The Seven Little Foys

'I love him when he's angry...and he's angry all the time'--Mrs. Foy in "The Seven Little Foys" I had a hard time with this movie. And, as I read through the reviews, I was actually rather surprised that more reviewers weren't appalled by the leading character. Kentrasmussen noticed this but most of the rest of the reviews never really get to the problem I had with the film--that the main character seemed about as unlikable as possible. It's a shame, as there are things to like about the film--but without a lead who is likable, there really isn't much reason to see this one.

The film purports to being the story of Eddie Foy and his children--who, collectively, were known as 'Eddie Foy and His Seven Little Foys' on stage. How close Bob Hope's portrayal of Foy's personality is the real Foy, I have no idea. But, as I said above, if this is the real Foy, he wasn't a particularly nice or likable guy. No,...he's a jerk.

When the film begins, Foy's been on the vaudeville circuit for some time. What the film never mentions is that he had already been married and this wife died. And, for a decade, he apparently had a common law relationship with another woman who also died. The film instead picks up much later--just before his second marriage. At this time, Foy is a self-absorbed guy who met his future wife but has zero interest in marrying her. He only does so later in order to get to go to Broadway--a very strange reason to marry someone. Over the course of the next 20-odd years (it seemed like far less in the movie), Foy leaves his ever-pregnant wife at home while he travels the country performing on stage and becoming famous. According to the movie, he is almost never home and is, at best, a very distant father. Despite saying several times in the film that he doesn't like or want kids, the couple has seven kids. However, the wife dies and Foy decides to incorporate the kids into his act--otherwise he's either stuck at home with them (God forbid) or will be forced to give them to someone else. During this time on the road with his kids, he continues to be rather distant from his kids. Eventually there is a schmaltzy ending which seems to come out of no where--as he had been thoroughly horrible as a father.

The plot sucked. I'll be honest. However, Bob Hope surprised me in this one. While I didn't care for his comedy (Foy was a dancer/comedian), I was impressed by his dancing. While not exactly Fred Astaire, it was quite good. And, the production values in the film were quite nice. I am just surprised that they either did just make Foy nice (as Hollywood OFTEN made creeps seem nice in the old days) or make an entirely fictional story with a nicer and more sympathetic leading character. Flawed but mildly interesting.

Hope is lovely as vaudevillian Eddie Foy, but the highlight of the film is the wonderful dance scene with Hope's Foy and James Cagney's George M. Cohan. The film was nominated for Best Screenplay of 1956.

This is underrated as both a Bob Hope vehicle and a musical biopic: even if it follows the basic path of all such films (the struggle to achieve success followed by the pitfalls of celebrity, not forgetting the obligatory romance and the equally inevitable tragedy), it's very capably mounted – with the script even garnering an Oscar nomination. The star is in very fine form here, balancing characterization with his traditional banter; Milly Vitale is radiant as his wife who bears him seven children and then dies. Since Foy's only ever known showbiz, he opts to drag them all into his act! Incidentally, one of the kids (Bryan) grew up to be a film-maker himself but was mainly noted as a producer with a penchant for the noir genre!

Even so, THE SEVEN LITTLE FOYS is perhaps best-known for a guest appearance by James Cagney, reprising his Oscar-winning role of George M. Cohan from YANKEE DOODLE DANDY (1942) – where, incidentally, Foy was portrayed by his real life son, Eddie Jr; interestingly, George Tobias played Cohan's manager in that earlier film and Foy's here! Anyway, Hope and Cagney's one scene together – which culminates in a dancing duel/duet – is not merely the picture's undeniable highlight but pure cinema magic in and of itself where two top movie stars incarnate a couple of great vaudevillians strutting their stuff. As with a handful of other Hope titles I own, the film has unaccountably fallen into the Public Domain despite being a major studio production, but the copy I acquired thankfully maintains remarkably vibrant colors throughout.

Bob Hope executive produced and narrated a one hour TV sequel (serving as a pilot) with Eddie Foy, Jr. as 'Eddie Foy' and Mickey Rooney as 'George M. Cohan.' The Osmond Brothers played the boys and the youngest daughter was played by Morgan Britney. George Tobias reprised his role as Foy's agent 'Barney Green' and Angela Clarke took over the role of 'Aunt Clara.' The story picks up where the original ends with Eddie deciding to retire the act and put the kids in public school. Cohan and Green plot to bring the act back to the stage. Though in black-in-white, 48 minutes long, and a much lower budget, the sequel is quite satisfying to fans of the original. Foy, Jr. had served as narrator and consultant for the original so it was a neat turn to have Hope narrate this one. I found a copy of the film from the web site of "20th Century Nostalgia" for under fifteen dollars. I don't have any affiliation with them but they are the only ones I know that carry it, so I pass the information along to fans. The original is my favorite Bob Hope movie (I own them all!) so I was a tough sell.

Interesting that the generally considered high point of Bob Hope's career has him essaying roles of famous celebrities of the past. Hope played Jimmy Walker, the mayor of New York during prohibition and the famous vaudevillian Eddie Foy who as we learned in Yankee Doodle Dandy gave his country seven children. Hope acquits himself well and you almost, but not quite forget that you are watching Bob Hope.

Eddie Foy (1855-1928) was one of the most celebrated acts of vaudeville in the golden age of vaudeville in the 19th century. Completely eliminated from the story are his first two wives, both of whom died and a fourth wife whom he married after the action of this story is over. Milly Vitale and her sister Angela Clarke however were quite real.

Eddie Foy, Jr. partially made a career of playing his celebrated father in many films, on stage, and in television. He did such a good job of bringing him to life, that whoever played Foy if his name wasn't Foy was going to be hypercritically judged. It's a great credit to Bob Hope that the public accepted him in the part with no reservations.

The story is familiar enough material, widower raising a large brood of children with the usual problems without mother in the picture. It just so happens that this family was in show business, a lot like the Cohan family so shown in Yankee Doodle Dandy.

Eddie Foy, Jr. played his dad in Yankee Doodle Dandy in that one celebrated exchange of one liners with James Cagney right before the You're A Grand Old Flag number. The highlight of this film is Cagney reprising his role as Cohan and doing a soft shoe routine at a Friar's Club dinner with Hope. Both Cagney and Hope did their turns in vaudeville before they were names and there was no need of any character preparation for their parts. The dance routine yes, but the acting no.

The Seven Little Foys is a heartwarming family film, a bit more serious than the usual Bob Hope fare, but still charming and entertaining.