Sing, Baby, Sing

The rest of the movie is pleasant/mediocre, but Adolphe Menjou's parody of John Barrymore is fantastic. As daring as it is accurate, it makes one feel almost guilty at enjoying it so much (the movie was kicking a man when he was down in lampooning Barrymore's drunken antics and publicly disintegrating marriage). Menjou doesn't just copy Barrymore's mannerisms but has conveyed his essential noble but impish spirit, and the fun he is having is contagious--the scene in the hotel room ends on a moment of inspired hilarity, as truthful as it is loony.

This inspired impersonation had an ironic sequel: Four years later, Menjou played the Barrymore role in a remake (why?) of A Bill of Divorcement. That time he was not able to channel, in a serious way, the personality he had assumed so well in this film; it was a terrible performance.

While not a great film, 'Sing Baby Sing' regardless has many pleasures, more so than caveats. Not one of my favourites when it comes to musicals and films, but there are also a million things worse with which to spend your time with.

Getting the debits out of the way, the story is wafer-thin which would have been forgivable but it's also same-old-same-old and utter nonsense often. The Ritz Brothers' opening routine does go on too long, and while amazingly athletic it's not a sequence that burns in the memory forever and not as funny as it could have been. Ted Healy is wasted, with only his magic trick properly registering, due to the Ritz Brothers, Patsy Kelly and Gregory Ratoff having more to do and in the case of Kelly and Ratoff their material is broader.

Had mixed feelings on the Ritz Brothers in their film debut. They are admittedly incredibly athletic and there are some very funny moments, however they are used too much, a couple of their scenes go on too long and disrupt the story's flow and they do tend to try too hard, which also makes some of their slapstick comedy annoying and overdone.

On the other hand, Alice Faye is charm personified and sings sensually and beautifully in "You Turned the Tables on Me". Adolphe Menjou is also hilarious in a John Barrymore-inspired role, especially when quoting Shakespeare in a hospital. Kelly and Ratoff have broad comedy that could have been overplayed, bizarre or irritating, instead they have a ball with it and are lots of fun.

Tony Martin turns up in a somewhat randomly placed but quite touchingly pleasant scene with him singing the film's best song (and all of them, while not timeless, are lovely with no obvious misfires) "When Did You Leave Heaven", which was also unsurprisingly Oscar-nominated. Brisk pacing and direction, elegant production values and a script that is not only funny and the right side of sweet but properly allows all involved to have fun with it and not hide behind.

On the whole, 'Sing Baby Sing' may not be entirely heavenly, but it is also definitely not one to turn the tables on. 7/10 Bethany Cox

A lively musical comedy in which Adolphe Menjou draws upon troubled actor John Barrymore as his inspiration for Bruce Faraday, a Hollywood superstar with a liking for bay rum. Menjou has a lot of fun, and young Alice Faye is vivacious as the budding songstress whom the press mistakenly assume is Faraday's lover. The Ritz Brothers make their screen debut here, but Gregory Ratoff gets more laughs as Faye's bankrupt agent.

Adolphe Menjou stars with Alice Faye, Michael Whelan, Patsy Kelly, and the Ritz Brothers in "Sing, Baby, Sing" from 1936. At the end of the film, there is a short section introducing the Ritz Brothers as new talents.

This film was to be an early role for Tyrone Power in the Michael Whelan part - for some reason, Sidney Lanfield had him replaced with Whelan, a bigger name. Talk about getting the last laugh.

The film satirizes the romance between John Barrymore and Elaine Barrie, a college student who later became his wife. Menjou plays the drunken actor Bruce Farraday, who decides that pretty singer Joan Warren (Alice Faye) is Juliet to his Romeo during one of her performances.

Joan has lost her job and gone to an agent (Gregory Ratoff) who decides to get Joan some publicity by advertising Farraday's interest in her.

A lot of musical numbers, with the adorable Faye singing the title song and "You Turned the Tables on Me." Tony Martin sublimely sings "When Did You Leave Heaven?"

The Ritz Brothers are heavily featured, probably a bit too much. Some of their routines are quite good and some are silly.

Menjou does a terrific job, reciting Shakespeare in the hospital and becoming enamored of bay rum and drinking it from a hot water bottle through a straw. He thinks it's a drink from South America, but in reality, when he insists on a drink, Joan's agent finds a bottle of it in the hospital.

Not much to this, but it's enjoyable.

When a craze for society singers sweeps the business, night-club singer Alice Faye finds herself out of a job, and her agent, Gregory Ratoff, out of an office. But all is not lost! Vacationing movie heart throb Adolphe Menjou is out on a toot demanding a Juliet for his Romeo, and it's Miss Faye who winds up filling the bill, despite the sneering of reporter Michael Whelan. His beat is covering all the breach-of-promise suits, and he thinks that's Miss Faye's goal in this tsimmis.

With a title that at first made me think I was going to be looking at a missing Shirley Temple movie, I found this is one where every tries to hard: the Ritz Brothers (in their feature debut), Ted Healey, and Patsy Kelly for comedy, so called, Tony martin who pops up shining a street lamp and is called upon to sing on the radio... even Menjou and Montagu Love overplay it. This leaves Miss Faye seem bewildered when she isn't singing one of the many competent but minor songs she is saddled with. Director Sidney Lanfield seems to have been overwhelmed by the comics, and there isn't much modulation going on. Still, if you like these comics -- I don't -- you'll be pleased.