Yes, this is one of the more entertaining musicals of the post-WWII era. But, hardly anyone mentions the presence of Gail Robbins. Yet, she sang "All Alone Monday" in 2 settings:first as a nightclub act attended by the 3 main stars, and then as a trial in a stage setting. She also was briefly engaged to Skelton's character(Harry Ruby): the first of two redheads that Skelton's character woos. Unlike Vera-Ellen and Debbie Reynolds, her singing was not dubbed. In fact, she was a singer for a number of Big Bands and singing groups, including 'The Duchess and Her Dukes', was a pinup girl for the GIs, and sometimes toured with Bob Hope. Unfortunately, her film career went nowhere, with just a few bit parts here and there, including perhaps the most entertaining musical of them all:"Calamity Jane". Here,,she comes across as a blend of Rita Hayworth and Martha Raye, in looks and personality.It's clear from the start that Astaire's and Vera-Ellen's characters don't consider her an appropriate mate for Skelton, nor a social or professional equal to themselves.Skelton eventually decides that Arlene Dahl is the right redhead for him, and someone that Astaire and Vera-Ellen feel comfortable associating with. In contrast to Gail's sultry delivery, Dahl is portrayed as primly elegant, most clearly in her memorable slow staircase descent, as if she were a goddess, surrounded by men in top hats and tails, while singing "I Love You so Much". Judy Garland previously made a rather similar, though hurried, descent in "Till the Clouds Roll By" Later, Dahl sings "Thinking of You" to Skelton, cementing their romantic attachment.To my knowledge, this is Dahl's only singing role in her Hollywood career... Gloria DeHaven had a small part playing her mother, singing "Who's Sorry Now". Like Dahl and Robbins, she remained a minor Hollywood actress and eventually turned to various roles on TV. Her dancing and singing talent was given much more exposure in the film "I'll Get By", also released in 1950, in which she costarred with June Haver as a pair of sister singer-dancers.
The title song isn't sung in its final form until the very end. The tantalizing possibilities of the tune serves as a running sore point between the two male stars through most of the film, although this has no factual basis. To me, Skelton's character was 95% Skelton and maybe 5% Harry Ruby. Apparently, the real Ruby didn't mind, as he has a bit part as one of Skelton's baseball teammates! Although Astaire commonly incorporated comedy into his musical roles,in this film, he is mostly Skelton's straight man. Although little known, both Skelton and Astaire composed numerous songs, including symphonies by Skelton.Through most of the film, Astaire appears to assume professional and social dominance over Skelton. This relationaship no doubt stems from the fact that the real Ruby initially was hired by Kalmar as a song plugger. Toward the end of the film, Skelton's Ruby is finally accepted as a near equal.Astaire and Skelton sing duets of several songs, most notably "My Sunny Tennessee" and the novelty song "So Long, Oo Long", the latter being my favorite.
Of course, Vera-Ellen always made a virtually unrivaled dancing partner for the top MGM film dancers of the day, including Gene Kelly, Donald O'Connor and Danny Kay, as well as being a classic beauty, in a girl-next-door way. But, she reportedly was introverted, from childhood, and this shows through sometimes, between musical numbers.Both she and Astaire have a solo dance routine, as well as several partnered routines.Their routine "Mr. and Mrs. Hoofer at Home" is the novelty dance highlight of the film, while their dances to "Thinking of You" and the standard "Nevertheless" are highlights for grace and elegance.This duo would star in one more musical: "The Belle of New York", this time without significant musical costars, and featuring new songs by Harry Warren and Johnny Mercer. Although this film has received much criticism, I find it at least as delightful as the present film and presently can be obtained cheaply as part of a DVD musicals set.
The association between Astaire and Skelton gets off to a very rocky start, when Skelton's clumsiness turns Astaire's stage magic act into a complete disaster.The second half of the film involves more melodrama as the pair have a falling out for a few years. This manufactured melodrama has no factual basis, and sometimes gets a bit tedious. Of course, in the end,the love aspect of this relationship triumphs and the now 4 stars(with Dahl) join together in a farewell scene: a very common ending to musicals of this era.
The title song isn't sung in its final form until the very end. The tantalizing possibilities of the tune serves as a running sore point between the two male stars through most of the film, although this has no factual basis. To me, Skelton's character was 95% Skelton and maybe 5% Harry Ruby. Apparently, the real Ruby didn't mind, as he has a bit part as one of Skelton's baseball teammates! Although Astaire commonly incorporated comedy into his musical roles,in this film, he is mostly Skelton's straight man. Although little known, both Skelton and Astaire composed numerous songs, including symphonies by Skelton.Through most of the film, Astaire appears to assume professional and social dominance over Skelton. This relationaship no doubt stems from the fact that the real Ruby initially was hired by Kalmar as a song plugger. Toward the end of the film, Skelton's Ruby is finally accepted as a near equal.Astaire and Skelton sing duets of several songs, most notably "My Sunny Tennessee" and the novelty song "So Long, Oo Long", the latter being my favorite.
Of course, Vera-Ellen always made a virtually unrivaled dancing partner for the top MGM film dancers of the day, including Gene Kelly, Donald O'Connor and Danny Kay, as well as being a classic beauty, in a girl-next-door way. But, she reportedly was introverted, from childhood, and this shows through sometimes, between musical numbers.Both she and Astaire have a solo dance routine, as well as several partnered routines.Their routine "Mr. and Mrs. Hoofer at Home" is the novelty dance highlight of the film, while their dances to "Thinking of You" and the standard "Nevertheless" are highlights for grace and elegance.This duo would star in one more musical: "The Belle of New York", this time without significant musical costars, and featuring new songs by Harry Warren and Johnny Mercer. Although this film has received much criticism, I find it at least as delightful as the present film and presently can be obtained cheaply as part of a DVD musicals set.
The association between Astaire and Skelton gets off to a very rocky start, when Skelton's clumsiness turns Astaire's stage magic act into a complete disaster.The second half of the film involves more melodrama as the pair have a falling out for a few years. This manufactured melodrama has no factual basis, and sometimes gets a bit tedious. Of course, in the end,the love aspect of this relationship triumphs and the now 4 stars(with Dahl) join together in a farewell scene: a very common ending to musicals of this era.