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Posts Tagged ‘Musicals’

Graham Greene on Paris in Spring

Tuesday, April 1st, 2014

Here’s a charming musical that isn’t available on DVD, and should be.

A lot of people forget that writer Graham Greene was a prolific film critic in the 1930s. In addition to the fact that many of his short stories and novels were made into films, and he was a man of immaculate taste. Here, he discusses in a contemporary review the long forgotten film Paris in Spring, featuring a young Ida Lupino in a supporting part, which he smartly compares to the best of Ernst Lubitsch, the master of light romantic comedy. Yet, sadly, the film isn’t available on DVD.

It should be admitted, as Greene notes, that the film’s director, Lewis Milestone isn’t a name readily associated with a project such as this; Milestone’s most famous film, All Quiet on the Western Front (1930), is a grim slice of anti-war realism, set during World War I. Yet so strong is the pull of Paris in Spring that having only seen it once, many years ago, complete with its highly stylized opening titles and location work at the Eiffel Tower, that I have never been able to forget it. Here’s what Greene had to say on the film, which was released as Paris Love Song in the UK.

“You wouldn’t think that [Lewis] Milestone, the director, was a Russian, so deftly has be caught the gay, the shameless Lubitsch Manner. It is a silly, charming tale of an Italian count [disappointed in love] who goes up the Eiffel Tower to pretend to commit suicide, and finds at the top a young woman who intends to commit suicide [for the same reason]. They agree, of course, to make their lovers jealous, and the lovers come together in the same conspiracy. Mr. Milestone mas made out of this nonsense something light, enchanting, genuinely fantastic.

Mary Ellis’s is the best light acting I have seen since [Kay] Francis appeared in [Ernst Lubitsch’s] Trouble in Paradise. She is lovely to watch and listen to; she has a beautiful humorous ease . . . only the cinema is able in its most fantastic moments to give a sense of absurd unreasoning happiness, a kind of poignant release: you can’t catch it in prose: it belongs to Walt Disney, to [René Clair’s] voices from the air [in À nous la liberté, 1932], and there is one moment in this film when you have it, as the Count scrambles singing across the roofs to his mistress’s room; happiness and freedom, nothing really serious, nothing really lasting, a touching of hands, a tuneful miniature love.”

As always, it’s the films that survive in circulation that have the best chance to being reevaluated as time passes by – but since Paris in Spring has been more or less abandoned to the Paramount vaults, and circulates only in bootleg DVDs, one either has to see a second rate copy of this first-rate film, or be content with memories. Complicating things further is a really vicious review of Paris in Spring in The New York Times by Frank S. Nugent from July 13, 1935, when the film was first released in the States – contrast this with Greene’s review, which is only available in a volume of his collected film reviews, and not on the web.

This is yet another film that deserves to to be on DVD; one more film where only the reviews survive.

Get Yourself A College Girl (1964)

Tuesday, February 28th, 2012

Click here, or on the image above, for a brief clip from Get Yourself A College Girl.

And while we’re on the subject of 60s California pop, here’s a truly amazing film which has just been released on archival DVD — no masterpiece, this, but a wildly disparate cast in a completely nonsensical plot — featuring a truly amazing group of recording artists of the period, all shot in 6 days in glorious Metrocolor.

Get Yourself A College Girl was produced by the legendary “speed artist” Sam Katzman, who had an iron clad rule that no film he produced would take longer than six days to get in the can — until he lengthened his schedules in the late 60s to a lavish 15 days for some of Elvis Presley’s later films — and directed by former child actor Sidney Miller, whose other credits include directing episodes of Get Smart, The Addams Family, The Smothers Brothers Show, My Favorite Martian and even The Mickey Mouse Club.

Mixed into this cinematic stew are Nancy Sinatra, Chad Everett, Hortense Petra (Katzman’s wife, a “good luck” charm in all of his later films), plus musical guests The Standells, The Animals, The Dave Clark Five, jazz organist Jimmy Smith, jazz sax player Stan Getz with vocalist Astrud Gilberto, and a whole lot more, none of it making any sense at all, but featuring that slick, candy-colored sheen that typified California pop music of the era.

As critic Mel Neuhaus noted on the TCM Website, “A curious 1964 hybrid of teen movie musical with pre-feminist overtones as well as a parody of moralistic anti-rock message films, Get Yourself a College Girl is a must-see due to its strange guest-star cast, who help elevate the formula narrative into a near-surreal ’60s happening. The basic plot follows Mary Ann Mobley’s transition from songwriter to a controversial figure in the music industry who’s wooed by a song publisher (Chad Everett) and a politician seeking the youth vote [. . .]

The choice of music guest stars is one of the most freakish conglomerations in any movie musical. Let’s face it – any picture featuring rockers The Dave Clark 5 (Thinking of You Baby, Whenever You’re Around), The Animals (Blue Feeling, Around and Around), and The Standells (Bony Moronie, The Swim) alongside the Jimmy Smith Trio (The Sermon, Comin’ Home Johnny), plus jazz greats Stan Getz and velvet-throated vocalist Astrud Gilberto (doing their cornerstone of ’60s cool, The Girl from Ipanema) has got to be seen (and heard) to be believed.”

It’s a fascinating time capsule of a time long vanished, and worth savoring for the sheer explosion of musical talent on the screen. And, of course, everyone looks like they’re having a lot of fun.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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