Nacida para el baile

With Born to Dance MGM succeeded in combining two musical types, the sailor story with the Broadway opening night story. Although the plot is down right silly, that hardly makes Born to Dance unique back in its day. What you take from it is the wonderful singing and dancing and the glossy production values of an MGM musical.

And of course Cole Porter's score. It contains two of his most beloved standards, Easy to Love and I've Got You Under My Skin. The rest of the score is serviceable for the plot. I particularly like Hey Babe Hey in which all the principals of the plot participate. How they got James Stewart to dance must have been a challenge.

Of course Born to Dance is famous for Easy to Love being introduced by James Stewart. Stewart had always maintained that the proof of Easy to Love being a great song is that it survived his singing of it to become a great popular standard. His singing is adequate, but for the life of me, I'll never understand why Allan Jones who was up for the part wasn't picked. Especially since I've heard Allan Jones's contemporary recording of Easy to Love. Stewart is all right, but the part isn't exactly a stretch for his thespian talents and for cryin' out loud, Jones was one of the best movie singers ever.

The other standard is introduced by Virginia Bruce, spoiled mantrap of a Broadway musical star who takes a shine to Stewart after he saves her Pekingese from drowning while Bruce is visiting his ship at the Brooklyn Navy Yard. Bruce sings I've Got You Under My Skin directly to Stewart with a come hither glance to lure him from Eleanor Powell who is her show's understudy.

Borrowing from Hit the Deck with a plot of three sailors and three civilian women, Born to Dance pairs off Stewart with Powell, Buddy Ebsen with Frances Langford, and Sid Silvers with Una Merkel. Raymond Walburn is at his avuncular best as the ship's captain who keeps entrusting Silvers and Ebsen to deliver a message to the Admiral and they keep getting sidetracked by their women.

With Powell as the understudy to Bruce and them both vying for Stewart, you can readily guess how this story will resolve itself. Eleanor dances divinely, especially in the finale number Swinging the Jinx Away which Frances Langford sings and Buddy Ebsen also dances.

With all the talent involved and a plot which is a walking cliché, but easy to take, it's easy to love Born to Dance as I do.

This is a film that has a minimum plot. Sailors chase girls and along the way, everybody sing and dance. Eleanor Powell shows her talent, tapping in a spetacular specialty number called `Swinging the Jinx Away'. A young James Stewart warbles `Easy to Love' in a charming way. But the real curiosity is to watch Buddy Ebsen. I bet that many people that watched him in TV series such as Beverly Hillbillies and Barnaby Jones didn´t had a clue that in his youth he was a very acomplished dancer. The songs by Cole Porter are top notch and `I've got you under my Skin' and `Easy to Love' became standarts. If you like 30's musical, is well worth to take a look in Born To Dance.

Eleanor Powell has come to New York to make it, and make it she does in "Born to Dance," a 1936 musical also starring James Stewart, Virginia Bruce, Buddy Ebsen, Una Merkel, and Sid Silvers.

There's not much of a story, and not much of one is needed. Newcomer to the big city Nora Paige (Powell) meets sailor Ted (Stewart). They fall in love; meanwhile, she gets into a show understudying the lead, the great Lucy James (Bruce).

Ted saves Lucy's Pekinese when it jumps into the water, and the producers use that for publicity, cooking up a romance between Ted and Lucy. Nora is heartbroken, believing that Ted is cheating on her. They fight. Lucy ends up walking out of the show; Powell then becomes the star - you can guess the rest.

Certainly this is a wonderful score, one of the best, with the wonderful "Easy to Love," "I've Got You Under My Skin," "Rolling Home," "Rap-Tap on Wood," and others. The surprise of the cast is James Stewart, singing in a Fred Astaire sort of way - he's delightful, very musical, with a sweet voice that goes well with his boyish demeanor.

Eleanor Powell is one of the great film tap dancers, and she gets to do a lot of numbers. She's a very pretty woman with a wide smile. I find her non-tap work a little odd, as her choreography always seems to include a front kick which looks awkward. It's the kind of move that non-dancers like Raquel Welch do in nightclub acts and it doesn't really suit Powell. She is a very likable presence and it's really fireworks when she gets a-tappin'!

Una Merkel, Sid Silvers, et al. Provide excellent support and good comedy, which is abundant in the script that makes the most of dialogue even if the story is thin. Virginia Bruce is great as the glamorous Broadway star. She performs "I've Got You Under My Skin," beautifully.

Stewart sings "Easy to Love," and I can still remember the look on Carol Burnett's face when he sang it to her many years ago, I believe on her TV show. She spoke of going to the movies with her grandmother and watching him on the screen. To have him sing that song to her was an overwhelming moment. It's one of the nicest scenes in the film, too, to see this tremendous star when he was so young and fresh.

This is simply a wonderful walk - or should I say tap - down memory lane. Don't miss it.

From the rollicking opening of the camaraderie of a returning U.S. submarine crew to the booming "Great Guns" of the movie's finale, it's easy to understand why this movie was an antidote to the Depression Era. I personally discovered Eleanor Powell for the first time in this movie. She sure knows how to dance! Jimmy Stewart, who plays a clean cut sailor in this film, shows his talent, not just as an actor but as a singer and dancer as well. A little known Sid Silvers, who plays "Gunny Saks"in this movie is a short, stocky energetic dynamo who probably deserves more recognition, also is credited for the screenplay of the movie. Another actress I discovered for the first time when I saw this movie was Virginia Bruce and she is captivating in the musical number aboard the submarine with her Pekingese companion, "Cheeky". I had recognized the name but another actress who I had little knowledge of was Frances Langford and she is natural to dance with the young boot scooting Buddy Ebson. All of the other character actors in this film are a joy to see. The no-expense-spared musical number at the end of this movie is inspiring. Out of all the movies, I own, I watch this one over and over again, especially when I'm in a good mood.

Big musicals were quite the thing in the (Tosthirties. Universal had Deanna Durbin, Warner Brothers had Busby Berkeley, RKO had Fred Astarie and Ginger Rogers, and MGM had MacDonald/Eddy, Garland/Rooney and the Broadway Melody series which featured Eleanor Powell. "Born to Dance" is basically a sequel to "Broadway Melody of 1936" which had made a star of Powell. Not only was she in this film, but other carry-overs included Una Merkel, Sid (not Phil) Silvers, Frances Langford and Buddy Ebsen. Jimmy Stewart was a young (27) newcomer, who was in eight films in 1936 including one MacDonald/Eddy and one Thin Man film. This, however, was his only singing role.

As musicals go, this is in the revue tradition, with the lightest of plots tying together a collection of song and dance numbers, comic bits and of course, a big, show-stopping finale. The plot here, mixing sailors and Broadway shows only occasionally flirts with reality. The score, written for the film, is entirely by Cole Porter and includes two of his best-known standards, "Easy To Love", and "I've Got You Under My Skin". Though fun, most of the other numbers are in service of the film and were not written to become popular without it. Composers rarely threw a whole group of top songs into a musical, though Porter himself did late in his career with "Kiss Me Kate".

The songs do all serve their purpose. The opening number, "Rolling Along", introduces all the sailors with a male chorus singing something similar to a college fight song (Porter had famously written Yale's). Powell is introduced quickly after this with an orchestra playing "Easy to Love" as she walks down the street, establishing it as the film's love theme. It will be repeated in a big number in Central Park sung by Stewart and Powell. Powell is dubbed by Marjorie Lane, but Stewart is not. His voice is a bit like Fred Astaire's: a light tenor with an almost wispy feeling at times, singing in a way that is somewhere between talking and really belting out a song.

"Rap, Tap on Wood" is a show-biz style number that gives Eleanor a chance to dance in a lobby where four sailors pop up and not only sing, but also play a flute and three ocarinas. "Hey Babe Hey" with a carousel-like melody, gives all three couples a chance to sing in the same number. This film has not just the usual second couple (Merkel and Silvers), which traditionally is comedic but even a third couple. People here fall in love immediately and for no apparent reason, hence Frances Langford and Buddy Ebsen are a couple. Ebsen was an accomplished tap dancer, but here does some swaying moves like he's made of rubber, creating an odd visual effect..

"I've Got You Under My Skin" goes to Virginia Bruce, who plays a Broadway diva whose penthouse is done up in an all-white mix of Deco and Rococo with a gigantic mirror and a terrace with its own fountain. It's on the terrace that she sings it to Stewart, hoping to win him away from Powell. It's a great setting for a great song. The gigantic finale takes place on a stage version of a battleship with everyone done up in white tails and sequins and the music of "Swingin' the Jinx Away" a razzmatazz, Irving Berlin-style number with jivey sections that mention Cab Calloway as their inspiration. This gives everyone a chance to do their specialty and ends things fittingly with only the shortest of scenes afterward to tie up the ends of the plot.

Within all this director Roy Del Ruth places three extended bits by character actors, all of which are memorable. Barnett Parker was a stuffy butler with few lines in many films, but here he does a funny turn as a model home salesman-interior designer in a pompous British manner. Another Brit, Reginald Gardiner, comes on as a cop in what would usually be a ten second walk-on to interrupt the main characters (think "Singing In the Rain") but instead ends up doing a hilarious impersonation of Leopold Stokowski ("Fantasia") conducting. This bit, his first in films, made him a regular character actor in Hollywood. He's now probably best known for "Christmas In Connecticut". Ruth Troy, popular radio comedian, does a shorter but funny bit as a secretary on the phone with a friend.

Overall the film is pleasant if awfully light. The lightness actually helps as there's no need to develop any plot complexities and doesn't overdo it with too many gargantuan numbers. Some of the lines of banter in the script are genuinely funny. Mostly it's Eleanor Powell just bursting into stardom as one of the screen's best dancers ever. She also has a winning way with her character. She's warm and friendly and much like a girl next door, but also can project sophistication and social grace. Una Merkel is her usual loveable, down to earth character as the lead's friend. Stewart was himself just breaking out and had even been given some villainous roles up to this point, but here amid all the foolishness seems genuinely in love with Powell. A good, if not great musical with two great Cole Porter classics.