Showing posts with label Oscar Levant. Show all posts
Showing posts with label Oscar Levant. Show all posts

Sunday, May 24, 2026

THE MAKING OF RHYTHM ON THE RIVER

In the summer of 1940, Paramount Pictures was buzzing with excitement. The studio had a new musical comedy in the works—Rhythm on the River—and at its heart were two rising stars: Bing Crosby, already America’s favorite crooner, and Mary Martin, the Broadway sensation with a voice as bright as her smile.

The story was lighthearted: a ghostwriter for a famous composer meets a lyricist, and together they create songs that outshine the work of the man they’re secretly writing for. But behind the scenes, the film was more than just a romantic comedy—it was a showcase for music that would become part of the Great American Songbook.

Filming began in mid-1940 on the Paramount lot. Bing was in his element, strolling onto the set with his trademark casual charm, pipe in hand, ready to deliver lines with that easygoing style audiences adored. Mary Martin, fresh from her Broadway triumph in Leave It to Me, brought an energy that lit up the soundstage. Director Victor Schertzinger encouraged improvisation, letting Bing and Mary play off each other’s humor between takes. Their chemistry was undeniable—warm, witty, and effortless.

The music sessions were a story in themselves. Johnny Burke and Jimmy Van Heusen had written a sparkling score, including “Only Forever,” which would become one of Bing’s most beloved ballads. Bing recorded the song in a single take, his voice gliding over the melody like silk. Mary added her own magic to numbers like “That’s for Me,” her clear tone blending perfectly with Bing’s mellow croon. The orchestra, under Schertzinger’s baton, filled the studio with lush arrangements that made every rehearsal feel like a concert.


Off-camera, the atmosphere was relaxed. Bing was known for his laid-back approach—often joking with the crew, humming between takes, and even playing golf on weekends during production breaks. Mary, new to Hollywood, found herself charmed by Bing’s unpretentious nature. “He made everything feel easy,” she later recalled. “You never felt like you were working—you felt like you were having fun.”

When Rhythm on the River premiered in August 1940, audiences fell in love. The film was a hit, praised for its breezy humor and memorable songs. Critics noted the natural chemistry between Bing and Mary, and “Only Forever” soared up the charts, cementing its place as a Crosby classic.

Today, Rhythm on the River stands as a snapshot of Hollywood’s golden age—a time when musicals were pure escapism, and stars like Bing Crosby and Mary Martin could turn a simple story into something unforgettable. Behind the laughter and melodies was a team of artists who believed in the joy of music—and gave audiences exactly that...



Monday, October 10, 2016

GUEST REVIEWER: RHYTHM ON THE RIVER

Guest reviewer Bruce Kogan is back to take a look at the forgotten 1940 musical gem - Rhythm On The River...

Poor Basil Rathbone, an egotistical composer who's lost his muse. He's been faking it for some time, buying his lyrics and his music from various sources. Trouble is that two of the sources (Bing Crosby music) and (Mary Martin words) happen to meet and fall in love. And then they discover what they've been doing. Complications ensue, but all is righted at the end.

Crosby and Martin sing terrifically. Mary had signed a Paramount contract and also at the same time doubled as a regular on Crosby's Kraft Music Hall Radio Show. For reasons I don't understand, movie audiences didn't take to her, so she went back to Broadway and did One Touch of Venus in 1944 and stayed there.

Basil Rathbone in one of the few times he played comedy does it very well. His ego is constantly being deflated by sidekick Oscar Levant and again I'm surprised they didn't do more films together.

As in most of Crosby's Paramount vehicles, no big production numbers, but the title tune being done as an impromptu jam session in a pawn shop is cinematic gold. It shows what great rhythm Bing had. Good job by all.

Billy Wilder is co-credited for the story, and his unsentimental touch is noticeable in this quite original tale of ghostwriting songwriters who both work for burnt-out music legend Oliver Courtney. The obvious misunderstandings are gotten out of the way quite quickly, thank heaven, and what remains is a witty and breezy concoction with some fine songs (and some more forgettable ones).



Crosby at his most charming, a great turn by Broadway legend Mary Martin and Basil Rathbone and Oscar Levant providing most of the cynical barbs (Levant is in rare form and his quips haven't dated at all). Martin's singing gives hope and question to the ironic fact that she never scored in movies, given four years to try and make it at Paramount before giving up and returning to Broadway where she had greater luck. Crosby is his easy going self as usual, dropping deadpan lines like a dog with a bone after realizing that nothing else remained to gnaw on. A delightful surprise, and recommended for all fans of the genre.

A surprisingly original plot and great entertainment...

BRUCE'S RATING: 9 OUT OF 10
MY RATING: 9 OUT OF 10