A musical tribute to vaudville as stated at the start of this musical/romance drama. Gene Kelly (his film debut) and Judy Garland (older now than when in Oz) team up on the vaudville circuit as a stage act.
The movie is not entirely vaudville and gets beyond that stage of their career into a tale of romance, until WWI breaks out that is and causes near irrovocable damage to the couple romantically and professionally.
Judy shows she can dance with the best of them and has great pipes (singing) as well. Kelly is irrepressable, wooing the critical Garland unsuccessfully until winning her over early in the film.
Lots of old song standard favorites in this one. A fine tribute to Vaudville and the dreams gained and shattered along the way. I found myself doing other things however when the stage acts started as I am not fond of musicals in general. Not a bad way at all to spend some time seeing actors that could do it all... sing, dance, act.
We can wait a long time, but the likes of these performers are only on film today.
1 Based on a story by Howard Emmett Rogers inspired by a true story about vaudeville actors Harry Palmer and Jo Hayden, when Palmer was drafted into World War I.
2 For Me and My Gal marked the first real "adult" role for the nineteen-year-old Judy Garland, who had played juvenile parts until then, many of them opposite Mickey Rooney.
3 The film received an Academy Award nomination for Best Score for Roger Edens (musical adaptation) and Georgie Stoll (musical direction). In addition, Gene Kelly received a "Best Actor" award from the National Board of Review for his performance.
4 The songs included in the film are performed as they might have been on the vaudeville stage.
"Oh, You Beautiful Doll", music by Nat D. Ayer, lyrics by A. Seymour Brown, additional lyrics by Roger Edens performed by George Murphy, Judy Garland and others
"For Me and My Gal", music and lyrics by George W. Meyer, Edgar Leslie and E. Ray Goetz, performed by Gene Kelly and Judy Garland
"When You Wore a Tulip and I Wore a Big Red Rose", music by Percy Wenrich, lyrics by Jack Mahoney, performed by Kelly and Garland
"After You've Gone", music by Turner Layton, lyrics by Henry Creamer, sung by Judy Garland.
"Ballin' the Jack", music by Chris Smith, lyrics by Jim Burris, sung and danced by Kelly and Garland.
The film also contains portions of a number of songs popular during World War I, including "By the Beautiful Sea", "There's a Long, Long Trail", "How Ya Gonna Keep 'Em Down on the Farm (After They've Seen Paree)", "Where Do We Go from Here, Boys", "It's a Long Way to Tipperary", "Goodbye Broadway, Hello France", "(There are) Smiles (That Make Us Happy)", "Oh Frenchy", "When Johnny Comes Marching Home Again" and "Pack Up Your Troubles in Your Old Kit-Bag, and Smile, Smile, Smile".
Two additional songs were intended to be included: "Spell of the Waltz", which was to be performed by Marta Eggerth and a male chorus and "Three Cheers for the Yanks", written by Ralph Blane and Hugh Martin.
Judy Garland as Jo Hayden
Gene Kelly as Harry Palmer
George Murphy as Jimmy K. Metcalf
Martha Eggerth as Eve Minard, singer
Ben Blue as Sid Simms, Jimmy's second banana
Stephen McNally as Mr. Waring, manager of the Palace Theatre
Richard Quine as Danny Hayden, Jo's brother (uncredited)
Keenan Wynn as Eddie Milton, theatrical agent (uncredited)
Lucille Norman as Lily Duncan (uncredited)
A young girl, Jenny, vows to have wealth when she grows up. Wow, what a novel thought! This gal comes off like Vivien Leigh from Gone With the Wind. She's full of tricks and full of mischief. She says to a girlfriend about her boyfriend's desire to wed her: "I wouldn't give him a chance to think".
The film has a lot going for it in a lot of ways. Its well made, well acted and pretty good story. This one is up for grabs as everyone will have their own opinion about it. I would say its worth watching if you like Scarlet O'Harra types in the lead roll (scheming, ambitious femmes).
[img]http://t0.gstatic.com/images?q=tbn:ANd9GcTiFbpzJ2Ts09a1WP3fuvai3cYkSeH-p5s4Sg8QkyS6x-hz7c8K[/img] Here she has her hooks into her friend's man!
See the film at:
Hedy Lamarr as Jenny Hager [img]http://t1.gstatic.com/images?q=tbn:ANd9GcR0m0_IBDYfBXNl05hCG_w08FZ1zyY_WzBgIuP-iK8tmq9XL-x-Zg[/img]
George Sanders as John Evered
Louis Hayward as Ephraim Poster
Gene Lockhart as Isaiah Poster
Hillary Brooke as Meg Saladine
Rhys Williams as Deacon Adams
June Storey as Lena Tempest
Moroni Olsen as Rev. Thatcher
Olive Blakeney as Mrs. Hollis
Kathleen Lockhart as Mrs. Partridge
Alan Napier as Judge Henry Saladine
Dennis Hoey as Tim Hager
Directed by Edgar G. Ulmer
Produced by Jack Chertok (producer)
Hedy Lamarr (executive producer)
Eugen Schüfftan (producer)
Hunt Stromberg (executive producer)
Written by Ben Ames Williams (novel)
Herb Meadow (screenplay)
Hunt Stromberg (writer)
Edgar G. Ulmer (writer)
REVEIWS of the film:
1 Beautiful and sociopathic Jenny Hager (Lamarr) vamps her way through early 19th century Bangor, spreading heartbreak, mayhem and murder.
2 Atmospheric and moody, with a good pace. Hedy Lamarr is well cast and the supporting cast is very good, especially George Sanders.
3 Beautiful Jenny Hager finds she can always get what she wants from the men in the 1820's port of Bangor, Maine. Freed by his death from her drunkard father she soon manoeuvres herself into a position to marry a middle-aged monied local businessman. Though she often uses his money to do good, she continues to consider all other men fair game.
4 Typical modest budget black and white film from director Edgar G. Ulmer. A tedious but interesting tale of a beautiful woman (Hedy Lamar) stalking man after man in the lumber country of Bangor, Maine circa 1820. Love 'em and leave 'em.
Cinematography Lucien N. Andriot
Editing by John M. Foley
Richard G. Wray
Distributed by United Artists
Release date(s) 25 October 1946
Sound Mix:Mono (Western Electric Recording)
Color:Black and White
A film noir about crime not paying, literally. This one should be shown to impressionable teens that one thing leads to another, and another and still another until all control is lost. A production of Rooney and Lorre who joined to finance the film. Fast paced, it's under and hour and a half long (ie 79 minutes).
Mickey Rooney is now a semi-mature adult fresh from all those innocent, naive Judy Garland / Rooney romance films of the musical era. Instead, he gets caught up in a life of crime, at first a working car mechanic who can't find anyone with $20 for a hot date. From there the whole plot snowballs into a frenzied crime to cover yet another crime.
Peter Lorre is an arcade owner/manager who figures into this web of corruption. Jeanne Cagney, sister of famous Jimmy Cagney, plays an oddly older woman than Rooney, but at least 10 years! Look for an uncredited appearance by now veteran Western actor Jack Elam!
Rooney fancies himself a ladies man and succeeds getting a date with the woman, only to find himself sinking into "Quicksand". Rooney goes against his clean cut roles as was even more done in Boys Town with Spencer Tracey. In that one he was a juvenile delinquent that only Father Tracey could reform.
For me though, a bit corney from the start, I can only think of a 70% rating, others give it a 60-80%. It's the usual fast talking dialog redone hundreds of times in the era. And Rooney could out talk anyone except maybe Jimmy Cagney, the all time fast talker, wise-cracker.
You can see this film in its entirety here:
NOTES about the film:
1 A young Jack Elam, later widely noted as a character actor in Westerns, appears in an uncredited speaking role.
2 This film has one of the first examples of product placement with a box of Bit-O-Honey candy bars by Jeanne Cagney's cash register.
3 Rooney co-financed Quicksand with Peter Lorre but their shares of the profits were reportedly left unpaid by a third partner.
4 Bruce Eder of Allmovie wrote Rooney "...gives what many consider to be the best performance of his career" and characterized Quicksand as "one of the more fascinating social documents of its era."
5 Fifty years after the film's first theatrical release DVD Savant noted, "the quasi-downbeat ending of Quicksand doesn't simply let him off the hook, [which] makes for an unusually mature ending."
Although Bing Crosby could lift any film he appeared in, not this one. A real disappointment unless you can overlook a superficial plot and lots of Swede sterotype joking around.
One of the songs and clip from the movie:
"If I Had My Way is a 1940 musical comedy film directed by David Butler and starring Bing Crosby and Gloria Jean. Based on a story by David Butler, the film is about a construction worker who takes charge of the daughter of a fellow worker killed in an accident. After bringing the girl to New York to find her uncle, who has spent his life savings on a failed restaurant, he tries to help the girl and her uncle make the restaurant a success."--wikipedia
A serious contender for waste of time. While some might call this a sweet melodrama, it wasn't anything but a disappointment for me. I never thought Bing could get stuck with a lemon, but in my opinion he did in this one.
An orphaned girl is helped by Bing to get to her relatives, but they don't want her. Bing manages to fool the rich relatives by using their greed to believe in worthless stock.
This one was tough to get through, too silly in many scenes although the beginning did have promise.
Bing Crosby as Buzz Blackwell
Gloria Jean as Patricia Johnson
Charles Winninger as Joe Johnson
El Brendel as Axel Swenson
Allyn Joslyn as Jarvis Johnson
Claire Dodd as Brenda Johnson
Moroni Olsen as Mr. Blair
Nana Bryant as Marian Johnson
Donald Woods as Fred Johnson
Kathryn Adams as Miss Corbett
Blanche Ring as Herself
Eddie Leonard as himself
A film about campus life in the U.S. (during the Vietnam War). While it's not mentioned as such, this IS a view into America during that time. Not a story, this is on the whole, a film about Getting Straight, or is it really about NOT being straight?
[img]http://s3.amazonaws.com/auteurs_production/images/film/getting-straight/w448/getting-straight.jpg?1300995060[/img] Oh famous then Elliot Gould, where are you now?
While not the best clip from the film, the general tone of the movie is sort of here:
[img]http://t1.gstatic.com/images?q=tbn:ANd9GcSoMsp5Fg_DvhEldBMQw3sXKB2PUf6_gb6E2Nw7E8ytzJDVw0gkXA[/img] A very young Harrison Ford answers the door here
Of course, these very WORDS are not meaningful today. The counter culture movement of the seventies developed an language of their own.
"Straight" THEN meant being lock step with society. Get a degree, get a job, get a wife, go to Boy Scout meetings and well...like that.
[img]http://t2.gstatic.com/images?q=tbn:ANd9GcROy4dDifoYN93LYykSN51XEmXR3h7bkB1uBYz2DFkaU4O82OgIng[/img] Elliot Gould and his best girlfriend Candice
You must learn the extreme dissatisfaction of many young Americans with their society back then to know what THIS film meant. Therefore, get a LIFE and read on.
I would not expect ANYONE from this generation of critics, pro or others to understand or begin to even try to understand the era of this film. It's NO suprise to me that it has the humilating rating shown on RT.
It only proves that the people that rated this filmed NEVER lived the era and could never comprehend it. There, I have spoken my peace about...... Getting Straight (1970).