Sufrir es mi destino

It's all there, professional hardware and expertise, up on the

cinemascope screen - but for two oddities: the lead roles.

Newman and Blyth look good (she even looks like Debbie's older

sister as seen in Singin In the Rain) and Newman at 30 is about at

handsome as the 50s screen ever was........but they are both light

for grim roles. Doris Day pulled it off in Love Me Or Leave Me and

Cagney was the full gargoyle as Marty the Gimp which is probably

what the Larry role Needed from Newman...but he was really too

pretty. Looking alot like how Some Like It Hot turned out, it looks

like it wants to be a comedy....which it probably now almost is.

Anne Blyth is Minnie Mouse, I think and that is what doesn't help.

And where's Joan Blondell when WB need her......and I bet Richard

Carlson kissed Michael Curtiz feet in gratitude for the high profile

role here after all those D grade schlockers he had prior. He even

had his name in lights in the fabulous credits. This is alot like the

1933 CASE OF THE LUCKY LEGS without the laughs. This film is

so well made, but it doesn't work, whereas other bios from the

same period are dynamic. Like for Doris Day and Susan Hayward.

Mostly fictional, miscast biographical hogwash of hard luck songtress Morgan. Ann Blyth, in her last theatrical feature, was the wrong actress for the title role, many were considered she was probably the least suitable, so the film starts off with a major flaw from the get go. Judy Garland whose style especially when young was compared to Morgan's would have been ideal. Another shortcoming is that although Blyth was a singer whose voice was relatively close to the real Helen Morgan's she is dubbed by Gogi Grant, also a fine singer but completely different from Morgan in sound and technique. If they were going to dub her why not use Helen Morgan's voice? Curtiz direction is unremarkable here, a few of his more customary florid touches would have helped greatly. Paul Newman who was just starting out when this was made is adequate but missing that loutish air that is needed for the reptile he is playing either Kirk Douglas or Robert Ryan would have been more suitable. The real Morgan story is a compelling one so this comes off as a wasted opportunity.

Back in the 1950s, when musical biopics abounded, Hollywood didn't really care about casting actors and actresses who looked or sounded like their real-life counterparts, like Doris Day in Love Me or Leave Me and Susan Hayward in I'll Cry Tomorrow. Why, then, would Hollywood ever dub Ann Blyth's beautiful singing voice when she was cast to play a singer? Helen Morgan was not an opera singer, but if you know what she sounds like, Ann could have dummied her voice down and sounded exactly like her. Gogi Grant, who dubbed every song, sang in a husky, belting alto voice. Whether or not Ann's dubbing was agreed upon beforehand or a tragic surprise, as sometimes was the case, it's inexcusable.

That being said, Ann Blyth has the last laugh as she acts her way through someone else's singing voice and pulls off an incredible performance. In her dramatic scenes, she's harrowingly raw. During the songs, her facial expressions almost fool you into thinking she hasn't been dubbed.

If you liked either or both of the Ruth Etting or Lillian Roth biopics, it's a sure bet you'll love The Helen Morgan Story, which is a cross between the two. Starting as a hula dancer in a carnival sideshow, the ambitious singer works her way through sleazy nightclubs and speakeasies until she achieves fame and unhappiness. When do musical biopics feature a happy performer?

Alcohol and bad judgment are Helen Morgan's downfalls, and as both temptations continue to rear their pretty heads and cause trouble, the movie draws very obvious parallels to the Etting and Roth biopics. It's not anyone's fault that the three women shared similar stories, and it's certainly not Ann's fault that she was asked to act in similar scenes, so keep that in mind when you watch her performance. It's extremely good, and she brings a layer of darkness to her character than Doris Day wouldn't have been able to give, who was the first choice and refused the part. When Ann cries and shares a traumatic memory from her childhood, you really feel her pain and how deep the trauma reaches. This is a woman, beautiful and talented, who has immense problems.

The men of the movie are Paul Newman and Richard Carlson. Obviously, Paul plays the scoundrel and Richard the respectable one, but there's more to each man than meets the eye. Paul isn't just a bad-boy scamp, he's positively terrible, and the fact that Ann continues to melt in his arms whenever he resurfaces shows her self-hatred and lack of self-respect. This is not a movie you'll like Paul Newman in, no matter how cute you normally think he is. Richard Carlson is wealthy, classy, and respectful, but as much as I usually like him, there's a realistic tinge to his character, for nobody's perfect.

Even though Ann Blyth was dubbed, I do recommend watching this movie, especially if you like her or the genre. If the reason she left Hollywood was because of this movie, it's understandable and justified. No one should hide a voice so beautiful, and while she did make some famous movies with famous costars, she could have easily been the queen of musicals and starred in Oklahoma!, Guys and Dolls, Seven Brides for Seven Brothers, The Music Man, and Carousel, to name a few. No one would blame her for being underutilized, and after watching this movie, no one would blame her for never making another.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are two parts of the movie where the camera tilts to one side then tilts to the other to show Ann Blyth's dizziness, and it will make you very sick. So, when she goes onstage drunk and when she's wandering around on the sidewalk, "Don't Look, Mom!"

Since I was born decades after this film was made and this film was made about the period of Helen Morgan's life decades before 1957, I wasn't sure I would be able to appreciate it as much as perhaps it deserved to be. Actually I found it to be somewhat timeless in its depiction of the eternal quest for fame and fortune and the pitfalls that occur along the way. Even in today's headlines we see talented performers who achieve fame and fortune only to stumble due to relationship difficulties, substance abuse and shady characters in their entourage. Although I am not familiar with the real Helen Morgan, Ann Blyth does a credible job in portraying how stardom doesn't always lead to happiness and Paul Newman is very good as an opportunist with a conscience.

During the wild and reckless 1920s, pretty small-town girl Ann Blyth (as Helen Morgan) gets her start as a singer for sex-minded bootlegger Paul Newman (as Larry Maddox). Although deserted after a "one night stand" in Chicago, Ms. Blyth hooks up with Mr. Newman for the long haul. "The customers drink more when they cry," advises Newman, and Blyth becomes a successful "torch singer" (one who sings the blues over lost loves). For publicity and profit, Newman enters Blyth in a "Miss Canada" beauty pageant, although she is not Canadian. Blyth is kept out of jail by kindly lawyer Richard Carlson (as Russell Wade), who becomes the another significant man in her life...

Gogi Grant sings beautifully for Blyth, but one wonders why the actress wasn't allowed to sing for herself. Her style more closely fit the real Helen Morgan's range. Morgan was a big star during the 1920s and 1930s and anyone listening to the radio in 1957 would also be familiar with Ms. Grant's hits - and the titular heroine's real ending. Moviegoers in 1957 must have been puzzled. Blyth is given a role to showcase her acting skills, but holds back; she'd be least haggard looking alcoholic on skid row. Newman had recently been making progress, but appears to still be finding his way. Shadowy scenes staged by director Michael Curtiz and photographer Ted McCord are a strength.

***** The Helen Morgan Story (10/2/57) Michael Curtiz ~ Ann Blyth, Paul Newman, Richard Carlson, Gene Evans