Primer amor

Two very young actors make up this cinderella story, Robert Stack (just 20) is the hero and Deanna at 18 still has quite a bit of puppy fat on her face (I didn't like the hair style - was it to make her seem older? ). She, an Orphan like Cinderella lands up in - not step mother here, but rich maternal uncle's home. Here of course there was one cousin, of the step-sister type the other cousin of opposite gender, the aunt and even the uncle are really not villainish by nature, but villain by the lack of empathy, not only towards our Cinderella, but towards the whole world.

There are of course nice songs too, has to be when Deanna is there. The movie is well made, and very watch-able, and of course the end is predictable in any fairy tale. Along with Deanna there are two more lovely girls, Helen Parish (the Cousin), a quite frequent co-actor of Deanna, and June Storey, another Canadian, both trying to win the Prince Charming.

There are two interesting things here, one puzzled me, till I understood what it was and other one, the main song, wasn't properly visualised.

If there is a call to sing a Strauss' waltz, even if you specify it is the Junior's, unless you know which one it is, no one can sing it. More so, it had been told to have a bit of modifications, some bars were changed, probably to cater to her voice-spectrum by the singer, Mme Cottellini, who was supposed to sing it, mentioned. Even more problem in it was, that even had she caught the opening, she still would have been in for a trouble, since it was a mix of three of Strauss' Waltzs, Schatz-Walzer, the beautiful Rosen aus dem Süden(the main body) and lagunen Walzer (finale) : unless one knows that, it would be impossible.

The interesting and wonder-ful (not necessary wonderful) portion was, after this waltz, when Deanna was dancing with Stack, I observed there was something in her left hand, what was it I wondered.... and then it struck me. That was the cloak-ticket. And she had retained it, held between the forefinger and middle finger of her hand, till she exchanged it for cloak. In fact she had been playing with it, even during the 'spring waltz'. This was unexpected that one would go for that much precision. I wonder who thought about it, Koster or Deanna ? I am sure the viewers won't have noticed it, or even wondered if it wasn't there (you could have some pocket or fold in the dress to keep it).

Young Deanna Durbin goes to live with her uncle Eugene Palette and a group of snooty society cousins in this film. They treat her like a country cousin and snub her generally including her aunt by marriage. But little do they know that Deanna is destined to find her First Love in this story reworked from the Cinderella fairy tale.

After three years Deanna was growing up on screen and the folks at Universal Pictures decided she ought to have her first screen kiss. The one tapped for the honor was a guy making his screen debut Robert Stack.

The one who really treats her rotten is her débutante cousin Helen Parrish and her equally snobby friend June Storey. Deanna is not treated any better than one of the staff at her house, like Cinderella she might as well be relegated to being a chimney sweep.

Stack is the guy that Parrish and Storey have set their caps for, he's another society kid. But he likes simple and unaffected Deanna who ironically Parrish sets up the meeting between them. That's a rather funny scene.

Some good songs for Durbin highlighted the classic There's No Place Like Home, Amapola, and Un Bel Di from Madame Butterfly. And of course one of the most publicized kisses ever in screen history.

First Love brought home Oscar nominations for Sound, Art&Set Decoration, and Musical Scoring for Universal Pictures. Little Miss Fix-It was definitely growing up and her future roles would show a maturing Durbin for the movie-going public. It still is fine entertainment.

I'll take my Cinderella with Prokovief, but after watching First Love, a first-rate film with a quease-inducing title, I'll place this Deanna Durbin vehicle second.

"You go up there to New York," says Miss Wiggins, a crotchety, spinster music teacher, to Connie Harding, who has just graduated from a fancy private school. "Make those people love you just as much as we do." Connie is an orphan, and Miss Wiggins is referring to her uncle and his family, wealthy New Yorkers who have paid all her bills but were just too busy to drive down for her graduation. They sent one of the family's limousines for her. "And then," Miss Wiggins says, "maybe, someday, you will meet a prince, and you'll live happily ever after."

"Those fairy stories haven't come true for over 100 years, Miss Wiggins," Connie says.

Miss Wiggins thumps the floor with her cane. "Fiddlesticks! We just have to dust them off...streamline them a bit."

And this is what director Henry Koster, one of the best of Durbin's directors, has managed to do. He is aided immeasurably by a clever script ("This is terrible," says Barbara, Connie's awful cousin, "I can't be more than an hour and a half late to Wilma's party...she's one of my personal friends!") and solid, pungent performances by some very good character actors. The story's sweetness is genuine, based on the intrinsic sympathy for a young girl who manages to overcome obstacles with the help of others, and then finds happiness. Deanna Durbin at 18 is an intriguing combination of naturalness and skill. We like her the moment we see her, and her ability to win us over is enhanced when we meet the family. Her uncle (Eugene Palette) is a gruff man who seemingly only wants to keep far away from his wife and children, as well as away from Connie. When we meet the rest of the family, we sympathize with him. His wife (Leatrice Joy) is unpleasantly scatter-brained. His daughter (Helen Parish), a year older than Connie, is a snobbish, selfish, manipulating terror. His son (Lewis Howard) is so languid he make laziness seem tiring.

There's a lavish ball, and Connie gets to go thanks to the intervention of the servants, led by that great butler-playing specialist, Charles Coleman. She meets a prince of a wealthy young man, Ted Drake (whom she met once before with mud on her face). When they waltz at the ball, all the other dancers fade away in a clever bit of instant love setting by Koster. Then Durbin receives her first screen kiss, from Robert Stack as Ted, as naturally as she acts. After the usual ups and downs for Cinderella, there's a happy ending which involves a matching slipper. Her uncle becomes the worm who turns, dealing brisk and satisfying retribution to his family, and even Miss Wiggins smiles. We are assured that Connie and Ted live happily ever after.

Durbin sings two or three songs, including the hoary old tear-jerker "There's No Place Like Home." More impressively, she sings "Un Bel Di." Impressively, because not many 18-year- olds I've heard of would be able to handle the emotions Puccini lays on with such a trowel. The aria is a tear-jerker, too, but a great one. It takes a singer who knows what she's doing to handle the emotions (in Italian) as well as the notes. Durbin carries it off impressively with her usual uncanny poise.

First Love, except for that title, is completely and satisfyingly charming.

A maturing DEANNA DURBIN and a strikingly handsome young ROBERT STACK are the enjoyable romantic leads in this Cinderella tale that spins along with a few Durbin songs tossed in for good measure.

Deanna plays the orphaned cousin of a rich and snobbish family that tries to get her to stay home from a lavish ball. With the help of servants (instead of mice), Deanna gets to attend the ball, delivers an outstanding solo, meets the handsome "prince" (Stack) and has to fend off the insults of her snobbish cousin (Helen Parrish).

The slight plot moves effortlessly toward a happy ending. Durbin fans should love this one--it's easy to take and easy to love. Eugene Pallette gives a fine comic performance as her gruff uncle and the rest of the cast does a professional job under Henry Koster's direction.

"First Love" was a major transition for Universal star Deanna Durbin, as she was being positioned to shift from child star to engenue (something that Fox was inevitably unable to accomplish with Shirley Temple at the same time). While the film is not an overblown epic, it's lavish in the details, and carefully produced to give the whole piece a maximum of charm. To today's audiences, it might be a bit saccharine, but if you can dial down the cynicism of our age, the film's positive points grow.

Durbin plays much more subtly in this film than she had in many of her earlier films--signalling that she was now "maturer" instead of being a juvenile whirlwind ball of energy like she had been in "Three Smart Girls" and "100 Men and a Girl." Her beau, played by an impossibly young (and almost scarily good looking) Robert Stack, gives Durbin her first screen kiss--a source of major publicity for the film at the time.

The story is an updated Cinderella/screwball comedy, which nevertheless allows Durbin's character to break out into a few operatic arias throughout the film (this also takes some getting used to for modern audiences). The most memorable part of the film, suitably, happens during "the ball," where Durbin and Stack dance for the first time. Employing a charming idea, a shot of a crowded dance floor dissolves to a shot of just the duo dancing, to imply how the pair are so involved with each other that the rest of the world has faded away. If you like stuff like this, then you'll revel in the rest of the film.