BING ON FILM: ANYTHING GOES - PART TWO

At lot of movie studios when they are making a movie version of a Broadway show try to keep the musical score intact. However, Paramount Studios had a habit of chopping up a Broadway score and adding different songs to their movie versions. They did this to Cole Porter in 1936 for that version of Anything Goes, and supposedly it caused a rift between Cole and Bing Crosby. They kept a lot of Cole Porter’s songs in the film, but they also cut a few and added songs that were written by Sammy Cahn and Jimmy Van Heusen. Cahn and Van Heusen were good songwriters, but they were no Cole Porter. While we got to hear and to watch the cast perform great Cole Porter standards like “Anything Goes” (sung by Mitzi Gaynor), “You’re The Top” (sung by Bing, Mitzi, Donald O’Connor, and Zizi Jeanmarie), and “All Through The Night (sung by Bing), we also witnessed the hokey songs written by Cahn and Van Heusen for the film like: “You Can Bounce Right Back”, “You Gotta Give The People Hoke”, and “A Second Hand Turban”. At times it felt like there were two musical scores in the film. I am okay if Paramount wanted to punch up the score with different songs, but the Cole Porter songbook was vast, and they could have used dozens of other Porter songs. They even brought in a third songwriting team in Leo Robin and Frederick Hollander, and that duo wrote two other songs for the film that were not used called “Am I Awake” and “Hopelessly In Love”. Nothing against those other song writers but it was a slap in the face to Cole Porter.

The two best musical numbers in the film was the love song “It’s Delovely” which was performed by Donald O’Connor and Mitzi Gaynor. Their singing is charming and the dance number was definitely the best number in the film and probably one of the best numbers that Paramount filmed in the 1950s. The other number that I liked was the closing number “Blow Gabriel Blow” which was performed by Bing and the whole cast. Some people online had an issue with a man singing the song since Ethel Merman introduced and sang the song on Broadway, but it was a great huge Hollywood finale, and Bing did it justice. The song was a big send off to Bing who had helped to get Paramount out of near bankruptcy in the 1930s when he signed with the studio. I liked the number myself.

 The critics were mixed though when the film premiered in New York on March 21, 1956… The Variety reviewer said: "It’s a bright offering for Easter release, geared to play an engaging tune at the wickets. Male topliners Bing Crosby and Donald O’Connor go together as

though born to give the zip to what scripter Sidney Sheldon has concocted hereunder the stage title. While there are Cole Porter songs and the legit handle is still carried, that’s about all that remains of what went on behind the footlights, and there’s scant resemblance to Paramount's 1936 film version, in which Crosby also starred with Ethel Merman".

A H Weiler, writing for The New York Times, thought that, "For all its activity, Anything Goes is, in the main, standard musical comedy. Some of the principals are decidedly decorative and talented. The script, however, is transparent and fragile."

There are a couple of fun goofs in the film if you watch close enough and have seen the movie as many times as I have. During the "Ya Gotta Give The People Hoke" number Bing Crosby and Donald O'Connor go into a prop room, pick up a prop, go on stage, do a "bit" and go back to the prop room. About midway through, Bing comes out on stage wearing a Fireman's hat. There is a pile of brownish debris and several piles of white material that were not there a second before, indicating that one or more "bits" had been cut after filming. Also, during the "You're The Top" number Bing and Mitzi Gaynor are on the lifeboat deck on one side of a partition while Donald O'Connor and Zizi Jeanmaire are on the other side. All are singing yet, though the deck is open to the sky, no one hears the others. Also, there are no partitions on a lifeboat deck.

So even with the goofs and my complaining about the film, I think Anything Goes is a pretty good movie. The film was successful for Paramount, and it marked the end of Bing Crosby’s association with the studio. I do recommend this movie to any Bing Crosby fan, and the film overall is a good musical. It is a good musical by Paramount’s standards but maybe not by MGM standards. Just look at Bing’s first post Paramount musical – High Society for MGM later that year. That is how a musical should be made! Again you may not be blown away by 1956’s Anything Goes, but you will enjoy the film...


MY RATING: 7 out of 10

BING ON FILM: ANYTHING GOES - PART ONE

For this latest review, I figured I would review 1956’s Anything Goes. Bing Crosby’s co-star in the film Zizi Jeanmarie passed away last year at the age of 96, so I figured it would be fitting to watch something she was a part of. This 1956 film would be the last film Bing would make for Paramount Studios after being with them for 24 years! It remains the second longest contract for any star with any studio, only exceeded by Robert Taylor with MGM. The musical Anything Goes was a superb Cole Porter Broadway show when it opened in the 1930s. Since its 1934 debut at the Neil Simon Theatre (at the time known as the Alvin) on Broadway, the musical has been revived several times in the United States and Britain and has been filmed twice. The musical had a tryout in Boston, before opening on Broadway at the Alvin Theatre on November 21, 1934. It ran for 420 performances, becoming the fourth longest-running musical of the 1930s, despite the impact of the Great Depression on Broadway patrons' disposable income.

The movie was first filmed in 1936 with Bing Crosby and Ethel Merman, but it bared little resemblance to the Broadway show or this 1956 remake other than Bing in the film and a few Cole Porter tunes. The plot of this 1956 remake is also quite different than the Broadway show. The only that stayed the same was that most of the story takes place on a luxury liner. So the movie opens up with a veteran Broadway star (played by Bing) meeting an up and coming television star (played by Donald O’ Connor) at a party, and they decide it would be fun to star together in a Broadway show, with each guy thinking they are helping the other one’s career out. Donald O’Connor tells Bing that he doesn’t care who their leading lady is, but in reality, he does. Bing Crosby goes to see a blonde American who has been performing in Europe (Mitzi Gaynor), and he signs her to a contract. Meanwhile, Donald O’Connor takes it upon himself to sign a French ballet star (Jeanmarie). So, they now have two actresses signed for one role. For the rest of the film Bing and Donald try to figure out how to solve their problem. Donald falls in love with Mitzi, and Bing falls in love with the French ballet star. Then there is the typical movie twist where they lose the girl, and then Bing and Donald manage to get the girls back, revamp the plot of their show so they have two leading ladies, and live happily ever after.

Bing Crosby and Donald O’ Connor were great together, and they went back together to the 1930s when Donald played Bing’s younger brother in 1938’s Sing You Sinners. They had tried to reteam for 1954’s White Christmas, but O’Connor broke his ankle before filming could begin and was replaced with Danny Kaye. Mitzi Gaynor is also great with both Bing and Donald. It was weird though seeing Mitzi Gaynor and Donald O’ Connor as love interests since they played brother and sister in the earlier film There’s No Business Like Show Business! Phil Harris was also in the cast as Mitzi Gaynor’s gambling father. He was the reason why the two were on the run in Europe to begin with. Phil was great in his role, but it was kind of small. Being one of Bing’s few close friends in the real world, and since he had such a great relationship with Bing, I wish they would have performed a number together. The problem I have with the film is Zizi Jeanmarie as Bing’s love interest. I just did not feel any chemistry between the two. Zizi was a gifted ballet dancer, and she was mesmerizing in the 1953 Paramount film Hans Christian Anderson, but other than her musical numbers, she did not add much to Anything Goes. She was hugely popular in her home country of France and was married to the choreographer of the movie, Roland Petit. Whether she got him his job on the film or visa versa, I don't know. However, she was totally wrong as Bing's love interest. She was a fine dancer, but the Cole Porter song "I Get A Kick Out Of You" was wasted on her limited vocal ability. Bing Crosby, in his Paramount contract, had co-star approval so maybe he wanted to try to reach out to a different audience, but I think the pairing of Bing and Zizi hurt the movie...

TO BE CONTINUED...

REMEMBERING: ZIZI JEANMAIRE (1924-2020)

French dancer and singer Zizi Jeanmaire, an iconic cabaret showgirl whose grace and glamour was celebrated on stage and in film the world over, died Friday in Switzerland aged 96, her family told AFP.

"My mother passed away peacefully last night at her home in Tolechenaz," a town bordering Lake Geneva, her daughter Valentine Petit told AFP by telephone.

Jeanmaire starred in ballets, cabarets, musicals and film, mixing styles but never compromising on the rigour of her classical training.

Many of her roles were created by her husband Roland Petit, the renowned choreographer who died in 2011.

It was her leading performance in Petit's modern interpretation of "Carmen" in 1949, which featured the short-cropped hairstyle that became her trademark feature, that launched her into the spotlight.

The new-look production caused a sensation when it was performed in Paris, London and New York.

Jeanmaire and Petit met in 1933, when they were around nine years old and students at the Paris Opera Ballet. They married in 1954 and had a daughter.

"They became the power couple of Sixties Parisian cultural life, wearing Yves Saint Laurent and collaborating with Andy Warhol," The Telegraph wrote in an obituary of Petit.

Jeanmaire was born in Paris on April 29, 1924, her real name Renee Marcelle Jeanmaire. Her nickname is reportedly rooted in her childhood pronunciation of "Mon zizi" for "Mon Jesus" (My Jesus).

She left the Paris Opera Ballet at 19, saying she wanted to see the world and eventually making her way into Hollywood and New York.

Her leading films roles were in the 1950s, including in the Hollywood musical "Hans Christian Andersen" (1952), about the life of the Danish storyteller, and "Anything Goes" (1956) starring Bing Crosby.

She triumphed at Paris' Alhambra music hall in 1961 with a performance of "Mon Truc en Plumes" -- her legendary costume of huge, pink ostrich feathers designed by Saint Laurent -- and in 1966 danced alongside Rudolf Nureyev for the film version of Petit's ballet "Le Jeune Homme et la Mort" (The Young Man and Death).

Saint Laurent, who dressed her for 40 years, once said she "only had to walk on stage for everything to take life, fire and flames."

Sealing her place in stardom is a reference in the opening line of Peter Sarstedt's name-dropping classic "Where Do You Go to My Lovely" (1969), which says: "You talk like Marlene Dietrich, And you dance like Zizi Jeanmaire."

A public ceremony in her honour will be organised in September, her daughter said...

PHOTOS OF THE DAY: BING AND HIS UNDERRATED LEADING LADIES

When you are taking a look at the filmography of Bing Crosby, he had some stunning female co-stars. You instantly think of Dorothy Lamour in all of those Road movies or Grace Kelly in the technicolor masterpiece High Society (1956). However, there are some female leads that you might have forgotten made movies with Der Bingle. They all wanted to work with Bing, and some of these great pictures showcases that...

Ida Lupino in ANYTHING GOES (1936)

Joan Blondell in EAST SIDE OF HEAVEN (1939)

Betty Hutton in HERE COMES THE WAVES (1944)

Ann Blyth in TOP O THE MORNING (1949)

Zizi Jeanmaire in ANYTHING GOES (1956)

Nicole Maurey and Tuesday Weld in HIGH TIME (1960)

MY IMPRESSIONS OF ANYTHING GOES

The musical Anything Goes was a superb Cole Porter broadway show when it opened in the 1930s. Since its 1934 debut at the Neil Simon Theatre (at the time known as the Alvin) on Broadway, the musical has been revived several times in the United States and Britain and has been filmed twice. The musical had a tryout in Boston, before opening on Broadway at the Alvin Theatre on November 21, 1934. It ran for 420 performances, becoming the fourth longest-running musical of the 1930s, despite the impact of the Great Depression on Broadway patrons' disposable income.

The movie was first filmed in 1936 with Bing Crosby and Ethel Merman, but it bared little resemblance to the broadway show. Twenty years later, Bing was ending his contract with Paramount Studios after twenty four years with the studio. His last movie for Paramount would be an updated version of Anything Goes in 1956. Though this film again starred Bing Crosby (whose character was once more renamed), Donald O'Connor, and comedian Phil Harris in a cameo, the new film almost completely excised the rest of the characters in favor of a totally new plot. The film features almost no similarities to the play or 1936 film, apart from some songs and the title.

I have always enjoyed this 1956 swan song Bing made for Paramount. However, this movie could have been a great movie and not just a good or fair movie. I think my biggest problem with the film was Bing's co-star Zizi Jeanmaire. She was a popular French ballet dancer, who was married to the choreographer of the movie Roland Petit. Whether she got him his job on the film or visa versa, I don't know. However, she was totally wrong as Bing's love interest. Bing and Jeanmaire just did not have the chemistry. She was a fine dancer, but the Cole Porter song "I Get A Kick Out Of You" was wasted on her limited vocal ability.

Speaking of the Cole Porter score, Paramount did a grave injustice by tearing apart the great Broadway score. The primary musical numbers ("Anything Goes", "You're the Top", "I Get a Kick Out of You", "It's De-Lovely" and "Blow, Gabriel, Blow") with updated arrangements appear in the film, while the lesser-known Porter songs were cut completely, and new songs, written by Jimmy Van Heusen and Sammy Cahn, were substituted. I enjoy the music of Cahn and Van Heusen, and they wrote some of the great songs in Frank Sinatra's songbook. However, when they wrote for Bing in the 1950s, the songs sounded tired and corny. The two songs they wrote for Bing were "Ya Gotta Give the People Hoke" and "A Second Hand Turbin". Bing deserved better songs than this.

One more thing I would have done differently with the film is the use of Phil Harris. Harris not only was a great personality and singer but also a personal friend of Bing. In the movie he played the father of Mitzi Gaynor. He had a good role in the film, but Harris did not have much interaction with Bing. I think that was a wasted opportunity for a musical number between the two. It would have made for some great cinema.

Again, while the 1956 version of Anything Goes is no Singin' In The Rain, it is not a bad movie. It was one of the first Bing movies I remember watching and dispite what I would change, I think the pairing of Bing and Donald O'Connor was great. Also the finale of "Blow Gabriel Blow" is a fitting end to Bing's association with Paramount. He helped to save the studio from bankruptcy in 1932, and Bing was one of the studio's biggest stars for the next two decades...