Rhythm on the River

While a pleasant enough musical, what stuck with me about this movie was the unexpected comedic chemistry between Basil Rathbone, as the has-been composer, and Oscar Levant as his assistant. Playing a high strung, distracted artistic type (a far cry from his more familiar roles as either menacing villains or the coolly logical Sherlock Holmes), Rathbone's character looks like he couldn't find his way out of bed without help. And that help is Starbuck, played with his usual droll humor by Oscar Levant. Upon hiring Crosby's character as his ghost song writer, Rathbone introduces him to Starbuck by saying, "He does all my thinking for me.", to which Levant responds, "Ah, it's only a part-time job." Of course this goes right past (or over) Rathbone, who's too busy fretting about where his next hit song will come from. As another reviewer said, who knew Rathbone could be so funny! Too bad he didn't have more opportunities to display his comedic talent.

This superb film draws on a variety of talented actors and musicians at the top of their form - Levant, Crosby, Martin, Rathbone, Manone are completely at home in the story that apparently was supplied by Billy Wilder. One would love to know more about how much he had to do with it, because it's an exceptionally clever variation on the sterile master/fertile servant tale - nearly an allegory of the entertainment industry, run by dried-up numskulls, but made into a vibrant world of art and play by an exploited underclass of nobodies and non-WASPs. Looking at the last six decades of music, TV, and film in the US, it's hard not to see the underlying insights of this film as prophetic.

A film starring Bing Crosby, Mary Martin and Basil Rathbone, with a screenplay co-written by Billy Wilder and directed by Victor Schertzinger promised so much. The good news is that it delivers on all the goods.

There are better film musicals out there than 'Rhythm on the River', ones with songs that are so easy to remember, timeless and have become standards or had truly lavish production values and choreography to die for. Not saying that 'Rhythm on the River' didn't have those things, just that other film musicals did even better in that regard. There actually is not anything wrong with the film, and it was a great hit on release and the appeal is entirely justified.

'Rhythm on the River' is a handsome-looking film, beautifully photographed and while the costumes and sets are not exactly spectacular they are hardly cheap either. While none of them are standards as such, the songs are pleasantly good and in the case of the best of them pretty exquisite. Wasn't entirely crazy on "Tiger Rag", but certainly really dig the title song and especially the sublime "Only Forever".

Schertzinger's direction is more than amiable, and the script is very engaging and witty especially with the chemistry between Rathbone and Oscar Levant. The story is somewhat thin and predictable, but this doesn't really matter when there is so much fun and charm and the chemistry between the performers is so good, not just the endearing one between Crosby and Martin but even more so between Rathbone and Levant.

All the acting is fine. Crosby is relaxed and charming and as ever sings an absolute dream. While Martin proves that it is a mystery as to why she didn't make it bigger in films as she is clearly enjoying herself, radiates and has a beautiful voice. Rathbone has a comedic character that is quite a departure compared to his usual roles, and he is a joy, in fact he's never been funnier and one wishes that he showed his comedic chops more because he proves that he certainly has them. Levant is suitably amusing.

On the whole, fun and charming film and not hard to see why it was a hit. 9/10 Bethany Cox

Poor Basil Rathbone, an egotistical composer who's lost his muse. He's been faking it for some time, buying his lyrics and his music from various sources. Trouble is that two of the sources (Bing Crosby music) and (Mary Martin words) happen to meet and fall in love. And then they discover what they've been doing. Complications ensue, but all is righted at the end.

Crosby and Martin sing terrifically. Mary had signed a Paramount contract and also at the same time doubled as a regular on Crosby's Kraft Music Hall Radio Show. For reasons I don't understand, movie audiences didn't take to her, so she went back to Broadway and did One Touch of Venus in 1944 and stayed there.

Basil Rathbone in one of the few times he played comedy does it very well. His ego is constantly being deflated by sidekick Oscar Levant and again I'm surprised they didn't do more films together.

As in most of Crosby's Paramount vehicles, no big production numbers, but I agree with the previous reviewer about the title tune being done as an impromptu jam session in a pawn shop. Good job by all.

A surprisingly original plot and great entertainment.

Anyone want to see Basil Rathbone in a comedy? You can either catch him in The Court Jester, or you can rent Rhythm on the River, a cute Bing Crosby vehicle about two songwriters who fall in love. It was Mary Martin's second movie, and she didn't make too many, so catch the "singing Jean Arthur" while you can!

Basil Rathbone is a famous composer of popular tunes, and Oscar Levant is his faithful piano player. At a party, he's asked by his guests to share a new song he's working on. He excuses himself to the other room, and Bing Crosby rushes in with some crumpled sheet music. Turns out, Basil hires out and doesn't write his own melodies! Right after presenting the new song to his guests, Oscar takes Basil aside and shows him a telegram with bad news. Turns out, Basil hires out and doesn't write his own lyrics-and his lyricist just died! When he's in need of a new writer, he meets Mary Martin, but will Bing ever meet her?

Since this a cute romantic comedy, it's safe to say the answer is yes. With classic quips from Oscar, charm and sweetness from Bing, and class and good intentions from Basil, this is an adorable musical. Basil doesn't sing, but Bing and Mary come up with some great tunes that you'll be humming after the credits roll. "That's for Me" is particularly cute, and "Only Forever" was nominated for an Oscar in 1941.