Reveille with Beverly

This is a cheery movie with actual performances by famous bands and singers of the 1940's. It is a time capsule depicting aspects of the home front during World War II. It is very upbeat throughout the entire movie. There is one interesting goof. In the scene where Duke Ellington and his band plays "Take the A Train" there are scenes of a Chicago and Northwestern RR diesel powered streamlined train of the 1940's. The set on which the Ellington Band is playing recreates the interior of a streamlined train of the early 1940s. The "A Train" in the title refers to a New York City subway route that ran from Brooklyn to Harlem to Northern Manhattan. This mistake adds some fun to the movie. I watch for it each time I see it.

Rather subdued war-time musical, not as sparkling as other Miller vehicles, but still entertaining with some of the top musical acts of the time-- Duke Ellington's Take the A-Train, Bob Crosby's Big Noise from Winnetka, Frank Sinatra's Night and Day, along with The Mills Brothers, Count Basie, and my favorite, Ella Mae Morse's styling of Cow-Cow Boogie. The music is there, but somehow there's not the flair nor the energy that would normally be expected of these headliners. Miller gets a final production number and a belated chance to tap dance her way into our proverbial hearts, but the staging comes across on the skimpy side. I suspect the flaming "V" (rather too close to the stage curtain) at number's end was an attempt to compensate.

Naturally, in a musical not much is expected from the story. Miller's yo-yoing between the radio station and the music store is somewhat amusing, as is her competition with the incomparably fussy Franklin Pangborn whose cartoonish eyebrows appear ready to jump off the screen. Irene Ryan (later, Granny, on the Beverly Hillbillies) has the best bits as the scatterbrained secretary. The romantic subplot is lame, to say the least, at the same time, leading man William Wright seems oddly to disappear from the movie's last half. In fact, the screenplay as a whole appears uncertain what to do with Wright and buddy Purcell once they're introduced into the plot.

A couple of noteworthy sidelights. Good to see the presence of a backyard Victory garden, that staple of civilian support for the war effort. Then too, if food prices keep going up in 2008, we may see them returned and renamed Survival gardens. Note also how class differences between Wright and his chauffeur are symbolically eliminated in support of the common war effort. Finally, note the rather surprising downbeat ending with the boys marching off to war, leaving Miller looking unkissed and forlorn. Perhaps the rather subdued mood of the musical as a whole has to do with it being 1943 and a lot of boys and their girls having to face a very uncertain future. Though not the best Miller musical, there are compensations.

In "Reveille with Beverly", you get to see a LOT of famous musical acts of the day...such as Count Basie, Frank Sinatra, the Mills Brothers as well as Duke Ellington! They all are playing themselves in this film based on a radio program of the same name, "Reveille with Beverly".

Beverly (Ann Miller) works in a music store, though jumps at a chance to work for a local radio station. She'd love to have her own radio musical show...and she hopes that working there as a receptionist will lead to a chance to be on the air. Well, after a bit of conniving, she gets to fill in for one of the disc jockeys and soon she's a hit...especially with the soldiers (since it was made during WWII, they were sure to add this to make the film seem patriotic). But her boss is a knucklehead and he fires her instead! What's next? Well, a lot...including a case of two guys pretending to be each other!

The story is slight but enjoyable but THE reason to see the film is to see and hear the great musical acts. This alone makes the film well worth your time.

By the way, the film also has support from Irene and Tim Ryan, who were married but in the midst of getting a divorce when they appeared in the movie. You might remember Irene, as she played 'Granny' on "The Beverly Hillbillies".

Built around a thin plot which serves as an excuse to parade a bunch of then current pop bands, singers and comedy acts, this little programmer from Columbia spotlights ANN MILLER in the central role as a disc jockey who directs her show at the U.S. Armed Services.

She gets involved with two young soldiers--WILLIAM WRIGHT (who resembles John Carroll) and DICK PURCELL, has frequent disagreements with her radio boss, and ends up as the feature attraction in a service show where she displays her tap-dancing skills. The plot, almost non-existent, serves as a prop to show some of the performers whose records she plays for the soldiers--including Count Basie, Duke Wellington, Frank Sinatra, Bob Crosby, The Radio Rogues and The Mills Brothers.

In a strictly subordinate role is LARRY PARKS, only a few years away from stardom in "The Jolson Story", but here a virtual unknown as a fellow soldier. IRENE RYAN has a small role as a ditsy secretary.

The acts are standard stuff, except for singer FRANK SINATRA who does a standout job on "Night and Day" and performs before the camera with remarkable ease and poise a few years before becoming a major film star.

Pleasant WWII musical gets a lift from the musical numbers, but it's strictly second-rate as a substantial musical.

Beverly Ross (Ann Miller) is a switchboard operator at a radio station. She dreams of hosting a program for swing music. She gets her chance and transforms an early morning boring classical music show. She becomes the favorite of many soldiers on their way to the front.

I love the music. Frank Sinatra sings Night and Day which is probably my least favorite. I'm more interested in the big band swing music. I even like the Cow song and some of the weirder performances. As for the actual movie, I can mostly leave it. It doesn't help that it gets chopped up by the music interludes. By the time they get back to the story, I had forgotten what was going on. This is better off without a story. It's really only compelling as a performance for the troops and that's what happens in the end. During wartime, that's all that's truly needed.