En alas de la fama

Best thing: the music Worst: Keefe Brasselle pouring on his Cantor expression at every moment.

He's still over the top when Eddie is on stage, but in the scenes of his private life?

It's not acting. It's an impression. It's way over the top. Too bad Cantor deserved a better film. Blame the director I suppose.

Cantor had one dynamic career. He was on radio, tv, films, and records. He was a hit on all of them. In the early 1950s he felt that his career was mostly over. He retired. That takes discipline. The guy is a forgotten legend.

Now, he and Jolson did blackface. Yes, it's a minstrel show holdover. It's horrible. I didn't like it was a kid seeing the Jolson story this film and the WILL ROGERS bio pic in the early 1960s. Today, it's a crime You have to try to look past this if that's possible.

Was this film a hit? Hey, Martin and Lewis were the top act. Their films pulled in early 1950s money 2.5 million on average. This film grossed that too. It was a huge hit.

Watch it if you can. It's not was good as the first Jolson film, which suffers similar problems.

Someone who knows how to make a musical in Hollywood should take a look at the career of Eddie Cantor and give it the FUNNY GIRL treatment. Now before you all roll your own banjo sized eyes, we are edging closer to a time in this clever new century where good nightclub/theater musicals are being released: DE LOVELY, CHICAGO, BEYOND THE SEA, RAY and WALK THE LINE are each quality musicals that are creative screen musical biographies and each are successes. Some even won a clutch of Oscars. The public like them all. What the public do not like now days is Rogers and Hammerstein style screen musicals (pity, though)... but will happily embrace a showbiz musical with songs sung in places people sing and perform in real life; in a nightclub, a theater or in a movie/movie. THE EDDIE CANTOR STORY as made in the 50s is a revered bio pic hampered by the conservative 'musical style' of the time. Keith Braselle creates a passable imitation and the tinkly songs from vaudeville are fun in a Doris Day or Betty Grable way... which suits 1953. Cantor's own ribald 1944 comedy SHOWBUSINESS is a faux life story of himself anyway, and more closer to the real vaudeville tawdriness than his own biography here. . However, if someone has the sense to license the hilarious musical films Cantor made from 1930-1937 produced by Samuel Goldwyn, lift all the original musical numbers whole as directed by Busby Berkeley directly into a new production.... get Caroline O'Connor from DE LOVELY who already does a great Ethel Merman, find an actor to play Cantor in the story scenes.. there is a spectacular and hilarious musical ready to hit audiences right in both the funny-bone and box office. If you have seen THE NIGHT THEY RAIDED MINSKYS and THE PRODUCERS and maybe even SHOWBUSINESS you will get the picture. The thing with the original Cantor films of '30-'37 is that the songs are so good, hilarious and well staged. As BEYOND THE SEA and DE LOVELY proved one does not need to tinker with the songs, just show them in situ as written. The bonus with any Cantor idea is that the film musical sequences from WHOOPEE or PALMY DAYS or KID FROM SPAIN are modern enough still to be lifted straight into a new film. STAR! the bio of Gertrude Lawrence did the reverse: color musical numbers burst from a B/W newsreel of Gertie's life as watched by Julie Andrews. The EDDIE CANTOR STORY follows that format.... but if remade today, prefer the reverse: make a new color movie story using original Cantor b/w screen musical movie footage from the 30s is the way to go. And it's cheaper! The music numbers are already in the can still fresh from 70 years ago! They are so spectacular, rude and hilarious they will translate to this century and a young audience very well.

It is not a good movie. But it is leaps and bounds more entertaining than "The Jolson Story." I found Brasselle to be grotesque most of the time during the dramatic scenes. The poor guy was directed to do the bulging eyes even when he was not doing a song. That isn't true to what Eddie Cantor was. Just look at him in an interview and he never looks freakish unless he is clowning. Keefe is great in the musical numbers and actually quite believable in the dramatics. Marilyn Erskine is very fine and underrated. "She doesn't look Jewish"??? is a rather insulting comment to make. Aline McMahon is great in a role that is now completely clichéd. She approached every line with complete seriousness. It has that sort of el cheapo Warner Brothers musical look and should have been a lot shorter, but this was a sincere attempt and it really is never boring. Had the approach been original instead of trying to do a scene for scene match of other biographies of the great vaudevillians, this could have been something.

I love Eddie Cantor and was looking forward to finally seeing this biopic. I really enjoyed the musical numbers, but I have to say the dramatic scenes were painful. I'm sure Eddie Cantor didn't carry his stage personna into his personal life. I'm sure he didn't mug and roll his eyes when conversing with his friends and his wife. But that's what Keefe Braselle did. It got pretty annoying. On the other hand, the musical numbers were tremendous and Mr. Braselle nailed the moves and the facial expressions. Of course, hearing the voice of Eddie Cantor was wonderful. I'm wondering if the songs were recorded for the movie, (as in The Jolson Story) or whether older recordings were used.

The story of Eddie Cantor with plenty put in and taken out by 1950's Hollywood standards. Here Eddie grows up in a tough part of New York City, living with his grandmother. He catches a break when he wins a local amateur contest and gets a part with a group of young performers in a traveling show. When he grows out of the role, he marries his girlfriend Ida and struggles in getting new parts. Pal Jimmy Durante gives him a break in a show out in Los Angeles and leaves Ida pregnant with his first (of five) daughters. He comes back from LA and manages to get a part in a Ziegfeld show and his career takes off despite the loss of his grandmother and the strain it puts on his and Ida's marriage.

Plenty of liberties were taken with Cantor's life here, but the film is entertaining. Brasselle looks like Cantor but his performance isn't acting, its more on the line of an imitation. The fact that Cantor dubbed in all of the singing and the cameo by Eddie and Ida at the end of the movie are nice touches. It would have been nice to make more of Eddie's charitable work rather than condense it to 3 minutes at the end.

Like I said, a good film, but one I would have liked to enjoy more.

Rating 5 out of 10.