Appelez-moi madame

Ethel Merman was unique in the annals of the American Musical Theater -she was responsible for the success of more shows, and introduced more songs that became Broadway standards (and by the best composers) than any other performer - even Mary Martin and Gwen Verdon never quite de-throned the First Lady of Musical Theater. But Merman is one of those whose talent didn't quite transcend the big screen, despite several attempts. Anyone seeing her on the screen today may well wonder what all the fuss was about, but take it from an eyewitness: Merman was a force of nature who had to be seen live to be appreciated - when she set foot on a stage, she OWNED that stage, the scenery, and every seat, patron, and brick of that theater.

Although it came along too late to make her a real movie star (she was in her mid-40s already and, unfortunately, wasn't aging gracefully), CALL ME MADAM is her best movie, and gives us the closest approximation of how the Merman magic lit up the stage (and the box-office). MADAM was very much a star vehicle, the kind they don't have today (let's face it: because they don't have such stars), and there wouldn't have been any point in filming it with anyone else - every situation, line, lyric and note of music was tailored to her style, personality, and, of course, voice (aside from the fact that the show is very dated politically, that's the other reason it was seldom revived without her. GYPSY, though a much better show, was considered a sacred Merman vehicle until Angela Lansbury tackled it in 1973 - it's been revived regularly ever since). Merman was known for 'freezing' a performance, seldom varying it by a syllable throughout a show's long run, and often claimed to be thinking about her grocery list while she was belting out a song. Though she probably 'tweaked' her performance for the screen, what we see here is very likely the way she played Sally Adams hundreds of times before and after the movie.

Although she certainly dominates the proceedings, Merman surprisingly doesn't hog the show (she even gave one of her songs over to Donald O'Connor, "Something To Dance About") - everyone gets their chance to shine, from George Sanders (not playing a cad for once, and displaying an excellent singing voice) to the wonderful Donald O'Connor and Vera-Ellen. O'Connor was riding the crest of his success in SINGIN' IN THE RAIN, and he's almost as good here - his performance is a joy, whether dancing with Vera-Ellen, by himself, or teaming up with Merman for the legendary duet of "You're Just In Love" that stopped the show cold on-stage (he was fond of saying that one of the Merm's high notes bent his eardrum!).

So pop this one in, sit back and have a wonderful time watching several seasoned troupers doing what they did best - entertaining!

I came across this thrilling 1953 Fox musical last night by accident and I was immediately hooked. Actually, it became an instant favorite. "Call Me Madam" is loud, sumptuous, indescribably glorious screen version of Irving Berlin's stage musical, directed with luminous extravagance by Walter Lang. The Technicolor is breathtaking! Ethel Merman as the eccentric socialite turned US diplomat to Lichtenburg, is sometimes hard to take. Her romance with the heavily accented Foreign Minister named Cosmo, played by George Sanders, is slightly forced.

Still, the highlights are the captivating Berlin songs - "Hostess With The Mostes", "You're Just In Love", "Something to Dance About", "It's a Lovely Day Today" - not to mention the glorious dancing by the young couple in love, Donald O'Connor and Vera-Ellen. They were a joy to watch.

There's been a long wait to revisit the delights of this brassy film recreation of a big Broadway hit, but now we can once again enjoy it, fairly bursting from the screen, with its several lively production numbers, John DeCuir's classy production design, Irene Sharaff's flattering costumes, plus Robert Alton's absolutely first-rate choreography. Check out Vera-Ellen and an ultra-well-rehearsed chorus of dancers in "The Orcarina" number, as well as her amazing dance duets with Donald O'Connor, who smoothly displays his exceptional terpsichorean ability, so well showcased two years earlier in MGM's "Singin' in the Rain." George Sanders's singing is a wonderful surprise, holding his own with leather-lunged Madame Merman, who had triumphed on Broadway with this votive offering to her stardom, so cleverly crafted by Irving Berlin. Alfred Newman's Oscar for his endlessly inventive musical direction was more than well-deserved. For anyone who thinks that M-G-M was the only studio to adequately mount a film musical, this one might convince fans of this genre otherwise. (The DVD, by the way, is a very nice transfer, and boasts a quite informative commentary by "Musical Film Scholar" Miles Kreuger.)

is an acquired taste. Apparently enough folks developed it enough to keep Ethel's shows running for a couple of decades.

One of the "Queens of Broadway" (with Mary Martin) Ethel Merman's brassy voice belted through many a record-breaking run, thrilling thousands.

What a rare treat to see her in a role she made her own! "Call Me Madam" is a dandy musical, rich with a great Irving Berlin score and lively performances.

Equally rare is the excellent singing performance of George Sanders. His beautiful baritone is heard in "It's an Old-fashioned Idea" and other lovely ballads. As he played Gen. Constantine, I couldn't help but wonder how his reported troubled private life might have gone had he done more light, musical fare.

Sanders' whole demeanor is different: he's warm, relaxed, sincere and fun-filled--what a departure from the cynical cads he was almost always engaged to portray! [N. B. History shows he was signed to star in a stage production of "South Pacific," and his recording of solo ballads, "The Sanders Touch: Songs to the Lovely Lady"--released five years after this film--has become one of the hottest collectors' items around.] All I can say is, his singing is gorgeous in "Call Me Madam."

If this Fox musical has the somewhat look and feel of an MGM production, there's Donald O'Conner and Vera-Ellen lending their aura from the latter studio. Director Walter Lang, an old-hand at Fox musicals and light comedies, keeps things on track, while Bob Alton's dances really hit-the-mark.

"Call Me Madam" is a most delightful diversion, and a lasting testament to the gifted Merman--the "hostest with the mostest."

Thanks to the Fox Movie Channel one can rediscover forgotten things that don't show on television these days. It was a royal treat to have this film play the other night. We had seen the film years ago, but one forgets how much fun it was and how it still can delight anyone at all.

It helps a great deal this musical score was written by Irving Berlin, perhaps one of the most talented American composers of all times. The music of "Call Me Madam" can't be considered his best, but it pleases the viewer when it plays on the screen. The direction by Walter Lang also was an asset; even though it's filmed musical theater, it doesn't feel claustrophobic.

Ethel Merman was a magnificent star of the New York Broadway stage. She was a legend in the way she could sing a song and she could be heard in the whole theater; no mikes for Ms. Merman!. She was an original who was a consumed entertainer; she graced many musicals during her lifetime. It shows how foolish Hollywood was in not letting Ms. Merman repeat some of the same roles she created for the theater. It's sad, but it's a great loss.

Donald O'Connor does some of his best work in films in the movie. He plays well against Ms. Merman, as well as against Vera Ellen, his love interest in the film. Mr. O'Connor and Ms. Ellen are charming in their roles.

A great surprise was to see George Sanders, a man who played heavies, or cynical characters on the screen, singing and acting with enough suavity to charm Ms. Merman. Also in the cast, Walter Slezak, Billy DeWolfe, who are also effective in their supporting roles.

This is a film that will delight anyone looking for a pleasant time watching a delightful musical.