La sirena se enamora

If you can get past the irrelevant title of this film, you will find it's a solid vehicle for Esther Williams, who--remarkably!--plays an aquatic entertainer. As Christine Duncan, she gets involved in a plot to hook up her sister (Ellen Hallit, played by Paula Raymond) with the sister's boss (Douglas Morrissen, played by John Lund), a rich playboy businessman who sees her only as his secretary. Typical for its day, the plot revolves around getting him to notice her legs more than recognize what a great person she is.

Christine's swimming routines include long stretches of swimming underwater and hiding behind scenery, so that audiences cannot see her well. But viewers of this film are treated to underwater shots and close-ups of her languid stroking. So we know up-front that we have entered the world of a Hollywood fantasy and left reality behind--which is where it belongs in this very stylized story.

The sets and the sights are richly colored, the fashions are well-tailored and sharp, the musical numbers are enjoyable and eye-catching. They are also numerous, because (fortunately) the characters spend plenty of time visiting nightclubs and running into singers and dancers (like Lena Horne and Eleanor Powell). Such numbers interrupt the narrative, but are an integral part of the formula. The music is mostly of the big band genre, with some boogie woogie to spice things up.

As for the acting, Ms. Williams is, in my opinion, always competent. The other leads are also up to the task, though the emotional demands of the script are minimal. This is a lighthearted romance where the musical entertainment is a primary draw. I enjoyed it as such.

Of the Esther Williams films seen so far, which is a vast majority of them, 'Duchess of Idaho' stands out as one of the best ones. As well as having one of her best performances.

Its only real faults are the story, which is very flimsy and with the odd implausible moment, and the waste of Mel Torme, a very talented performer with a beautiful voice with very little to do which is pretty shameful.

Conversely, Williams is captivating in a role that suits her perfectly, one of her best performances as aforementioned without a shadow of a doubt.

She is well supported by an appealing John Lund, charming Paula Raymond and a more at ease than usual Van Johnson, and she shares great chemistry with all three. 'Duchess of Idaho' is significant for being the last film of Eleanor Powell, who dances up a storm, while Lena Horne sings sublimely in one of the film's better songs.

'Duchess of Idaho' is shot in glorious Technicolor and sumptuously designed (the costumes are of the usual MGM glamour), while the direction goes at a bright and breezy pace and the film is full of jolly fun and emotive charm. The songs are pleasant and lively, and choreographed with grace and enthusiasm, and the script is amusing.

In summary, very entertaining and well done. Not a great film, but a very good one. 8/10 Bethany Cox

DUCHESS OF IDAHO (1950) is one of those lesser-known MGM/Joe Pasternak musicals that bridge the marathon musical spectaculars of the 1940s (BATHING BEAUTY, TWO GIRLS AND A SAILOR) and the more streamlined editions of the 1950s (EASY TO LOVE, Texas CARNIVAL, etc). But as with many of the '40s films DUCHESS is still more concerned with wit, music, and pure style than any kind of cohesive plot line. Musically we're still in the '40s big band mode here, and the songs, by some of MGM's lesser-hyped tunesmiths, are catchy, serviceable, and very 40-ish. (JAILHOUSE ROCK and Presley were still seven years in the future). A highlight is "Let's Choo Choo Choo to Idaho," arranged by Skip Martin, and performed on a train on route to Sun Valley by vivacious band singer Connie Haines, Van Johnson, and an African American quartet called the Jubalaires.

Lena Horne is also on hand with a few numbers, as is Eleanor Powell for one of her last big solo dances on film, and comedian Red Skelton also puts in a guest appearance. A none-singing Mel Torme briefly appears (as a bellhop), and ditto "Gunsmoke's" titian-haired Amanda Blake as one of Lund's rejected girlfriends). In the second female lead Paula Raymond is one of those obscure but promising MGM personalities who, however, never quite made a break through. In DUCHESS she shows glimmers of charm but is seriously handicapped by some of the clunkiest outfits in the usually impeccable MGM wardrobe.

The look of DUCHESS anticipates the peak Technicolor styling of such early 50s MGMs as LOVELY TO LOOK AT, YOUNG BESS, and SCARAMOUCHE. Many of the interiors are keyed to soft beiges and earth tones against which Esther's always-modish outfits (one of which includes slipper socks!) stand out in jolts of brilliance. And of course it wouldn't be an Esther Williams picture without a few aqua numbers though those featured here are some of her most restrained. (A nocturnal ski run with multi-colored torches also provides a trippy visual/musical interlude mid-film).

Someone once said about Esther that "Wet she's a star, but dry she ain't," but on the whole DUCHESS showcases the star's under-rated acting skills and her often-ironic sense of humor. ("You'll see Esther Williams swim and ski and skate and do a dozen thrilling things!" the movie book ads proclaimed). While as noted the plot is not the strongest, the dialogue (by three credited screenwriters) is witty, often sophisticated, and well-delivered by all involved, including deadpan MGM character staple, Clinton Sundberg, who mutters an on-going chorus of grumbling asides as Lund's much put-upon man Friday. DUCHESS OF IDAHO is the cover story for the August, 1950 issue of "Screen Stories" which also includes a full-page ad for the film in the prime MGM spot right next to the contents, indicating that the studio considered this one of their key box-office attractions for the summer.

Esther Williams tries to help her friend Paula Raymond land himbo John Lund. Why, I couldn't begin to tell you. Back in those days guys like this were considered dreamy I guess. Anyway, not surprisingly, Lund gets one look at Esther and goes gaga. Can't blame him there. Bandleader Van Johnson is also in love with Esther. So we have a good old-fashioned triangle...or rather, quadrangle.

The movie begins with Esther in a swimsuit doing an aquatic number, looking as lovely as ever. She is radiant throughout the picture, a goddess of technicolor. Paula Raymond is pretty and likable. The idea she would have to struggle to get any man is just something you'll have to suspend disbelief over. Notable for being Eleanor Powell's last film. She returned after being absent from the screen for six years (and becoming Mrs. Glenn Ford) to do this cameo where she gets to tap dance, which is always a treat. Red Skelton also has a cameo and Lena Horne sings a song. Also some songs by adorable Connie Haines. It's a light, fun movie. Not much swimming stuff despite Esther Williams being the star but it's a good one anyway.

Esther really shows off her flair for light comedy in this one, and for me - a lover of Esther Williams musicals - this one has the best music of them all...one great tune after another. Former band singer Connie Haines delivers two swinging songs and joins Van for another, and Lena Horne is in top form singing the hot number "Baby,Come Out Of The Clouds" in her glamorous style. Eleanor Powell tap dances to boogie woogie.

This is one of the films where we're supposed to believe that there is a huge nightclub with a giant swimming pool surrounded by chorus girls and filled with muscle men who strike poses with Esther...preposterous Hollywood fantasy, but that makes it all the more fun. A Technicolor delight.