music instructor, Don Ameche, comes to town to get his concerto played and in the process meets up with Bill Bendix, Carmen Miranda and Vivian Blaine. Bendix is a small time hood with a funny heart who runs a joint. He likes Ameche's music and thinks that he can use it in a show that he is planning. Comically, Bendix thinks that he is in competition with Florenz Ziegfeld.

This movie makes for very light musical fanfare. The songs are great, especially Blaine belting out whispering and Bendix is a riot in a Roman toga dancing and singing around. Miranda, a musical dancing genius, is at the top of her game as well and Blaine sings Whispering with that soft voice.

The film is quite entertaining and a joy to watch.

The film, not surprisingly, is set in Greenwich Village, New York (actually a sound stage at Twentieth Century-Fox) and begins with an eager young composer, Kenneth (Don Ameche), arriving in town--hoping to make it big. Soon, he meets up with Dan (William Bendix) and his friends at Danny's Den--the strangest speakeasy in Hollywood history. At this 'joint', Carmen Miranda and Vivian Blaine perform. After hearing some of Kenneth's music, Danny decides to put on a show to showcase his sweetie. The problem is that this sweetie (Blaine) might just be in love with Kenneth AND some sharpie (Felix Bressart) is interested in having the music performed instead by a big-name director instead of on some stage show in the Village. What's next? See the film....or not.

I am glad I watched this film when I did, as I had just finished watching a GREAT MGM musical, "Anchors Away". Although both films were in color, there weren't too many other similarities. "Anchors Away" had great music, singing, plot--everything. And, by comparison, "Greenwich Village" just looked tired and second-rate...which, is what it was. As for Carmen Miranda, she seemed unnecessary to the film and a bit lost. Additionally, fair tunes and the studio's lesser singers (Alice Faye was out on maternity leave), the film never really hit the mark and is a few steps below the average Fox musical of the period. And, when it was over, I couldn't remember much of anything about it. Adequate and no more.

By the way, I was VERY surprised to see Ernest 'Sunshine Sammy' Morrison in the film dancing and singing a musical number with a number of other black entertainers. While I was VERY familiar with him as a member of Our Gang (since its beginning) and the East Side Kids, I had no idea he was so talented in other ways.

Here is a confection designed to be a showcase for the adorable Carmen Miranda. It is her first starring role and she is given a lavish showcase in which to weave her magic. Vivian Blane, a gorgeous redhead, is given ample opportunity to show off her singing talents. In all, this is a typical example of the Fox musical of the forties. As far as the color goes, no one did it better than Fox. The vivid Technicolor fairly jumps off the screen, and the print on my DVD is extremely well preserved. WW2 saw a whole series of vividly Technicolored Fox films which were designed to take one's mind off the troubles at hand. As escapism, they were light, fluffy confections with good cheer and lovely visuals taking the place of great dramatic weight. Fox Technicolor at this time could be called super-saturated. Very bright and with set and costume design done to take full advantage of the pallete. Most of these Fox musicals have been amazingly preserved, given their age, and all have a nostalgic entertainment value. They really don't make 'em like this anymore.