Hello Frisco, Hello

Unlike many musicals from Warners and MGM, the scenes of stage performance in those from 20th Century Fox look as though they could actually be performed on a stage, with straight front shooting, and relatively little camera movement, except for close-ups. This approach works, if you have actors who can draw you in simply by their talent, Talent is abundant here, and the musical numbers are believably staged. Fortunately, there are many of these: enough to carry the hackneyed plot. After more than twelve years in films, Jack Oakie could still do comic dance and joke routines far superior to those of most; and is helped wonderfully by June Havoc, who should have received one of the co-star billings in the titles, instead of being listed second in the supporting cast. John Payne was the studio's dependable leading man, in both musicals and light drama. The beautiful Lynn Bari, who never broke through to star status, shines in the thankless role of the selfish society girl.

But Alice Faye is at her best in her last major musical for Fox. It's easy to see why Archie Bunker occasionally referred to her as his feminine ideal. She is gorgeous in Technicolor close-ups. Here, as in other films she wears period costumes more convincingly than most other actresses, who seem to be dressing up for a costume party. Her voice was unique, and her delivery understated; unlike many of her contemporaries, she can still be heard on CDs. I didn't count, but she must have sung ten or more numbers, alone or with Payne. Oakie and Havoc, including an opening and closing rendition of her signature "You'll Never Know". In a years later TV interview, she commented that toward the end of her Fox career she was being replaced by Betty Grable, whose more overt sex appeal made her famous during the war years, but whose career as a top attraction did not last as many years as Faye's (about ten) What impressed me was that she made that comment without any tone of bitterness. Incidentally, this is not a criticism of Grable, who had a winning, self-deprecating personality in later years. In another TV interview, when she was asked how she became a star, she responded: I could sing a little, dance a little, and act a little, but I had great-looking legs. I can't help comparing these two ladies, both of whom had long-lasting show business marriages, and both of whom seemed to be nice persons, with some contemporary "stars".

Alice Faye's reign at 20th Century Fox, which overlapped with Betty Grable's, started earlier than Grable's and ended sooner - and on a sour note.

Faye actually came with the old Fox Film Corp. When Zanuck founded 20th Century Fox and was at first a Harlow type, eventually developing into the Alice Faye moviegoers came to love. When she was given a dramatic role, in the 1945 "Dark Angel," the film was re-edited to favor Linda Darnell, and a disgusted Faye left Fox and never returned.

Here she's on top in "Hello Frisco, Hello" also starring John Payne, Lynn Bari, Jack Oakie, June Havoc and Laird Cregar, a big, colorful turn of the century musical in the Fox tradition.

Alice plays Trudy Evans, the linchpin in a group formed by the ambitious Johnny Cornell. Johnny isn't content with the Barbary Coast - he wants Nob Hill.

After opening a series of clubs, he becomes interested in a beautiful widow (Bari) who can give him the respectability he wants. When she goes broke, he tries to buy her house. To the heartbreak of Trudy, who's been in love with him all along, the two eventually marry.

There's one song after another in this musical, including Faye's beautiful rendition of "You'll Never Know," which became a smash hit. Faye's voice was so unusual - low, sultry and smooth, and it fits the music here perfectly. She is beautifully photographed and costumed as well.

Oakie and Havoc provide comic support, and Bari is excellent as the woman who wins Johnny away from Trudy.

The big problem with the film is the character of Johnny (Payne), who is a real louse and a user to boot as he strings Trudy along. Personally, I would have let him stew in his own juice but this is Hollywood after all. And the plot is so secondary to the wonderful music and stars. Highly entertaining.

There's a reason for watching an antique like this, and that's Alice Faye. She was at the top of her form here, in what was to be her final Fox musical. Basic plot: John Payne is a vaudevillian with his eye on greater things. His troupe consists of Faye, Jack Oakie and June Havoc. The Gay 90s costumes are a riot and, I assume, reasonably authentic. I also imagine some audience members in 1943 might have lived long enough to remember the period in real life. Faye belts out an endless number of great tunes, including her signature song, "You'll Never Know." Payne is stiff as usual, but veteran comic actor Oakie and his predictable antics help make up for that. The plot is as thin as a piece of tissue paper, so enjoy the movie for its many and memorable musical numbers. With her deep voice and striking looks, Faye really shines here. One caution: It is slightly jarring to watch the "rag" number, as all the performers are white but acting as if they were Stepin Fetchit-type blacks. This old-time minstrel baloney is certainly not uncommon in old musicals. You can see similar numbers in even later fare such as "Holiday Inn" (Bing Crosby in black face!) and "Jolson Sings Again." The offending "Abraham" number in "Holiday Inn" used to be cut for TV viewing. But there wasn't much TV could do about "The Jolson Story" and "Jolson sings Again" without emasculating the movie, as Al Jolson rose to fame singing "Mammy" and other numbers in black face.

Of all Alice Faye's 20th Century-Fox musicals, "Hello Frisco, Hello" is probably my favorite. It is certainly the one that deserves to be called enchanting. The only other memorable Faye musicals that come to mind are "On the Avenue"(1937), "Alexander's Ragtime Band"(1938), "That Night in Rio"(1941) and "Wake Up and Live"(1937). "Hello Frisco" is a feast for the eyes and ears, breathtakingly photographed in Technicolor. The colors, the period costumes, and director Bruce Humberstone's nostalgic evocation of San Francisco's Barbary Coast at the turn of the century - are sublime. It also abounds in one gloriously tuneful song or dance number after another. There are lots to choose from including "Strike Up the Band," "Has Anybody Here Seen Kelly?" and "Ragtime Country Joe", but Faye's memorable rendition of "You'll Never Know" is the best of them all. IT works as a perfect combination of Faye's sweet vulnerability and honesty. Faye's co-star John Payne is equally marvellous as Johnny Cornell. Contrary to a previous reviewer's remarks about Payne's stiffness, I didn't find him really that stiff. A bit stoic, maybe, but his Johnny Cornell is in perfect harmony with Faye's sweet Trudy Evans. And I can't imagine anyone else playing that role or doing a better job.

In all, a Glorious delight.

One of the best musicals ever to come out of Fox and one of the top Alice Faye showcases. Never mind the plot, just set back and enjoy the sultry velvety voice of the most beautiful Alice Faye, the finest song stylist ever to come out of Hollywood .

This beautiful film introduced the Academy Award winning song-"You'll Never Know" which Faye sings three times in the picture. This haunting song was reprised the following year by her in the wartime musical "Four Jills in a Jeep". It has been recorded countless times, however no one sings it like Faye. She pulls the heart strings in a professional fashion.

If you are not familiar with Alice Faye, do yourself a favor and discover why she was the Number #1 Box-Office star over Bette Davis in the early 1940's. I highly recommend this lavish musical entertainment.