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I fancy musicals and this one has been a well-liked since it first came out in 1954. I was thrilled to receive the DVD and even more thrilled to derive that the songs and dances were level-headed as astonishing as I remembered, the production numbers level-headed as pleasing, and the total indicate as worthy as ever.
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Dan Dailey and Ethel Merman are Terry and Molly Donahue, vaudeville performers circa 1919 when the movie opens. They rapidly add children Steve (Johnnie Ray) Katy (Mitzi Gaynor) and Tim (Donald O’Connor) to the act as each child is faded enough to hurry on stage. They become the successful act known as The Five Donahues and tour constantly even as vaudeville dies away. When their paths execrable with an ambitious blonde named Vicky (Marilyn Monroe) things are never the same. She breaks Tim’s heart and he spirals downward into an alcoholic haze, son Steve leaves the act when he decides to become a priest, and Broadway replaces vaudeville as the elder Donahues use less time on stage and more time in their Modern Jersey home. The ending always leaves me dissolved in tears, but it is the lavish production numbers that beget this a approved. From the catchy opening of Merman and Dailey performing “When That Midnight Choo-Choo Leaves for Alabam’” (later reprised by Gaynor and O’Connor) to the lavish staging of “Alexander’s Ragtime Band” and the uplifting closing of the title song, this movie is a feast for fans of music and dance. Even though Marilyn Monroe shines in her sexy “Heat Wave” number, the long-legged Dailey makes dancing an effortless joy throughout and Merman’s train is uncommonly rich, it is Donald O’Connor and Mitzi Gaynor who enthusiastically dance their plot into your heart and catch every scene they are in.
A space that has Johnny Ray playing a priest torn between his vows and his bows–and it only gets worse from there. But some of the production numbers are deliciously extravagant even by Hollywood standards. The “Alexander’s Ragtime Band” montage–a musical workout that incorporates a variety of musical styles and ethnic costumery and dance–is easily worth the heed of admission all by itself. It alone testifies to Berlin’s importance to American music and consequently to the universe. (But as a fan of Marilyn Monroe, I must say her performance is not famous viewing.) For a more aesthetically satisfying tribute to Irvin Berlin, check out the movie entitled “Alexander’s Ragtime Band,” starring Tyrone Power and Alice Faye–or, for that matter, “Top Hat” with Fred and Ginger.
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