Rhythm on the River

Fans of Hot Jazz should note that the movie features the great Wingy Manone as part of the band that Bing hires to back him. Specifically there's a terrific number in a pawn shop that features the band blowing hot and Bing singing and drumming (!), harkening back to his "Rhythm Boys" days with Paul Whiteman. Don't miss it!

and what a combo. Two of the century's great singers star together in this underrated musical. He writes music, she writes lyrics, and they both work for Basil Rathbone who can't write either because his wife died (actually she just got fat!). Best scene is the pawn shop number where Bing sings an impromptu number while the swing band gets their instruments out of hock. Just wonderful. And this is a rare starring role for Broadway legend, Mary Martin, and she's quite good. Charley Grapewin, John Scott Trotter, William Frawley, Oscar Levant (once again the manic pianist), Charles Lane, and Helen Bertram co-star. And who knew Rathbone could be funny?

"Rhythm on the River" is one of Bing Crosby's finest of his underrated Paramount musicals.

I discovered it last night, along with another Crosby musical vehicle called "We're Not Dressing" (1934). I never thought both would turn out to be this great. They are the kind of honest, feel-good musicals I'd enjoy and watch them over and over again.

Lightly directed by that underrated stylist Victor Schertzinger, "Rhythm on the River" is a pleasant, surprisingly genial little musical comedy about a gifted and unobserved pop composer Bob Sommers (Crosby) who happens to be in love with an equally gifted musician Cherry Lane (Mary Martin). Both are ghostwriters for a famous has-been composer Oliver Courtney (Basil Rathbone in a fine, delightful role) who uses Bob and Cherry's lyrics & songs for his own good. Oscar Levant has a good supporting role as Billy Starbuck, Oliver's closest friend, the one that inspires Bob and Cherry to write more lyrics and songs for his untalented buddy.

Mr. Crosby and Ms. Martin have awesome chemistry on screen. Their singing and charming camaraderie are wonderfully observed. I particularly adore Ms. Martin; I thought she was her very touching in her performance and kinda reminded me of Margaret Sullavan, with her sweet, humble innocence or dedication.

The memorable songs include "That's For Me", "Ain't It a Shame About Mame" (both sung by Martin), "What Would Shakespeare Have Said?", "Rhythm on the River" (both sung by Crosby), and the unforgettable "Only Forever" (sung by Martin and Crosby together).

"Rhythm on the River" is available on VHS/DVD, courtesy of MCA/Universal Home Video in good transfer and I recommend it to you.

This superb film draws on a variety of talented actors and musicians at the top of their form - Levant, Crosby, Martin, Rathbone, Manone are completely at home in the story that apparently was supplied by Billy Wilder. One would love to know more about how much he had to do with it, because it's an exceptionally clever variation on the sterile master/fertile servant tale - nearly an allegory of the entertainment industry, run by dried-up numskulls, but made into a vibrant world of art and play by an exploited underclass of nobodies and non-WASPs. Looking at the last six decades of music, TV, and film in the US, it's hard not to see the underlying insights of this film as prophetic.

RHYTHM ON THE RIVER (Paramount, 1940), directed by Victor Schertzinger, is not a musical set on a riverboat floating down the Mississippi as the title may imply, but a story about song writing set mostly in New York City. Starring Bing Crosby in this well-intentioned but underrated musical about ghostwriting, its title might have suited Crosby's earlier riverboat musical MISSISSIPPI (1935) or a rarely seen Barbara Stanwyck BANJO ON MY KNEE (20th Century-Fox, 1936), RHYTHM ON THE RIVER is basically a series of "Rhythm" titles used for several Paramount musicals at that time, including Crosby's similarly titled RHYTHM ON THE RANGE (1936) or DOCTOR RHYTHM (1938). In fact, RHYTHM ON THE RIVER is actually one of the songs used for this production, which may not be as memorable or noteworthy as some others selected as part of its story.

The story revolves around Oliver Courtney (Basil Rathbone), a popular songwriter in demand for composing tunes for an upcoming Broadway show. Unknown to many, his melodies are actually composed by Bob Summers (Bing Crosby) with lyrics written by another, for which Courtney takes credit. Working for Courtney only a year, Summers refuses to be tied down to a contract, promising never to reveal who's been writing the songs to Courtney's music. When his lyricist dies, Courtney hires Sherry Lane (Mary Martin) to ghost write the words to his songs at $50 a week. Living in her aunt's boarding house where she has rented a room next to her band players (Harry Barris and Willy Mannone) constantly playing "Hold That Tiger," she's unable to concentrate on her work. Courtney suggests she go to Nobody's Inn in Tarrytown where she can compose in peace and quiet. Unknown to her, the Inn, managed by Bob's uncle (Charley Grapewin) and his wife, also lives there. Upon their acquaintance, and learning about their ghost writing profession for Courtney, it is decided they leave Courtney and have their own songs published instead. Problems arise when Bob and Cherry are unable to sell their songs to publishers for having all the earmarks Oliver Courtney while Oliver Courtney is having problems of his own unable to score anything on his own.

The supporting players include the droll Oscar Levant as Courtney's assistant, Billy Starbuck; Oscar Shaw, Lillian Cornell, William Frawley, Jeanne Cagney, Charles Lane, and John Scott Trotter, among others. The name Oscar Shaw may be unfamiliar to many, but somewhat known by anybody who's seen his last movie opposite The Marx Brothers in THE COCOANUTS (Paramount, 1929) where Shaw and Mary Eaton sang a duet to Irving Berlin's "When My Dreams Come True."

On the musical program: "What Would Have Shakespeare Have Said?" (sung by Bing Crosby, reprised by Lillian Cornell); "That's For Me" (sung by Mary Martin); "Hold That Tiger" (instrumental); "Only Forever" (sung by Bing Crosby); "When the Moon Comes Over Madison Square," "Rhythm on the River" (both sung by Crosby); "Ain't It a Shame About Mame?" "I Don't Want to Cry Anymore" (both sung by Mary Martin); and "Only Forever: (sung by Crosby and Martin). Of the many songs, "That's for Me" is actually better than the others, along with "Ain't it a Shame About Mame," while the slow in tempo "Only Forever" was good enough to be honored an Academy Award nomination as Best Song of 1940.

With this being another song promotion musical provided by Bing Crosby, RHYTHM ON THE RIVER is more a showcase for Mary Martin, in her second movie role. Though her mannerisms resemble that of actress Jean Arthur, especially when accusing Crosby's character as a masher, she does benefit well musically with a style all her own. What also makes RHYTHM ON THE RIVER quite enjoyable is the casting of Basil Rathbone, known for playing villains, swashbucklers and Sherlock Holmes in a series of mysteries during the 1940s, seen to good advantage in a lightweight comedic performance. Director Schertzinger reteamed Crosby and Martin once more for another musical winner, BIRTH OF THE BLUES (Paramount, 1941), where they once again perform well together.

RHYTHM ON THE RIVER, with last cable broadcasts on The Movie Channel (1992) and American Movie Classics (1993-1994), formerly available on video cassette, can be found on DVD (with Crosby's RHYTHM ON THE RANGE on its flip side), making this a good companion piece to Crosby's easy-going screen personality and the type of movies that made him famous. (*** song sheets)