Romanze mit Hindernissen

This is a collection of warm, human and often humorous Booth Tarkington stories, strung together, of a perceived or recalled pre-WWI America. It had all happened half a century before this mid-20th Century production. It was, perhaps, the last clarion call of the sweet, sentimental ballad of the turn of the last Century as Rock and Roll was starting to impact as the popular music of the West.

The production values of this film are strictly 1950s studio. It was shot on tri-exposure Technicolor with the lighting a bit flat but, all in all, a loving tribute to the era complete with many of the top song hits of the time, some that are still celebrated today, in the 21st Century.

This is the first of two movies about the same characters. Doris Day and Gordon MacRae play young sweethearts in this turn of the century inspired by the stories of Booth Tarkington. The story is told from her point of view and her home life with her mother, father and bratty brother are central to the film. Of the family members, the most memorable is Billy Gray ("Bud" from FATHER KNOWS BEST), as he is a terrible little brat that is a lot like Dennis the Menace and the Problem Child all rolled up into one. In particular, the portion of the film where he tells a HUGE lie to his school teacher is a riot!

The romance between the two is sweet, but in trouble because Gordon plays such a stubborn and overly opinionated "modern" man who doesn't believe in old fashioned conventions like marriage! Well, being a Hollywood film, and a very sweet one at that, you KNOW how the film will end. However, the journey there is so pleasant and so well constructed that you really don't mind at all! It's a delight for all.

I've seen this Doris Day-Gordon Mc Rae film a number of times. Actually I first saw it as a little boy when it premiered in 1951. I thought it was a fairy tale then and I still do now. But it's a delightful fairy tale and last night I shared it with my twelve and a half year old son.

A combination of "Father Knows Best" and "Dennis the Menace" with music, "On Moonlight Bay" gave American audiences during a Cold War and a hot Korean conflict the cinematic equivalent of comfort food. All the characters are witty and caring and there's mischief without mayhem. The only violence is a snowball fight and the sole injury is a twisted ankle. The sweetness of the courting couple is what we all want for ourselves but rarely if ever experience. With the mad senator from Wisconsin searching for communists everywhere, the script allowed its male lead to express extravagantly immature ruminations about the evils of patriotism before he, of course, awakened to his duty. This film is from Warner Brothers, the same folks who gave us the Department of Defense funded "Red Nightmare" with Jack Webb.

I wasn't surprised that my son liked the movie a lot. Even at his age he needs and appreciates a good escape from a world less gorgeously delightful than the screen version. Doris Day is very good although her real age is hard to disguise as she acts the teenager.

They don't make musicals like this any more. They can't. Our sensibilities and experiences demand the exotica of films like "Moulin Rouge." "On Moonlight Bay" is a great trip back to an increasingly questioning and insecure America that could imagine a past as happy as that portrayed in the film. I'll see it again. And again.

I've always had a sneaking suspicion that Jack Warner saw how well MGM did with Two Weeks With Love, a nostalgic gaslight era musical that starred Jane Powell. I'm sure Warner then got the idea to do a musical for his reigning musical star of the moment Doris Day from the same era. And save a whole lot of money because nearly all the material is in the public domain.

On Moonlight Bay is the title of the film and one of several songs sung by Doris Day, Gordon MacRae, and Gordon's rival for Doris, Jack Smith all from the era before America's entry in World War I. Hollywood has done a lot to glamorize that era of Norman Rockwell and Grant Wood as America likes to see itself. Certainly none of the social problems the USA had in that era seem to intrude on Milbern, Indiana the fictional location Booth Tarkington had for the Winfield and Sherman families whose son and daughter find each other.

Of course if you paid a ticket to see social problems in a Doris Day film as that other Warner Brother icon would say, what a maroon. Doris as the tomboy first baseman hasn't quite discovered men yet, that is until she almost shoots Gordon MacRae. After that you know how this film will go.

One original song was done for On Moonlight Bay, the Christmas Story which Doris and Gordon sing with accompanying carolers. It blends nicely in with all the nostalgic material.

On Moonlight Bay and its sequel film, By The Light Of The Silvery Moon is based on the Booth Tarkington Penrod stories. Billy Gray who later was Bud Anderson in Father Knows Best plays Doris's younger brother Wesley (Penrod). He's one mischievous kid and whatever trouble he doesn't get into here is saved for the next film.

Doris, Gordon, and Billy all appear in the next film along with her parents Leon Ames and Rosemary DeCamp and maid Mary Wickes who always has a sharp word for the goings on.

I confess I have a fondness for the songs of this romantic era myself, so I'm prejudiced about On Moonlight Bay. But try it you young folk, you might like it.

Though it doesn't match the captivating staging of Vincente Minnelli's Meet Me in St Louis as a nostalgic period musical, both this charmer and its sequel By the Light of the Silvery Moon, based on Booth Tarkington's delightful Penrod stories, are very much in the same mold as the Minnelli classic; both films provide ideal vehicles for the multi-talented Doris Day, seen here at her most fetchingly tomboyish with her frequent on-screen partner at the time, Gordon MacRae. Their combined vocal talents bring genuine class to the turn of the (last) century tunes, providing a veritable cornucopia of some of the era's most recognizable standards. The pair create an easy chemistry mercifully free of the self-conscious projection so prevalent in many contemporary "feel-good" movies. Billy Gray, as Day's younger brother in his pre-Father Knows Best days was a likable and unspoiled child performer, who brought terrific comic timing in the delivery of his misplaced energies. Mary Wickes as the no-nonsense maid who acts as a kind of chorus to the action, is another notable scene-stealer, in a film which like so many of the early Doris Day musicals leaves this viewer with a warm glow.