Classic movie site with rare images, original ads, and behind-the-scenes photos, with informative and insightful commentary. We like to have fun with movies!
Archive and Links
grbrpix@aol.com
Search Index Here




Sunday, April 20, 2008




Weekend Marquee --- Born To Dance





There’s something spooky about a lot of old radio programs. That trick of closing your eyes and being there put me right under the footlights as master of ceremonies Dick Powell supplied (eighty years ago) play by play for the Grauman’s Chinese premiere of Born To Dance. The broadcast is just awkward enough to seem totally authentic. What we hear during surviving remnants of an hour’s program (included as audio extra with Warner’s DVD) is Powell narrating Grauman’s lavish prologue that preceded the feature in November 1936. It’s as close as we’ll get to a hop back for the opening itself, and a vivid reminder of what genuine events movie premieres once were. The ancient recording trips over songs and interviews while voices trail off into ghostly distance as if captured, then released, from some parallel sphere wherein such happenings are relived night after night. An audience of 2700 is heard applauding, while Louella Parsons and Ken Niles on remote greet celebs in attendance. Radio in 1936 wasn’t the slick operation it became within a few years, so there’s a happy sense of wandering amongst this crowd and overhearing what unrehearsed remarks archaic mikes pick up. Were the sound quality better, I’d feel less engaged, for it’s that outer limits struggle to listen in that made it seem I’d at last dreamed my way back to heady days Greenbriar dotes upon. MGM was gearing up a second wave of musicals with Born To Dance. Much of the prologue celebrates that studio’s song and dance legacy, one we now realize was still aborning. Charles King appears onstage to reprise The Broadway Melody, a musical already primitive in hindsight by 1936. Powell hopes Charlie will be back in Metro harness soon. Charlie would like that too, but we know it’s not in the cards, any more than another round of Lawrence Tibbett operettas, despite recognition of those as outstanding MGM achievements. Born To Dance was a major advance on early sound musicals, but their act still wasn’t together. Big numbers looked to Busby Berkeley’s example at Warners. Long term personnel were just settling into Metro’s music department and kinks remained to be ironed out. Standards developed so quickly as to make efforts like Born To Dance an eventual embarrassment of bad taste for creator-arranger Roger Edens. By the mid-forties, a musical just ten years old seemed to beckon from a considerable creative distance, just as those from the fifties would raise bars from the decade before.












James Stewart joked over Born To Dance in That’s Entertainment and led us to believe he was the world’s worst singer. I found him good enough as to wonder why he didn’t do more musicals. Straight-ahead actors and even he-men at Metro occasionally suited up for song-and-dance. Gable in Dancing Lady stood by and watched others perform, but Robert Taylor lent voice to several Broadway Melodies. It was range welcomed and expected of players doing three and more shows a year. Stewart implied his participation in Born To Dance was something aberrant, but studio records reveal plans to double his light tenor (with a baritone!) were scuttled in favor of the actor’s own voice, and it’s said that composer Cole Porter hand-picked Stewart for the lead. Roy Del Ruth was credited director on Born To Dance. He’d been at the helm of song-and-dancers since talkies came. Some of the earliest, though not necessarily best, were signed by him. Other than Busby Berkeley and Lubitsch, when he did them, most directors credited on musicals were there to guide book sections while others took care of numbers staging. There’s a group shot of some cast and crew from Born To Dance in the excellent booklet that comes with the Rhino CD soundtrack. Clarence Brown is standing with Stewart, Eleanor Powell, Del Ruth, and others. Was Brown visiting the set, or had he pinch-hit for the credited director? There were many instances at Metro of uncredited work among staff helmsmen filling in for days, sometimes weeks, due to scheduling or other conflicts. It’s near impossible to trace auteur footprints through most MGM musicals. Our modern perception of them was largely shaped by the sock reception for 1974’s That’s Entertainment and urgency it created to go out and see the old films. Great as they looked in Metro’s compilation however, few were available in worthy presentation elsewhere. I recall rushing home from a college beach trip to see Channel 9’s afternoon broadcast of Singin’ In The Rain, only to find they’d removed the Broadway Melody section in toto. Opportunity was missed when then-distributor United Artists failed to repackage musicals in special groups for syndication. Titles came scattered among feature offerings and little was done to make them more accessible. As with pre-codes, a lot of smaller musicals along the lines of Born To Dance had to wait until the emergence of TCM before fans could really enjoy them again. DVD release did the rest. Warner’s Classic Musicals From The Dream Factory series has been the fulfillment of dreams for fans who’ve waited lifetimes to see these favorites truly showcased as they deserve.



























I don’t recall Eleanor Powell having much to do with revival bandwagons that began rolling with That’s Entertainment. Her tap performance with Fred Astaire from Broadway Melody Of 1940 was far-and-away the highlight of the 1974 compilation for many viewers. Most were amazed they’d never heard of this artist or her films. Powell is one old name that still dazzles when watched anew. Her fan following occupies a niche, but it’s dedicated. She’d wisely ducked talk and variety overexposure in the seventies. Younger musical alumni still had careers to pursue and used That’s Entertainment to extend time in the limelight. Powell’s tap successor, Ann Miller, submitted to biz realities of the coarsened seventies, and it was disconcerting to see greats like Astaire and Gene Kelly wearing wide ties and lapels so peculiar to that cheesiest of decades. The wonderful DVD set of all three That’s Entertainments, especially with its extras, has as much value as a time capsule of that more recent period when nostalgia began to reveal itself as a marketable commodity. Finally seeing something like Born To Dance complete makes you realize how truncated musical numbers were in That’s Entertainment. What we got in those compilations were bite-sized souvenirs not unlike comedy bits trimmed to the bone by Robert Youngson for his slapstick collections. Swingin’ The Jinx Away is the extravaganza that finishes Born To Dance with fifteen minutes of song, dance, reprise, and back again. The patriotic fervor comes a little unexpected of a peacetime musical, though examination of any number of mid-thirties releases, in several genres, sees flags flying as though we were gearing up for the next conflict. Preparedness pics have been identified from the two or so years preceding Pearl Harbor, but you could argue Hollywood was calling us to arms long before that. 1936 audiences clearly liked their show stoppers going on and on. I numbed out at times, but repeat viewings of highlights made me glad for having access to routines finally complete. Chapter stops make convenient jukeboxes of all these great musicals, and I’ve been lured back by more than one number from Born To Dance (just what is the magnetic appeal of Virginia Bruce singing Love Me, Love My Pekinese?). Accounts indicate the picture had a negative cost of $1.4 million and took domestic rentals of 1.6, with foreign bringing $781,000. There was a final profit of $141,000.

7 Comments:

Anonymous Anonymous said...

Hi, John: Very nice piece. I've always thought that "Born to Dance" was the probably the most watchable of Elanor Powell's Metro musicals -- in part because of it's absolutely-terrific Porter score (I've often wondered how many people, when they hear Sinatra and other saloon-singers warble "I've Got You Under My Skin" actually realize it was written for this picture? The logical answer: probably none -- and probably fewer care)."Born" is virtually the only one of her films that I can recall seeing on television when I was a kid, and I liked it alot. I certainly remember when "That's Entertainment!" opened -- it played out here at a theatre called The Beverly (later, it became a bank, and now even the original structure is gone) in downtown Beverly Hills, and it was considered a Very Big Deal at that time. I remember being so bowled-over by it, that I went several times. Two-things stand out in my mind: When Buster Keaton appeared, in that long-tracking shot at the famous MGM luncheon, the audience breaking out in spontanious-applause, and EVERYBODY afterward talking about Ms. Powell, and what a revelation she was! (possibly, because unlike Garland, Astaire, Kelly, her films had been buried for so long, and exposure to what the lady had accomplished, somewhat forgotten). Particularly nice, as she was still alive at that time. I think, John, you may be mis-reading the intent behind the "Swingin' the Jinx Away" number -- I don't think it had anything to do with military-preparedness at all, but heralding the fact that we were finally coming out of the depression, and The New Deal, etc. (don't forget, this was being released the same year Roosevelt was running for a second-term). Similarly, I think Metro's big-push with Powell and this film, was doubtless inspired by the huge grosses RKO was then taking-in with Astaire & Rogers at the box-office. Finally, it's not hard (at least for me) to divine the allure of "Love Me, Love my Pekingese" at all- it's Cole Porter at his campiest -- and wittiest -- with all kinds of fun couplets lyrically, like "Spite of your antipaties/if you want to cultivate me/gotta love chi-chi" --or, at least, something like that!And any musical-number that can fold the always-wonderful Ray Walburn into the spread certainly has my respect! Keep 'em comin' John, outside of the bar next to our office, Greenbriar has become my favorite drop-off point at the end of a hectic day! Talk with you soon. Take care. R.J.

11:50 PM  
Blogger Scott MacGillivray said...

Hi, John -- Thanks for the posting. As you probably know, Jimmy Stewart did do at least one other musical, "Pot o' Gold," in which he sings the forgotten wartime novelty "When Johnny Toots His Horn." This may not be one of Jimmy's shining hours, but it was well received by critics in 1941. Jimmy's singing still goes over well today; I screened this picture for an audience a couple of weeks ago and the viewers were pleasantly surprised.

"That's Entertainment!" was actually announced by title on national television, two years before it was released. At the time, as the months passed with no word of "That's Entertainment!," I thought it might have died on the drawing board. When it finally did make its premiere, I was there on the first day (and I stayed for three shows!).

12:09 PM  
Blogger David K. said...

Thanks John. Nice piece. I've been able to watch B.M. of 36 and 38 and am looking forward to Born to Dance and Lady Be Good. I'd never seen Eleanor Powell in a movie before last weekend and BOY, she dominates the screen. And not just when she's dancing. I have a lot of actresses that I'd put in my "Favorites" for a variety of reasons, but I don't recall any actress literally GLOWING on the screen like Eleanor Powell. I wish she'd done more films, but I'm grateful for the ones she did. Keep up the great work!

5:01 PM  
Anonymous Anonymous said...

The MGM pre-48s were largely absent from Boston TV for almost a decade until 1974,when WCVB-TV showcased them in a series they called "The Great Entertainment", hosted by former Bozo Frank Avruch.There they were, all the movies I'd read about but hadn't been able to see(save some trips to revival theatres)spilling out to the airwaves in a kind of MGM/UA horn of plenty.But I was bummed because I had to miss most of them-I was going to private school, and couldn't stay up for the 11:30 movie, and other kids at my school(the sweathogs,lets face it)didn't want to watch most of the afternoon airings.For the record, the inagural movie was "Three Musketeers" with Gene Kelly.'CVB's package was missing many pre-codes and b's, but another Boston station got some of those about 5 years later.

1:02 PM  
Anonymous Anonymous said...

That IS Buddy Ebsen in a couple of those photos, isnt it?

8:28 PM  
Blogger John McElwee said...

Yep, that's him.

9:35 AM  
Anonymous Anonymous said...

R.J. is probably right about Born to Dance, and he's definitely right about Cole Porter's score: it's one of his masterpieces, equal (on its own scale) to Anything Goes and Kiss Me, Kate. Myself, though, I've always sorta preferred Broadway Melody of 1940 -- mainly because of the presence of Fred, especially in that dazzling "Begin the Beguine" marathon. I think the reason Ms. Powell was such a revelation in That's Entertainment! was that her heyday at MGM had antedated the advent of the Technicolor musical; once color TV took over the nation's living rooms, what station manager would go for Born to Dance or Rosalie when they could get Anchors Aweigh or Take Me Out to the Ball Game?

It's easy now to overlook the tremendous splash That's Entertainment! made in 1974. I think it may even have given an important nudge to the film preservation movement; even as Liza Minnelli gushed "Thank God for film!", those in the know were beginning to realize that film uncared-for was no more permanent than Renaissance frescoes.

3:31 PM  

Post a Comment

<< Home

grbrpix@aol.com
  • December 2005
  • January 2006
  • February 2006
  • March 2006
  • April 2006
  • May 2006
  • June 2006
  • July 2006
  • August 2006
  • September 2006
  • October 2006
  • November 2006
  • December 2006
  • January 2007
  • February 2007
  • March 2007
  • April 2007
  • May 2007
  • June 2007
  • July 2007
  • August 2007
  • September 2007
  • October 2007
  • November 2007
  • December 2007
  • January 2008
  • February 2008
  • March 2008
  • April 2008
  • May 2008
  • June 2008
  • July 2008
  • August 2008
  • September 2008
  • October 2008
  • November 2008
  • December 2008
  • January 2009
  • February 2009
  • March 2009
  • April 2009
  • May 2009
  • June 2009
  • July 2009
  • August 2009
  • September 2009
  • October 2009
  • November 2009
  • December 2009
  • January 2010
  • February 2010
  • March 2010
  • April 2010
  • May 2010
  • June 2010
  • July 2010
  • August 2010
  • September 2010
  • October 2010
  • November 2010
  • December 2010
  • January 2011
  • February 2011
  • March 2011
  • April 2011
  • May 2011
  • June 2011
  • July 2011
  • August 2011
  • September 2011
  • October 2011
  • November 2011
  • December 2011
  • January 2012
  • February 2012
  • March 2012
  • April 2012
  • May 2012
  • June 2012
  • July 2012
  • August 2012
  • September 2012
  • October 2012
  • November 2012
  • December 2012
  • January 2013
  • February 2013
  • March 2013
  • April 2013
  • May 2013
  • June 2013
  • July 2013
  • August 2013
  • September 2013
  • October 2013
  • November 2013
  • December 2013
  • January 2014
  • February 2014
  • March 2014
  • April 2014
  • May 2014
  • June 2014
  • July 2014
  • August 2014
  • September 2014
  • October 2014
  • November 2014
  • December 2014
  • January 2015
  • February 2015
  • March 2015
  • April 2015
  • May 2015
  • June 2015
  • July 2015
  • August 2015
  • September 2015
  • October 2015
  • November 2015
  • December 2015
  • January 2016
  • February 2016
  • March 2016
  • April 2016
  • May 2016
  • June 2016
  • July 2016
  • August 2016
  • September 2016
  • October 2016
  • November 2016
  • December 2016
  • January 2017
  • February 2017
  • March 2017
  • April 2017
  • May 2017
  • June 2017
  • July 2017
  • August 2017
  • September 2017
  • October 2017
  • November 2017
  • December 2017
  • January 2018
  • February 2018
  • March 2018
  • April 2018
  • May 2018
  • June 2018
  • July 2018
  • August 2018
  • September 2018
  • October 2018
  • November 2018
  • December 2018
  • January 2019
  • February 2019
  • March 2019
  • April 2019
  • May 2019
  • June 2019
  • July 2019
  • August 2019
  • September 2019
  • October 2019
  • November 2019
  • December 2019
  • January 2020
  • February 2020
  • March 2020
  • April 2020
  • May 2020
  • June 2020
  • July 2020
  • August 2020
  • September 2020
  • October 2020
  • November 2020
  • December 2020
  • January 2021
  • February 2021
  • March 2021
  • April 2021
  • May 2021
  • June 2021
  • July 2021
  • August 2021
  • September 2021
  • October 2021
  • November 2021
  • December 2021
  • January 2022
  • February 2022
  • March 2022
  • April 2022
  • May 2022
  • June 2022
  • July 2022
  • August 2022
  • September 2022
  • October 2022
  • November 2022
  • December 2022
  • January 2023
  • February 2023
  • March 2023
  • April 2023
  • May 2023
  • June 2023
  • July 2023
  • August 2023
  • September 2023
  • October 2023
  • November 2023
  • December 2023
  • January 2024
  • February 2024
  • March 2024