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  • Devil-May-Care

    Synopsis

    France in 1814. Napoleon Bonaparte is to be exiled to Elba and bids farewell to his Old Guard. He singles out Armand de Treville, who looks forward to the day Napoleon will return from Elba [March of the Old Guard]

    Some time later, Armand is in prison alongside other Bonapartists, awaiting execution. He entertains his fellow prisoners by drawing a caricature of Louis XVIII [Louie]. When he is placed before the fighting squad, which is commanded by Lucien DeGrignon, Armand’s last request is to give the order for his own execution. He gives a sequence of orders to the soldiers, ending with ‘about face,’ which gives him the opportunity to escape over a wall.

    Armand (Ramon Novarro) bamboozles the firing squad

    Armand steals a horse and is pursued by soldiers. Reaching a village, he climbs into the upper story window of an inn, entering a room occupied by a young woman, Léonie de Beaufort. Armand’s face is hidden in shadow. Léonie is frightened but, when they hear soldiers searching the inn, she let’s Armand hide in a side room. Armand tells Leonie she is the most beautiful girl he has ever seen. But, when a soldier tells her he is searching for a Bonapartist, she betrays Armand.

    Léonie (Dorothy Jordan) discovers a strange man in her room

    The soldier enters the side room, there is the sound of fighting, and Armand emerges, wearing a uniform. He rides away with the troops and Léonie finds the soldier lying stunned in the side room. Armand soon separates from the other soldiers.

    In the south of France, Countess Louise lives alone in a great chateau [Why Waste Your Charms?]. Armand, an old friend of Louise, arrives and asks for shelter. Louise is a Royalist, but she loves Armand; he loves her also, but only as a sister.They agree agreedthat Armand will pretend to be a servant.

    Later, Léonie arrives as a guest at her cousin’s chateau; she does not recognize Armand because she never saw his face. Taking luggage to Léonie’s room, Armand hears Léonie telling Louise about the incident at the inn. He learns that she is so vehemently anti-Bonaparte because her father was guillotined and his lands confiscated by Napoleon.

    Gaston, the butler, takes a liking to Armand and tells him that Louise’s maid is in love with him [Madame Pompadour]. A fellow Bonapartist tells Armand that Napoleon will soon return to France and he should hold himself ready.

    Armand continues with his servant’s duties [Charming] and Léonie finds herself attracted to him. A letter arrives from DeGrignon, who is coming to court Léonie. Léonie asks Louise if it is ever permissible to love someone not of your station, not realising she is touching on Louise’s love for Armand [If He Cared; Charming]. Armand flirts with Léonie, who tries to admonish him, but without success.

    Léonie is shocked to receive a love letter from the Bonapartist Armand de Treville. She concludes that he must be hiding nearby and asks Louise for a pistol, to use if he ever comes near her.

    Armand tricks the groom into letting him escort Léonie on her morning ride. They stop to rest in the forest and Armand confesses his love [Shepherd Serenade]. They kiss, but Léonie immediately regrets it, preventing Armand from revealing his true identity. But Armand now knows she loves him.

    Armand serenades Léonie

    DeGrignon arrives to propose marriage to Léonie, and is surprised when Louise tells him how her cousin concealed her “maidenly trepidation” when she received his letter.

    When Léonie returns and sees DeGrignon, she runs to her room. DeGrignon questions Armand in his guise as a servant, then returns to his headquarters, where he checks the description of the escaped prisoner, confirming that ‘Charles’ is really Armand. He takes men to arrest Armand.

    Meanwhile, Armand receives news that Napoleon has landed in France and tells Louise he is leaving to join the Emperor’s army. Léonie will not let him into her room, so he tells her through the door that he is leaving, but also that he loves her. Léonie listens in tears. Louise tells Armand not to despair. As he prepares to leave, Armand hears Léonie singing [If He Cared] and climbs to her window, as he did at the inn [Shepherd Serenade]. They kiss and Léonie says she loves him no matter who he is. Before Armand can reveal his identity, DeGrignon and his troops arrive. Armand hides in her room and DeGrignon tells her that Charles is really Armand DeTreville. This time she does not betray him, but afterwards she orders him to go.

    Armand is spotted and he and DeGrignon duel. Armand wins and escapes. Léonie tells Louise she hates him.

    Armand meets up with the Bonapartist troops [March of the Old Guard]. They gather at Grenoble to greet Napoleon [Love Ballet]. Louise comes to Armand and tells him that Léonie has left for Paris with DeGrignon and begs him to stop her ruining her life.

    Armand deserts and finds DeGrignon drinking with the innkeeper at the inn where he first met Léonie. He goes to her room, this time up the stairs. She tries to scream so he gags her and carries her out of the inn. When they finally stop, Léonie sleeps in Armand’s arms [Shepherd Serenade]. When she awakens, they kiss.                                                      

  • It’s a Great Life

    Songs

    Rosetta DuncanCasey Hogan
    Vivian DuncanBabe Hogan
    Lawrence GrayJimmy Dean
    Jed ProutyMr. David Parker
    Benny RubinBenny Friedman
    Oscar ApfelMr Mandelbaum (uncredited)
    George DavisStore show singer (uncredited)
    George PeriolatMr Weill (uncredited)
    Ann DvorakChorus Girl (uncredited)
    Aileen RansomChorus Girl (uncredited)
    John J. RichardsonItalian vegetable cart vendor (uncredited)
    Clarence BurtonCop (uncredited)
    Rolfe SedanBit Role (uncredited)
    Wylie WatsonBit Role (uncredited)
    Crane WilburBit Role (uncredited)
    Jeane WoodBit Role (uncredited)
  • So This Is College

    Opinion

    Campus life was a popular subject for 1920s Broadway musical comedies, with DeSylva, Brown and Henderson’s 1927 Good News perhaps the pick of the crop. Good News was itself filmed twice by MGM–in 1930 and 1947–but it also inspired college-based musicals across a range of studios in 1929: Words and Music (Fox), Howdy Broadway (Rayart), Sweetie (Paramount), The Forward Pass (First National) and Sunny Skies (Tiffany).

    Metro’s contribution to the cycle was So This Is College, which it used to showcase three screen newcomers whose names would have meant little to film fans. The names of two of them–Elliott Nugent and Sally Starr–remained fairly obscure, but Robert Montgomery went on to greater things as an actor and director.

    The Broadway Melody and Marianne had both cast actors with good singing voices opposite less vocally-gifted female leads. In So T his I s College, however, neither Montgomery nor Nugent have particularly strong voices. The former gets out a few lines of ‘I Don’t Want Your Kisses If I Can’t Have Your Love’ and rewritten lyrics to ‘The Farmer in the Dell’ and leaves it at that. Nugent ostensibly has a solo number (‘I Don’t Want Your Kisses If I Can’t Have Your Love’), but it looks very much as though he is miming to someone else’s singing; when he speaks lines in his natural voice, there is a definite mismatch. For her part, Sally Starr gamely speaks her way through ‘Campus Capers’ to Cliff Edwards’s scat accompaniment. Edwards is the only performer to make any serious attempt at singing, and has three numbers.

     

    Eddie (Elliott Nugent), Babs (Sally Starr) and Biff (Robert Montgomery) on an entomology field trip

    The songs in So This Is College are more or less integrated with the plot. ‘I Don’t Want Your Kisses If I Can’t Have Your Love’ is a love song performed in a domestic setting and with no performative justification. 

    In the chorus sung ‘Until the End,’ Biff and Eddie are forced to extol the virtues of friendship while exhibiting hostility toward one another, an early use of a song to satirize a plot development.

    Eddie and Biff, friends until the end

    Sam Wood’s direction is fairly anonymous, and much of the last twenty minutes is intercut with footage from a real University of Southern California football game. Biff and Eddie both lose the girl (to an uncredited Joel McCrea), but regain their friendship and win the match. Sis boom bah.

  • Hallelujah

    Songs

    Old Folks at HomeStephen FosterChorus
    Waiting at the End of the RoadIrving BerlinDixie Jubilee Singers
    Swanee ShuffleIrving BerlinNina Mae McKinney
    Swing Low, Sweet ChariotWallace Willis
    Minerva Willis
    Daniel L Haynes
    Get on Board Little ChildrenTraditionalChorus
    (Gimme Dat) Old Time ReligionTraditionalChorus;
    Nina Mae McKinney
    St Louis BluesW C HandyNina Mae McKinney
    Goin’ HomeAntonin Dvořák
    William Arms Fisher
    Daniel L Haynes

  • Introduction

    (site under construction)

    If the MGM musical has any cultural cachet today, it is usually attached to a handful of Hollywood stars–Judy Garland, Fred Astaire, Gene Kelly–or a similarly small number of iconic films: Singin’ in the Rain (1952) and An American in Paris (1951), perhaps Meet Me in St Louis (1944).

    But ‘the MGM musical’ actually encompasses 215 individual pictures, mostly produced at MGM’s Culver City studio between 1929 and 1972. Many of these films are now forgotten, even by committed film buffs. 

    Montana Moon (1930) is no Meet Me in St Louis and Malcolm St Clair was certainly no Vincente Minnelli, yet it is an important film for at least two reasons. Its location footage challenges the misconception that On the Town (1949) was the first musical to include footage shot outside the studio. And, like all the other films discussed here, it contributed to the evolution of MGM’s unique style of musical; Singin’ in the Rain did not spring unheralded from Gene Kelly’s muscular loins.

    Metro-Goldwyn-Mayer entered the world of feature-length musicals first and to great effect: The Broadway Melody (1929) pushed across the edges of what was believed achievable with the new talking pictures and won the Oscar for best picture for its trouble.

    All Talking! All Singing! All Dancing!
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