Friday, August 18, 2017


                A great deal of the prestige still attached to the name MGM comes courtesy of its vintage musicals. For this, much of the credit belongs to producer extraordinaire Arthur Freed. Blessed with taste and a love for musical films (he himself was a world-class lyricist - co-writer, for example, of all the songs you hear in “Singin’ in the Rain”), Freed was both brilliant studio exec and  top-notch talent scout.  He sought out excellence eagerly, eventually bringing together the greatest creative forces in the field to form MGM’s legendary Freed unit. The man knew how to delegate his troops - singers, dancers, choreographers, musicians, arrangers, writers, craftsmen - for maximum payoff.  And he also identified, galvanized and inspired some of the best and brightest already on the lot (musical man for all seasons Roger Edens  and orchestral arranger Conrad Salinger), adding radically gifted powerhouses  like vocal arranger Kay Thompson and writers Comden and Green.  Judy Garland, the world’s greatest movie musical star, was already at MGM. Under Freed’s aegis, other ground-breaking performers - some rising (Gene Kelly, Frank Sinatra), some already reigning (Fred Astaire) - joined her there. And they were only the most prominent members of an ever deepening onscreen talent pool. Freed fired the first salvo in his ascent at MGM as guiding force behind “The Wizard of Oz” - an auspicious calling card if ever there was one. Within a short time, he’d begun to reshape and re-energize the MGM musical.
                 For all their charms, the MacDonald-Eddy hits of the 30’s were symbols of an increasingly antiquated genre. Operetta seemed ill-equipped to put down its parasol and duke it out with the rising big band and swing crazes. Eleanor Powell’s movies – tap extravaganzas hobbled by imbecilic scripts - made money in the 30’s.  Dancing, Powell was always faster on her feet than the films jerry-built around her.  But, between numbers, Powell’s screen persona was largely a matter of good-natured grinning. And by the 40’s its appeal with movie audiences was largely exhausted.  The war years produced Freed’s Judy/Mickey  let’s put on a show hits  - brimming with fresh, youthful vitality, propelled by big band energy,  cleverly spotlighting all that was best in its star duo. The public loved the up to date optimism and energy of their pictures. But elsewhere on the Metro lot, not everything was as rosy. By the mid-forties, Garbo and Shearer were gone, Crawford had decamped to Warners and Gable seemed somehow tamer. During the war years, big profits (and Oscar nominations) stuck to Greer Garson’s skirts like static cling. Postwar audiences seemed less entranced. Certainly MGM needed a more secure hook on which to hang its ongoing reputation than Van Johnson, whose sudden (and baffling) bobby-soxer fuelled stardom, was a bubble just begging to be burst. MGM’s musicals became that hook.
                The other key behind the scenes figure in this golden age scenario was director Vincente Minnelli. Photographer, art connoisseur, set and costume designer and finally director, by the end of the 30’s Minnelli – still a young man - was one of Broadway’s leading lights. Freed was captivated by his work, recognizing a potentially crucial addition to the MGM team. At first reluctant, Minnelli eventually  gave in and by spring of 1940 was California bound. The director’s first major project at MGM, “Cabin in the Sky” revealed the distinctiveness of his gifts. A musical fantasy with an all black cast, the picture was like no other MGM musical before it. Music breathed organically from its every pore, while a particularly fluid camera prowled through inventively stylized sets. A sympathetic nurturer (and admirer) of his stars (Ethel Waters and Lena Horne), Minnelli captured and celebrated their gifts onscreen as no director had before. The film had an extra special glow in its initial showings, released in beautiful sepiatone prints.  Critics hailed “Cabin” as an artistic coup for the studio.  And MGM was even happier when the public embraced it. On a relatively modest budget, Freed and Minnelli had created something special  -  and the unlikely, adventurous project netted the studio over half a million in pure profit.
                Impressed, MGM entrusted Freed and Minnelli with a big budget and a big star, Judy Garland. Result: “Meet Me in St. Louis”, a heartfelt, lovingly mounted slice of Americana infused with seamlessly integrated musical elements;  it  broke box office records.  And lifted Garland, glowing in material genuinely worthy of her talent, to new heights artistically. Today, the film’s considered a masterpiece, the one that really kicked off the golden age of MGM musicals. Its success confirmed  Freed’s mandate at the studio. He was given virtual carte blanche as long as he continued to produce Class A musicals that burnished MGM’s reputation and kept filling its coffers.
                Every Freed triumph wasn’t a Minnelli film and every Minnelli film wasn’t a box office smash. But both racked up pretty impressive track records.  Certainly, their work, together and apart, continued to excite people who cared about musicals. Though his abilities as a decorative stylist were prodigious (think of the Dali-esque landscapes of “Yolanda and the Thief” and “Ziegfeld Follies”, the hot-house tropical birdcage splendor of “The Pirate”), Minnelli’s gifts went far beyond. Yes, his attention to details of lighting, draping and decoration was legendary. And his unique, flamboyant visual sense registered as infinitely more subversive and sophisticated than anything you might find in, say, one of Betty Grable’s  cookie-cutter musicals at Fox. French critic Jean Domarchi rightly hailed Minnelli as someone capable of giving substance to dreams.  But he was also an expert at motivating performers, at incorporating them into his vision while preserving and celebrating their singularity. Minnelli could serve up provocative visuals – glamour propelled along by insistent Freudian undercurrents - yet still maintain dramatic momentum, together with sustained and sometimes startling levels of musical excitement. Even Minnelli’s occasional  commercial misfires (like “Yolanda” and “The Pirate”) were generally works of tremendous artistic originality and excitement. Other inspired musical directors joined the MGM family (Charles Walters, Stanley Donen, even Gene Kelly took up directing), but Minnelli remained monarch in the field.
                Ultra-conservative studio policies (championed by Louis B. Mayer) generally kept Metro away from the edgier, more progressive or noirish material flourishing at other studios. Metro dramas tended to be stodgy rather than relevant. The studio’s “serious” films were seldom what you’d call hard-hitting, smug patriotism and sentimental clich├ęs being poor substitutes for genuinely provocative drama. Studio chief Darryl Zanuck at Fox was much more ambitious and daring. The few good noirs MGM put out in the era (“Act of Violence”, “Border Incident” “The Asphalt Jungle”) were practically filmed under executive protest, receiving little more than grudging promotional support. The Freed musicals, on the other hand, attracting both big box-office and critical applause,  naturally emerged as the boutonnierre on Leo the Lion’s lapel.
                By the late 40’s an anti-monopoly measure from the government had forced the studios to divest themselves of the movie theater chains they controlled. And suddenly MGM found distribution much more of a challenge. All this, combined with the (in Hollywood eyes) insidious growth of TV, sent box office profits spiralling downwards.  In 1951 a nervous New York brass replaced Louis B. Mayer as studio head. Dore Schary, the man who took over, had a plan for MGM’s future; he envisaged a program of modestly priced, socially conscious (though still, as it turned out, timid) programmers, buttressing a limited number of deluxe items. His favoured genre, when it came to those deluxe items, was the historical spectacle. He leaned toward costume epics s like “Quo Vadis”, and swashbucklers with Stewart Granger and Robert Taylor. And for a time, these did very well at the box office. Schary, unfortunately, was no fan of musicals. But the Freed unit’s dual aura of prestige and profit seemed to insulate it – at least for the moment –from studio shake-ups.  Vincente Minnelli’s  “An American in Paris”(1951) won Metro its first Best Picture Oscar in years. It also made tons of money, while simultaneously stretching artistic boundaries. Whatever the problems in the industry, Arthur Freed  had successfully shepherded the movie musical into its crowning era.  “Singin’ in the Rain” followed gloriously a year later, then in ’53 came “The Band Wagon”(also Minnelli). A late and undeniably great  pinnacle in the career of Fred Astaire, the genre’s longstanding king, it was also the best putting on a show movie ever made .  With masterpieces like these appearing every year, raising and refining the standards, movie musical fans might be forgiven for not realizing that the era was soon to come to a screeching halt.  1953 was to be the last year when all – at least from the outside - seemed well.  Metro’s musicals may have been the most prestigious. But the genre seemed to be bustling, still nearly as ubiquitous as the western.  Every studio could be counted on for its annual quota of movie musicals. But TV’s leapfrogging popularity wasn’t the only cause for Hollywood hand-wringing. Trouble was that with changing tastes, the Brando infused wave of realism, the spread of frank foreign imports offering new levels of artistry and/or titillation there was new competition for the North American moviegoer’s dollar. Yes there were still huge domestic hits – but they were becoming widely separated peaks in a desert of flops.  “Quo Vadis” and “Ivanhoe” couldn’t make up for all the red ink MGM was starting to bleed.  Musicals – with their elaborate production numbers and hordes of specialists - tended to be an especially expensive gamble. Spoiled by an embarrassment of riches in the field, critics and audiences turned up their noses at delights like “The Belle of New York”, “Give a Girl a Break” and “I Love Melvin”(all of which lost buckets of money). Suddenly musicals weren’t the financially reliable propositions they’d been for so long. Even well-received items like “Kiss Me Kate” and “The Band Wagon” couldn’t break even.  Hits, if they happened, were likely to come out of left field. Unexpected financial bonanzas from modest productions like “Lili” and “Seven Brides for Seven Brothers” helped save Metro’s bacon. While a seemingly sure-fire Broadway-tested property like Lerner and Loewe’s “Brigadoon” turned into a box office bloodbath, undermining every bit of good supplied by the occasional surprise hit.  By the end of 1953 the only MGM musicals that were guaranteed profit-makers were the Esther Williams aquacades. She’d made one or two every year since ’44 and all of them had come up roses financially. The studio had also lost its most important star, Judy Garland, in 1950. That definitely robbed MGM and – specifically the MGM musical of one of its biggest box office magnets. Metro’s inability to reconcile Judy’s personal problems and on-set unpredictability with commercial realities led to a parting of the ways between studio and star.  It's sad she couldn’t have been part of the MGM musical’s glorious Indian Summer. Certainly, her presence would have made it that much richer.
                Still, Arthur Freed and Vincente Minnelli, were firmly entrenched at the studio – bearers of the artistic banner and – for the most part – commercially successful.  Minnelli’s directorial versatility was one of the studio’s key assets. Taking time out from musicals, he’d helmed some of the studio’s biggest dollar spinners, “Father of the Bride” , “The Bad and the Beautiful”and “The Long, Long Trailer”) So when Freed declared his determination that the studio buy “Kismet”, part of his pitch was that Minnelli would direct.  Schary reluctantly acceded.  And Freed wasted no time in presenting the property to his prize director. On the face of it, “Kismet”practically seemed to demand  the pictorially inspired, exotically inclined Minnelli touch.  According to received Hollywood history, it was at this point Freed suddenly discovered Minnelli had seen the show in New York and loathed it. Who’d have guessed? On paper “Kismet” and Minnelli seemed like an ideal match. But it appears at this time Minnelli was only interested in a long gestating pet project, “Lust for Life”, a  biographical portrait of Vincent Van Gogh, to be filmed mainly on location in Europe. Metro had already invested heavily in “Kismet” and in the end, Freed had to issue an ultimatum. Do it first or MGM won’t okay the European jaunt for “Lust”. No “Kismet”, no “Lust for Life”. Minnelli grudgingly gave in and agreed to do the musical, but, having been virtually blackmailed into it, now hated the idea even more than before. Not a good beginning.

Saturday, August 12, 2017


                                First off, let me be clear. I’m very fond of the stage musical “Kismet”.  Especially its songs.  Those songs were semi-created by Robert Wright and George Forrest -a pair of musicians with a gift for appropriating, refashioning and celebrating the works of classical composers, cleverly re-engineering them into hummable show tunes. They tasted success in the 40’s by adapting the music of Edvard Grieg to create a Broadway musical, “The Song of Norway”.  When looking for classical inspiration to transform the venerable night-in-old-Baghdad play “Kismet” (first produced in 1911) into a musical, they found their ideal source in the repertoire of Russian classical composer Alexander Borodin (1833-1887). Borodin himself had a fascinating life. A world-renowned chemist, his hobby was music. And his enduring success came from the pursuit of that hobby. The body of work he created for symphony hall and stage is virtually unmatched for sheer Orientalist sweep and deliriously sustained exoticism.  His fusion of middle-eastern and Russian motifs with European classical forms established a kind of West meets East template, as heady and seductive now as it was when he first created it. The Borodin repertoire’s rich in melodic hooks, much of it already suggesting a kind of Great Arabian Nights Songbook. In some cases, little musical embellishment was required to turn his themes into classics of the Great White Way. Any refurbishments and additions needed  were expertly supplied by  Wright and Forrest. And certainly the team deserves full credit for crafting “Kismet” ‘s lyrics. Witty, romantic and inspired, they were a vital element in the show's success.  “Kismet” means fate and this “Kismet”s  fate on Broadway was a happy one. It opened in 1953 and ran to packed houses for two years. Songs like “Stranger in Paradise and “Baubles Bangles and Beads” stayed on the hit parade for ages, becoming part of the era’s DNA.  “And This is My Beloved”, though never a chart-topper, was singled out for critical praise and remains an especially radiant souvenir of Broadway’s Golden Age.  But even the lesser known songs in “Kismet” were jewels, each lending sparkle to the proceedings. MGM, regarded as the Tiffany of studios when it came to movie musicals, paid a princely sum to snap up the screen rights.
                Movie musicals are one of my things. Especially MGM musicals.  It’s a love affair that started early.  My first two childhood movie memories both came courtesy of Metro-Goldwyn-Mayer – one gleeful, the other empathetically agonizing.  Number one: seeing Gene Kelly singing and dancing around a flower stall with children (“An American in Paris”) ; number two, watching sweet Jane Powell  enduring some kind of terrifying physical torture. For years I wondered what possible movie could have contained a scene like that. As I found out decades later, it was MGM’s gently nostalgic musical “Two Weeks with Love”(1950). And that Spanish inquisition level torment I’d winced along with as a child was just a comedy sequence where Jane mistakenly tries on an uncooperative corset. My MGM indoctrination continued at home. My parents had a couple of 78 rpm records by crooner Tommy Edwards.They were on the MGM label; one of them, I remember, was “Please Mr. Sun”. Mr  Edwards’ songs never struck me as anything special. But the paper sleeves that contained them were covered with advertisements for a number of MGM movie soundtrack recordings. No pictures – just text. But every word helped me build up images of the glorious song-filled movies they touted.

                 Recorded directly from the Sound Track of the MGM Technicolor Musical
                                                      “SHOW BOAT”
                 Recorded directly from the Sound Track of the MGM Technicolor Musical
                                                “PAGAN LOVE  SONG" 
                                        ESTHER WILLIAMS  HOWARD KEEL

                 Recorded directly from the Sound Track of the MGM Technicolor Musical
                                     “RICH, YOUNG AND PRETTY”                                                                          
There were a number of other MGM musicals calling out to me from those record sleeves, “The Merry Widow” and “Nancy Goes to Rio” were two I remember as especially enticing. No fancy promotional hype, no superlatives about soaring melodies and new vistas of entertainment. Somehow the titles of those films, the glamorous names of the stars and the words “Recorded directly from the Sound Track of the MGM Technicolor Musical” said all that to me - and more. Imaginary versions of these movies played in my six year old head as I pored over those ads. For me, they were the “Open Sesame” to Ali Baba’s cave.  That MGM mystique’s stayed with me all my life. By now I’ve seen pretty much every vintage Metro musical and there’ve been very few that didn’t offer some kind of road back to my initial entrancement.
                                Yet another movie genre I like – a subgenre really – is the Arabian Nights adventure. Related to the sword and sandal and biblical films, but specifically set among the deserts and minarets of the middle east. That imaginary antique middle east where you might find Aladdin or Sinbad leaping over the nearest garden wall. If there’s any religious figure alluded to it’s Allah. Usually with a poetic flourish. But supernatural elements are optional , not mandatory. When they do occur genies and magic carpets tend to be involved. Swordfights and camel rides are frequent and often furious. Maria Montez, Jon Hall, Maureen O’Hara and Sabu are seldom more than an oasis away from one another.  And in these exotic scenarios, those who outwit, outlast and outplay are usually handsome caliphs, rebel warriors, wily wizards and resourceful princesses in peril.
                                Theoretically “Kismet” ticks all the boxes for me ; it’s not just a musical, but an  MGM musical  - and with an Arabian Nights setting. So why did this big-ticket version of the show disappoint not just me, but also its studio (losses were catastrophic) and the 1955 public who swiftly and silently decided this was one to avoid? Stay tuned.