The First Annual Valentine’s Day “Meet-Cute” Blogathon- “That Funny Feeling” (1965)

One of my favorite eras of film is the early to mid-1960s.  The Production Code was on  its way out and filmmakers were allowed to get away with racier content than they would have, had the film been made ten years prior.  However, films made between 1960-1968ish were not yet allowed to go whole-hog and usually did not feature expletives or nudity.  The early to mid 1960s seemed to be the era of the lighthearted, goofy comedy.  Many of these films aren’t smart comedy, but they’re fun.  And at the end of the day, after a rough day in the warehouse (maybe that’s just me), a fluffy, fun comedy is all you need–it isn’t in you at that moment to watch Marlon Brando give the performance of his life in On the Waterfront.

 One of my favorite stars of the 1950s and 1960s is Sandra Dee.  Sure, she’s no Bette Davis or Katharine Hepburn, but not everyone needs to be either.  She’s fun, charismatic, and a natural comedienne.  One of my favorite qualities about Dee are her eyes.  No matter the circumstance, whether she’s fawning over Moondoggie in Gidget or trying to train Bobby Darin using a dog training manual (If a Man Answers), she’s always got an underlying vulnerability.  One of my favorite Sandra Dee films is That Funny Feeling, co-starring real life husband, Bobby Darin.  I love Bobby Darin’s singing.  Sandra Dee + Bobby Darin = winning movie in my book.

That Funny Feeling tells the story of Joan Howell (Sandra Dee), an aspiring actress who works as a maid to make ends meet.  She is not a live-in maid, but rather she visits her clients while they’re out and cleans their homes.  One of her clients is Tom Milford (Bobby Darin), a wealthy, playboy businessman.  Tom leaves a note for Joan on his door stating that he will be in California for two weeks.  His trip falls through, but Joan is unaware of the change in plans.  Joan and Tom’s “meet-cute” moment occurs three times in the beginning of the film.  The first time, Joan is bent down fixing a run in her stocking and Tom trips over her cleaning equipment (encased in a small round suitcase) and consequently over her as well.  The second time, Joan is stopped at the same newsstand and Tom again trips over her suitcase and onto her.  The third and final time, Joan and Tom’s respective cabs hit each other.  They decide that this must be fate trying to tell them to meet and get together so they opt to have drinks together at a neighborhood bar.  What Joan doesn’t know is that Tom is one of her clients whose apartment she cleans.  Tom doesn’t know that Joan is his maid.

Bobby Darin puts the moves on Sandra Dee in “That Funny Feeling.”

After they finish their drinks, Tom insists on bringing Joan home.  Joan is embarrassed by the small, derelict hovel that she shares with her roommate, Audrey.  The girls live in a tiny apartment, complete with beds that they have to shift out of the way to get into the bathroom, the neighbor’s alarm clock that they use for their own, an elaborate routine of moving stuff out of the way just to open the front door, and having to share their water pressure with the neighbor and his shower.  They also have insect and noise issues.  To keep Tom from seeing her real apartment, she has him take her to his apartment that she’s pretending is hers.

Sandra Dee and Nita Talbot sleep in their tiny apartment in “That Funny Feeling.”

Amused (and confused) at the scheme that Joan is pulling over on him, Tom decides to play along.  Tom enlists his boss Harvey (Donald O’Connor) to allow him to use his swingin’ bachelor pad to masquerade as his apartment.  In exchange, Tom promises Harvey that he’ll help him hide his expensive art collection from his estranged wife who is looking to take all of his assets in their divorce settlement.

As Joan’s scheme continues, her deception gets more and more elaborate.  She and her roommate, not wanting to return to their crummy apartment, and thinking that the owner will be out of town for two weeks, essentially move in.  They even go as far as to bring all their clothes with them and re-decorate Tom’s apartment to feminize it.  Joan takes to pawning Tom’s clothing to get money for the decor.  When Tom picks Joan up for their date, he is shocked to see what has become of his home.

Of course, like how all these movies featuring deception go, Joan and Tom eventually find out each other’s true identities.  Misunderstandings ensue and some hilarious scene will take place.  In this instance, Joan ends up inviting all of Tom’s ex-flames to the same party, under the guise that it’s a costume party, where the theme is essentially Parisian courtesans.  All the ladies come dressed as streetwalkers.  The party is eventually raided and everyone in the movie is picked up as part of a suspected prostitution ring. And as all these movies go, they will eventually work everything out and live happily ever after.

The ladies dressed as their “favorite women from the boulevard” arrive at Tom Milford’s party in “That Funny Feeling.”

I really enjoy this film.  Sandra Dee, more confident and grown-up than her 17-year old self in Gidget is adorable.  Bobby Darin has such swagger and I love his voice.  Like Frank, Dean and Sammy, he’s just so cool.  He sings the title song over imagery of the universe.  The opening doesn’t really make any sense, but it’s fun in a retro way.  I love Nita Talbot, who plays roommate Audrey is funny as Dee’s sarcastic, get a grip friend–who inevitably follows along with the scheme.  She is the Ethel to Dee’s Lucy.  I love Donald O’Connor, so his appearance in any film is always welcome.  Too bad he wasn’t able to perform a tap dance number or something.  He could dance while Darin sings.

That Funny Feeling, not groundbreaking cinema by any means, is a fun diversion.  It serves as a portal into life in 1965 and features a great cast of performers.  There is a funny scene where Talbot ruins Dee’s Duck a l’Orange by pouring tons of Cointreau on it and lighting it on fire while lighting a cigarette.  Dee and Darin are adorable together.  This film would be a great one to watch with your Valentine, or in my case, a parrot*.

Nita Talbot and Sandra Dee ruin Duck a’l Orange in “That Funny Feeling.”

*-My Valentine is a chef and consequently is spending Valentine’s Day cooking for other Valentines.

 

Favorite Performers: Gene Kelly

Even with the scar, Gene is pretty cute!

Today marks the 22nd anniversary of Gene Kelly’s passing at the age of 83.  I remember hearing of his death in the sixth grade and feeling so sad.  I was a few months shy of twelve at the time.  I had just discovered Nick at Nite the year prior and had just discovered Gene Kelly by way of his appearance with Lucille Ball in DuBarry Was a Lady (1943). While ‘DuBarry’ wasn’t his best film, I liked Gene.  He just had that je ne sois quoi about him.  After seeing him with Lucy, I was hooked.  I religiously checked the TCM listings (then in its infancy) for Gene’s movies and tried to set the VCR to record them.  With each recording, I’d cross my fingers hoping that I’d set up the recording correctly and that the tape wouldn’t run out before my recording was complete.  Between TCM and the ever reliable Hollywood Video, I managed to see a few of Gene’s films.  When I heard that he had died, I remember watching Singin’ in the Rain (1952) and The Pirate (1948) with my friend who also loved him.

While I love Fred Astaire, I would never compare him with Gene.  Honestly, they’re like apples and oranges.  Sure, they’re both dancers and both men, but that’s pretty much where the similarities end.  In the end though, I think I have to give Gene the edge–if only because I love the fabulous elaborate dance numbers he put together in his films.  Astaire, to his credit, did do some pretty fantastic numbers in his post-Ginger Rogers films.  However, Astaire never put together such productions like the ballet in An American in Paris (1951) and the “Broadway Melody” number in Singin’ in the Rain–two of my favorite numbers of any musical ever made.   Gene was a pioneer and an innovator not only in musicals but in the world of film itself.

Fred Astaire and Gene Kelly in “Ziegfeld Follies (1945)”  Two fantastic, yet very different dancers.

Gene was born in Pittsburgh in 1912.  As a child, he was reluctantly enrolled in dance classes with his brothers.  Gene dreamed of playing shortstop for the Pittsburgh Pirates baseball team–not being a world renowned movie star, dancer, choreographer and director.  At some point, Gene had a change of heart and gave up on his dream of being a professional baseball player.  Lucky for us, he decided to dedicate himself to dancing. By the early 1930s, Gene was a teacher at his own dancing school. By the late 1930s, Gene had established a very successful dance studio and decided to move to New York City to find work as a choreographer.  He didn’t find much success during his first stint in New York.  By 1940, he was back in his hometown starring in and choreographing local theater productions.  It was in one of these productions where he was discovered and given a larger part.  That part led to an even larger part in a bigger production and so on.

By 1940, Gene was back in New York appearing on Broadway in Pal Joey–a play which was later made into a 1957 film starring Frank Sinatra, Rita Hayworth and Kim Novak. During Gene’s appearance in Pal Joey, he was approached by Hollywood mogul David O.Selznick for a Hollywood contract.  By the time Gene made his film debut in 1942 in For Me and My Gal with Judy Garland, Selznick had sold Gene’s contract to MGM.  During the next couple of years, Gene appeared in a few dramatic films and even appeared in a musical with Lucille Ball who had recently signed with MGM after a long stint at RKO as “The Queen of the Bs.”

Gene Kelly, Lucille Ball, Red Skelton, Virginia O’Brien, Tommy Dorsey, Rags Ragland and Zero Mostrel in “DuBarry Was a Lady.”

Gene’s big big break was when he was loaned to Columbia to appear with Rita Hayworth in Cover Girl (1944).  It was this film where he finally started to show glimpses of what he would achieve later.  One of the best dance numbers in this film is when Gene dances with his own reflection.  For the next decade or so, Gene appeared in a remarkable series of films that gradually built upon one another and showcased the innovative film and storytelling techniques and dance routines that Gene would become known for.  Gene was lucky to come around at just the right time–the Golden Era of the Hollywood musical from the mid-1940s through the mid to late 1950s.

By the late 1950s, the public’s tastes had changed and intense dramas and issue driven films were more popular.  The musicals of the 1960s and beyond definitely have a different feel about them and feel gritty and grim–which is a definite contrast to the glamorous and sparkly looks of their predecessors.  By this point in his career, Gene had mostly retired from dancing and turned into a director.  One his biggest films was 1969’s Hello, Dolly! which was nominated for seven Academy Awards, winning three. In 1980, Gene returned to the big screen in the musical Xanadu.

Gene Kelly and Olivia Newton-John in that cinematic classic, “Xanadu.”

Despite its reputation as one of those “so bad, its good” movies, I love Xanadu.  It has everything you’d want in a film: Gene Kelly, Gene Kelly roller skating, Gene Kelly playing the clarinet, Olivia Newton-John singing catchy 80s pop songs, a big roller skating dance number, flashbacks, Greek Gods, magic, neon… This film has everything.  When asked about why he made this film, Gene stated that the film had a great concept, it just didn’t quite turn out.  I think it turned out great.  This is truly one of the gems from 1980.  After Xanadu, Gene was pretty much retired and spent the remainder of his life making the award show circuits (picking up a Cecil B. DeMille award in 1981, Kennedy Center Honors in 1982, AFI Lifetime Achievement Award in 1985, and a Lifetime Achievement Award from the Screen Actors Guild in 1989, just to name a few of the honors he received).  By the late 1980s-early 1990s, Gene’s health steadily declined until his passing in 1996.

My favorite Gene Kelly movies:

Words and Music (1948),”Slaughter on Tenth Avenue.” Gene and Vera-Ellen only appeared in a segment of this musical biopic starring Mickey Rooney and Tom Drake, however, they are definitely the highlight.  “Slaughter on Tenth Avenue” is definitely a sexy number, a trait that is unusual in the goody two shoes MGM movies of the 1940s.  Vera-Ellen’s character is killed and she dies on the staircase, on her back, right in front of the camera.  All we see of Vera-Ellen’s character is her chest and legs.  This number also has great music that I really like.

Gene Kelly and Vera-Ellen in “Slaughter on Tenth Avenue” in “Words and Music.”

On the Town (1949). This film is the final film that Gene made with Frank Sinatra and I feel that it is their best.  I like Anchors Aweigh but cannot stand Kathryn Grayson, so that film pales a little bit in comparison with ‘Town.’  I thought Gene had a great rapport with not only Frank but love interest Vera-Ellen.  My favorite number in this film is actually the “Prehistoric Man” number that mainly features Ann Miller, but Gene provides some amusing backup.  However, for Gene’s best number in this film, that honor would have to go to “A Day in New York” where all his co-stars, save for Vera-Ellen (who had ballet training, which non of the actor cast members had).  Vera-Ellen and Gene make a great duo–which is interesting because I don’t typically think of Gene as being part of a dancing team.

An American in Paris.  This film is widely considered Gene’s masterpiece and won the 1951 Oscar for Best Picture over the likes of A Streetcar Named Desire and A Place in the Sun.  While I like ‘Desire,’ and ‘Sun,’ give me ‘Paris,’ any day.  This film is so much fun and such a delight to both the eyes and ears that it makes an enjoyable experience each time I see it.  The best number in this film is of course the seventeen minute ballet at the end of the film.  This was a huge gamble for Kelly, director Vincente Minnelli and producer Arthur Freed.  Not only was the ballet expensive to produce, but it was unknown whether the audience would respond to it.  Well the audience did and the film was a huge hit, winning six Oscars, including the aforementioned “Best Picture” Oscar.  Gene was also given an Honorary Oscar for his versatility and achievement in choreography on film. My favorite part of the entire ballet is the Toulouse Lautrec part.  Could anyone else but Gene Kelly wear a flesh colored leotard?

Gene Kelly’s flesh colored leotard in the Toulouse Lautrec part of the ballet in “An American in Paris.”  I’m not going to lie, this gif was the whole reason for this post.

Singin’ in the Rain.  This is probably Gene’s best known film and honestly, it is probably the best musical ever made.  I love this movie.  From the amazing cast (Gene, Donald O’Connor, Debbie Reynolds, Jean Hagen) to the great music, fun storyline, great costumes, everything.  This film is almost perfect.  The only thing marring this fabulous film, in my opinion, is the fact that Debbie Reynolds’ character has three different singing voices.  O’Connor is hilarious and has his amazing “Make ‘Em Laugh” dance routine.  Has there ever been a dance that looked so physically exhausting? Jean Hagen is hilarious as Lina Lamont, Gene’s delusional co-star and Hollywood-manufactured love interest.  Lina has a horrendous voice that is fine in silent film (because obviously you can’t hear her), but in a talkie… ugh.  And Debbie is just adorable as Gene’s love interest and the studio’s new discovery, threatening to supplant Lina’s status as top female star at the studio.  Pretty much every number in this film is fantastic, but my favorite would be the “Broadway Melody” number toward the end of the film.  It is colorful, has great dancing, a storyline, and fun music.  My favorite part of it is the part where Gene dances with Cyd Charisse, who is wearing a fringed and beaded green flapper dress.  The music is fantastic and Gene and Cyd just sizzle on screen.  This is one of the sexier musical numbers during the production code era.  The best part is when Gene lifts Cyd up with just one arm.

The most famous moment in Gene Kelly’s entire career, singing (and dancing) the title song from “Singin in the Rain”

Other favorite Gene Kelly films:

–Summer Stock (1950). “Get Happy” is probably one of the best numbers in Judy Garland’s career.  On the flipside, “Heavenly Music” is probably one of the absolute worst numbers in Gene’s career.  I loathe that number.  The only good part is when the dogs run out on stage.

–The Pirate.  This film failed at the box office in 1948, but it’s a great film.  Perhaps it was ahead of its time.  Gene has all kinds of great athletic numbers, including one where he dons shorty shorts and dances with fire.  Judy is great and looks gorgeous and there is a fantastic number at the end where Gene dances with the amazing Nicholas Brothers.  They sing “Be a Clown” which suspiciously sounds like “Make ‘Em Laugh” from Singin’ in the Rain.  Cole Porter’s “Be a Clown” came before Nacio Herb Brown and Arthur Freed’s “Make ‘Em Laugh.”  However, both The Pirate and Singin’ in the Rain were produced by Arthur Freed. Hmm…

-Les Girls (1957).  Gene dances with Mitzi Gaynor in a fantastic number called “Why Am I So Gone (About That Gal?).”  Mitzi looks great and she and Gene have a great dancing chemistry.

Gene Kelly and Shirley MacLaine spoofing the big 1940s musicals in “What a Way to Go!”

–What a Way to Go! (1964) This film stars Shirley MacLaine as an inadvertent black widow who just wants to live a simple life, free of material possessions.  The present day part of the film features her telling the story of how she met and married each of her husbands and how money led her husband to his eventual death–the kicker being that it was Shirley who in trying to help her husband’s psyche, ends up leading him to riches.  With each death, Shirley inherited her husband’s fortune.  She’s worth millions upon millions of dollars and just wants to give it all away.  She’s sent to a psychologist (Robert Cummings) because who wouldn’t want all that money? In this film, Gene plays Shirley’s fourth husband, Pinky Benson.

When Shirley meets Gene, he is working as a two-bit clown in a small club. His act is lame and nobody in the club pays attention to him.  She feels sorry for Gene because he’s a very nice man and she senses that underneath the clown getup, he does have some talent.  One night, Gene is running late and doesn’t have time to put on the clown costume.  She convinces him to go out without the costume and just perform his act.  Well, Gene’s simple soft-shoe routine is a sensation and soon he’s off to Hollywood.  We are then treated to a send up of the big flashy MGM musicals as Shirley describes her life with Gene to the psychologist (each of her stories about her different husbands is a spoof of a different genre of film).  Shirley is up to the task of dancing with Gene and they do a really great and funny number together.  Gene’s character eventually becomes a huge, egotistical star who lives in an all-pink mansion (his character’s name is “Pinky” after all), and by all-pink, I mean ALL-PINK.  He eventually meets his fate when he is crushed to death by a stampede of adoring fans.

 

 

“Rain” Blogathon–“Singin’ in the Rain” (1952)

 

Rain in movies is often used to evoke feelings of depression, despair, unhappiness, etc.  Film noir often uses rain to set the mood of the film.  In Key Largo (1948), the constant rain storm keeps the action contained onto the ship and gives the film a claustrophobic feeling.  While, noir and other more serious types of films tend to use rain as a way to make the scene dreary, scary, what not, other genres of film use rain for other purposes.  Romantic films like The Notebook (2004) and Breakfast at Tiffany’s (1961) use rain to create romantic kissing scenes.  Often times, in romantic films, the characters will be somewhat on the outs, only to realize their love for one another during a horrific rainstorm.  Their romantic feelings for one another will culminate with a passionate clinch and kiss in the pouring down rainstorm.  Other films, such as Pleasantville (1998) and Beauty and the Beast (1992) may use rain to symbolize change.  It is the idea of change that is represented so beautifully in Singin’ in the Rain (1952).  Gene Kelly in an iconic scene, memorably dances down the street in the pouring down rain.

“…doo-dloo-doo-doo-doo, doo-dloo-doo-doo-doo…” 

And so starts one of the most memorable rain scenes in film.

Gene Kelly’s joy is infectious in one of the most delightful musical number ever to appear on screen

Singin’ in the Rain is quite simply one of the best (if not the best) musicals ever made.  It tells the story of Hollywood’s transition from silent films to “talkies.”  Stars Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are great romantic stars and are also involved in an off-screen romance–at least according to Monumental Pictures’ publicity department.  In reality, Don cannot stand Lina.  She on the other hand, cannot allow her ego to believe that someone doesn’t love her.  Cosmo Brown (Donald O’Connor) is in charge of the studio’s music department and is also Don’s best friend.  Don ends up involved with an aspiring actress, Kathy Selden (Debbie Reynolds) who Lina is intensely jealous of.  Not only is Don in love with Kathy and not Lina, but Kathy also threatens Lina’s career.  Kathy can sing and dance–two things Lina can’t do.  After the hilarious failure of Monumental Pictures’ first talkie, Cosmo, Kathy and Don come up with the idea to turn their turkey of a movie into a musical.  After dropping his love Kathy off at home and excited about their new venture, Don is on Cloud Nine.  Not even a torrential downpour can dampen (pun intended) his spirits.

Kelly’s “Singin’ in the Rain” number is simply put, one of the greatest things to ever grace the silver screen.  His excitement over his new romance and the new direction his career is heading is infectious.  Even though he starts out carrying his umbrella, he quickly puts it away.  Kelly’s character Don, is so happy about his life that he doesn’t even care that he’ll be soaked on the way home.  He gleefully taps and skips his way down the sidewalks with a big smile on his face.  Don sees a lamp post, jumps up and twirls around.  He pretends his umbrella is a guitar, and playfully tips his hat to the woman in the store window advertisement.  He taps into his inner child, without a worry in the world during his magical walk down the street.  Don throws and catches his umbrella and allows water from the downspout dump on his head.  He pretends to balance on a curb.  Don’s rain dance culminates with him splashing around in the massive puddles.  A cop finally ends the number when he stops and stares at this guy essentially playing in the road.  Don unconcerned, croons “I’m singin’ and dancin’ in the rain” and walks down the sidewalk, arms still swinging happily.  His glee and enthusiasm is contagious.  It is impossible to not feel happier after seeing this scene.  In a way, the rain represents a new life.  It washes away all the unhappiness and annoyances of his previous life and now he can start anew, with his new film persona and lady love.

A party pooper stops all the fun

The song “Singin’ in the Rain” was not written for Singin’ in the Rain.  In fact, all the songs in the film, except “Make ‘Em Laugh” (which sounds exactly like Cole Porter’s “Be a Clown”) were used in past musicals.  “Singin’ in the Rain” was crooned by Cliff Edwards in the 1929 musical, The Hollywood Revue of 1929.  Judy Garland gives a rousing rendition of the song in the 1940 musical, Little Nellie Kelly.  In 1971’s A Clockwork Orange, the song was used in a more disturbing fashion.  Star Malcolm McDowell hums the iconic song while raping a woman.  Gene Kelly’s rendition of the song plays over the closing credits.  Kelly himself was not pleased to be associated with this film. In 2007, Usher re-created the famous musical number in an homage to Kelly’s famous number, complete with the same style suit and everything.

Even though “Singin in the Rain” was more than 20 years old by the time it was used as the title song for the 1952 classic and had been performed multiple times by different artists, even by big star Judy Garland, it is Gene Kelly’s rendition that is the most famous.  The image of Gene Kelly twirling on the lamp post while ‘singin’ in the rain’ will forever be a part of American pop culture.  In an era where the word “iconic” is thrown around too often and too loosely to the point where it doesn’t really mean much, the image of Gene Kelly singing and dancing in the rain truly meets the definition.  The song itself has such a catchy tune, it’d be hard to find someone who at least doesn’t know the main part of the chorus.  Even Cary Grant was humming it in the shower in North By Northwest.

One of the most famous scenes in film history