Category: It’s a Great Life

  • It’s a Great Life (1929)

    Synopsis

    Babe and Casey Hogan are sisters who work in the sheet music department at the Mandelbaum & Weill store. Babe is sweet and naive, while Casey is a wisecracking broad who gets into trouble mocking the official store song [Smile, Smile, Smile]  and is gently admonished by the manager, David Parker. Beneath all her joking, Casey feels responsible for Babe and is desperate to hold on to her job. 

    Babe is in love with their colleague, James “Jimmy” Dean, who has been given the job of organizing the store’s annual show. Jimmy asks Babe to marry him, but they are scared to tell Casey, who does not like Jimmy. On the night of the show, which opens with a fashion show What the Debutante Must Do], Jimmy sends the models on in the wrong order, ruining the number. Then he sends on a singer who does not know his words [I’m the Son of A–]. Jimmy and Babe perform together [Won’t You be My Lady Love], but Babe is too nervous to sing properly, so Casey turns it into a comic number. Casey and Babe perform an impromptu number [I’m Following You]

    Babe (vivian Duncan) and Casey (Rosetta Duncan) perform their love duet while Jimmy (Lawrence Gray plays the piano

    Mr Mandelbaum and Mr Weill, the store owners, arrive late and see the finale [Smile, Smile, Smile] and are horrified when Casey turns the store song into a joke. They fire Casey, Babe and Jimmy. David walks Casey home and tries to ask her to marry him, but she fails to understand. Babe and Jimmy arrive with Jimmy’s friend Benny Friedman. Benny is a vaudeville booker and offers Casey, Babe and Jimmy a job. 

    At a rehearsal studio, Casey and Jimmy argue constantly as they develop an act. [I’m Following You; It’s An Old Spanish Custom; Tell Me Dirty Maiden]. They are a hit, but Jimmy is annoyed that Casey cuts his piano solo. In their dressing room, Babe angrily tells Casey to stop picking on Jimmy. 

    At the next theatre, Babe and Jimmy are late for rehearsal. David comes to see Casey. His second attempt at proposing is interrupted when Babe and Jimmy arrive. Casey fires Jimmy from the act, but Babe says she is going too; she and Jimmy are married. Casey is devastated and breaks up the act. Casey sends David away, because she has to get used to being alone now [Let a Smile Be Your Umbrella on a Rainy Day]

    Casey realizes how much her sister loves Jimmy

    Jimmy announces a new act, Dean and Hogan, but they flop and are fired after one performance. They vow to stick together [I’m Following You]. Casey, meanwhile, is performing a single act, but Benny tells her it is not as good without her sister. 

    Benny arranges for her to meet Babe and Jimmy at his office, where they all pretend to be doing better than they actually are. Casey is concerned that Babe is coughing and instructs Jimmy how to look after her. 

    Casey continues to play low-class venues [Ach, du lieber Augustin]. Babe becomes ill and, in her delirium, calls out for Casey, who hears her voice while performing elsewhere in the city. 

    David calls in to see Casey and finally tells her he loves her. He is leaving that evening to run the Mandelbaum and Weill store in Paris, and he asks Casey to marry him. She says yes, but just then Jimmy arrives. He tells Casey that Babe is very ill and needs her. Jimmy knows that Babe loves him, but that he will never mean as much to her as Casey does. Casey tells David that she loves him, but she has to stay with Babe and look after her. 

    Casey goes to Babe, who is still delirious, imagining they are performing at the Palace [Hoosier Hop; I’m Sailing on a Sunbeam!]. Babe recovers when she sees Casey and learns that she and Jimmy will work together again without arguing.          

  • Oscar Rudolph

    Oscar Rudolph (1911-91) was a bit-part actor who went on to a career as a prolific director of television episodes.

    After appearing as a freshman who loses his trousers in So This Is College, he played another student in In Gay Madrid, a cook in It’s a Great Life and a peasant in Maytime.

  • David Cox

    Little seems to be known about David Cox (1906-19??), who designed costumes at MGM before moving to work with Dolly Tree at Fox in 1932. He is, nonetheless, a featured artist at the Victoria & Albert Museum, where a costume designed for Bessie Love to wear in The Broadway Melody is among the exhibits.

    Cox also designed for The Hollywood Revue of 1929, It’s a Great Life, Chasing Rainbows, Call of the Flesh, Good News and Love in the Rough.

  • Al Boasberg

    Albert Isaac Boasberg (1891-1937) played a number of roles in his short career but was essentially a gag writer. In that capacity he worked with many of the major vaudeville and radio stars of the day, including Jack Benny, Bob Hope, and Burns and Allen. In Hollywood, he also wrote for and, on occasion, directed dozens of shorts and features, most notably Battling Butler (1926) and The General (1927) with Buster Keaton.

    Boasberg contributed to seven MGM musicals. He co-wrote So This Is College, (and also composed song lyrics, then worked on It’s a Great Life and Chasing Rainbows. Free and Easy reunited him, in less auspicious circumstances, with Keaton, and he provided additional dialogue for The Florodora Girl.

    Back in his comfort zone, Boasberg script-doctored for the Marx Brothers in A Night at the Opera, and then wrote most of the scripted jokes for A Day at the Races. Joe Adamson, in his book about the Marx Brothers, wrote of Boasberg that his “monumental ingenuity at packing sentences with insanities was matched only by his monumental indifference to the logical progression of a plotline”.

  • Sam Wood

    During his years at MGM, Samuel Grosvenor Wood (1883-1949) was a thoroughgoing studio man, one of Louis B Mayer’s favourite directors because, if Mayer told him to change something, he changed it. 

    Wood was a reliable journeyman director who was eventually assigned to pictures that were beyond his creative abilities. Sam Wood and Hemingway’s For Whom the Bell Tolls was not a match made in heaven, given the director’s extreme conservatism, but Paramount gave him the job anyway.

    Earlier on, Wood provided unfussy, if uninspired, direction on So This Is College, It’s a Great Life (which he also produced) and They Learned About Women. He also did uncredited work on The Cat and the Fiddle and Hollywood Party.

    There were few directors at Metro less suited to work with the Marx Brothers, yet Wood was assigned both A Night at the Opera and A Day at the Races

  • Ann Dvorak

    Anna McKim (1911-79) made her name as an actor of great talent in Scarface (1932) and flourished for a time at Warner Bros. But only a couple of years earlier she had been a regular member of the chorus line in no fewer than eleven of Metro’s early musicals. She is prominent in all her appearances, largely owing to her unique beauty and a screen presence that would be fully revealed by Howard Hawks.

    Dvorak is cited by some sources as assistant choreographer to Sammy Lee, who certainly was the dance director on most of her MGM appearances. This would certainly explain her prominence.

    Dvorak starts off big in The Hollywood Revue of 1929 in a two-shot with Jack Benny. She gets to speak two words (“Pardon me”) and slap Benny in the face. After playing a student in So This Is College, she was back in the chorus line in It’s a Great Life, supporting the Duncan Sisters.

    After that, Dvorak was in Devil-May-Care, Chasing Rainbows, Lord Byron of Broadway, Free and Easy and Children of Pleasure. She was another student in Good News, another chorus girl in Love in the Rough and, finally, a party-goer in the zeppelin in Madam Satan. In later films she was also working on choreography with Sammy Lee.

    Dvorak also worked on The March of Time before it was abandoned.

  • Sammy Lee

    Sammy Lee (1890-1968), born Samuel Levy, was the first in a line of important choreographers at MGM, though he arguably achieved greater success on Broadway and at Twentieth Century-Fox.

    Lee is uncredited on The Broadway Melody, which he might have been quite happy about, given the rudimentary nature of the dance numbers. He had worked on Ziegfeld’s Follies in 1927, but this is not reflected in the style of the fictional Zanfield’s show. Lee and director Harry Beaumont could not, in this first-ever film musical, determine how to make a stage performance cinematic. Nor were the chorines of the quality Lee would have been used to on Broadway.

    Lee’s first onscreen credit was for ‘Dances and Ensemble’ in The Hollywood Revue of 1929, where he did his best with non-professional dancers Joan Crawford and Marion Davies. He also essayed a pre-Berkeley overhead shot of the chorus.

    Lee went on to stage dances for It’s a Great Life, Chasing Rainbows, Lord Byron of Broadway, They Learned About Women, Free and Easy, Children of Pleasure, Good News, Love in the Rough (which includes an al fresco number performed at a real golf club), A Lady’s Morals, Broadway to Hollywood and Dancing Lady.

    A move to Twentieth Century-Fox earned Lee Academy Award nominations for King of Burlesque (1936) and Ali Baba Goes to Town (1937). He was back at Metro for Honolulu, Hullabaloo, Cairo, Born to Sing, Meet the People and Two Girls and a Sailor.

    Lee had a parallel career as the director of a series of undistinguished shorts.

  • William Axt

    William Axt (1888-1959) was a composer and conductor who joined the MGM music department in 1929 and went on to write hundreds of scores. He composed for a number of musicals, mostly early in his career: Marianne, It’s a Great Life, Devil-May-Care, Chasing Rainbows,The Rogue Song, Free and Easy, Call of the Flesh, Madam Satan, Hollywood Party, The Great Ziegfeld,  Thoroughbreds Don’t Cry, Everybody Sing and Listen, Darling. 

    Axi’s work was also taken off the shelf for use as stock music in New Moon, Student Tour, Balalaika and Little Nellie Kelly .

  • Benny Rubin

    Benny Rubin (1899-1986), like Cliff Edwards, was a recurring presence in Metro’s earliest musicals. A talented dialect comedian, he was limited in most of his musical appearances to a Jewish characterization; it has been suggested that his career was hampered by the idea that he looked “too Jewish”.

    Rubin’s first appearance was alongside Edwards in Marianne, and he followed this up as vaudeville booker Benny Friedman in It’s a Great Life. He is the Jewish half of a double act with Irish Tom Dugan in They Learned About Women, and an agent in Lord Byron of Broadway.

    Rubin plays a doctor from the Bronx who finds himself amongst the cowboys in Montana Moon, while he is back in New York’s show biz as a pianist in Children of Pleasure. In Love in the Rough he is a fish-out-of-water Russian immigrant masquerading as Robert Montgomery’s valet. 

    The 1932 moratorium followed and Rubin was absent from MGM’s musicals until 1953’s Torch Song. He then had, mostly uncredited, roles in Easy to Love, Meet Me in Las Vegas, Ten Thousand Bedrooms and Looking for Love

    Benny Rubin’s final appearance was as another Jewish agent in Orson Welles’s film maudit The Other Side of the Wind (filmed in the 70s, released 2018).

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