Summer Holiday

"Ah, Wilderness!" should make a great musical--in fact, it made a very good one on Broadway, as "Take Me Along" in 1959--and this Freed Unit special has some greatness in it, which keeps being undercut. It's beautifully cast, the Technicolor is extraordinary, and the director, the always underrated Rouben Mamoulian, shows a lot of feel for the small-town turn-of-the-century setting and the small crises in the Miller family. But it was a troubled production, and it suffered some ruinous cuts. The editing's frankly sloppy, and misguided things happen that you don't expect to happen in MGM musicals. Mickey Rooney (10 years too old for the part, but he hides it well, and not doing those Mickey Rooney overacting things that often annoy me) and Gloria De Haven (lovely, with a lovely voice) dance fetchingly to "Afraid to Be in Love" on an emerald park lawn, and the number just fades out, no payoff, no resolution. Rooney gets drunk with Marilyn Maxwell in a cheap saloon, and there's supposed to be an Omar Khayam dream ballet (there are production stills), but it doesn't happen, and that scene, too, just fades out. The always-exemplary Walter Huston, who's charming here, rolls up the movie with the curtain line, "Well, spring isn't everything, is it, Essie?", and it's supposed to resonate because he was supposed to sing "Spring Isn't Everything," a sweet ballad similar to the "September Song" Huston introduced in "Knickerbocker Holiday," but that, too, has been cut, so it just seems an odd way to fade out. What's left of the Harry Warren-Ralph Blane score isn't great, but it's quite integrated into the action, and well performed. I caught this again on TCM recently and it's better than I remembered, but I keep wanting it to be better still.

... Eugene O'Neil's heartwarming masterpiece, "Ah, Wilderness". Unfortunately, the Technicolor beauty just covers up a bland production ponderously directed by Rouben Mamoulian who has many fine credits to his name.

I had high hopes for this film, mainly because of its great cast and the fact that it is from producer Arthur Freed, who was responsible for the best musicals of the 1940s and 1950s. Mickey Rooney, Walter Huston, Agnes Moorehead, and Frank Morgan are all fine actors who are capable of much better than this. The film's screenplay had no spark to it, and the scenes that were supposed to be pivotal to the characters' development garnered no reaction from me as a viewer. The actors seemed to know the script wasn't that good because in each scene, they recited their lines without enthusiasm or conviction. As a musical it was mediocre. The songs are not catchy or memorable and are largely talked rather than sung. I guess every producer and studio is entitled to a stinker. If you want to see a really good family based musical, try "Meet Me in St. Louis", or if you want to see Mickey Rooney at his best in a musical try "Strike Up the Band."

There are problems with this big-budget Arthur Freed production, directed by Rouben Mamoulian. It's a musical adaptation of Eugene O'Neill's play, Ah, Wilderness!, which was first filmed by director Clarence Brown in 1935.

There's a good cast. You can't find much fault with people like Selena Royle, Agnes Moorehead, Frank Morgan, etc. But for a big MGM musical, Summer Holiday is underpopulated with song-and-dance talent. Marilyn Maxwell and Gloria DeHaven are real singers. Rooney, in the lead, is not. Huston (who had a hit record of September Song), has a few good musical minutes, but at least one of his songs was cut. And anyway, you can't expect Walter Huston to carry the male singing chores in a screen musical.

Mickey did star in musicals before this. But he probably shouldn't have been expected to carry this kind of film. He was a huge talent, but as a musical lead, he was a different type, a showman (as he proved in the hit Broadway show, Sugar Babies, years later). He wasn't a song and dance man, like Donald O'Connor. You don't find yourself eagerly awaiting his next vocal or dance number.

As for his being too old, he is. But even when he was a lot younger, he just wasn't really the type to pull off this naive, bumptious character. He's a good actor, he tries, and he does well, overall. It's just that I didn't buy it and you probably won't, either.

The songs are good, but they don't have a lot of zing. They're pleasant. The numbers themselves are sometimes truncated. The cuts are rather obvious, at times.

The thing I enjoyed most was the recreation of various American paintings (like Grant Wood's American Gothic) in one sequence. It was both charming and satirical.

By the way, I don't know if anyone else noticed, but director Rouben Mamoulian chose to have the costumes and sets done almost entirely in whites, light grays, tans, and other soft, neutral tones. I'm guessing this was in order to contrast with the film's colorful Omar Kiam fantasy sequence.

But the sequence was cut, resulting in a colorless, drab-looking Technicolor film. Only the scene with Marilyn Maxwell, whose costume becomes more flamboyant the more drunk Mickey Rooney gets, remains as a contrast to all that colorlessness.

Mamoulian was clearly a man of talent, and his cast and technical crew were the finest the studio could provide, so it's a shame to report this film was less than the sum of its parts.

A perfectly enjoyable bit of mid-era Freed Unit MGM, with many of the hallmarks of their greatest musicals. But the real surprise in this film is the extended bar room sequence in which Mickey Rooney is led astray by a wanton showgirl named "Belle," played in an extraordinarily vivid way by Marilyn Maxwell. She positively glows in her many extreme close-ups as she tries to vamp Mickey Rooney down the path of corruption. Her Technicolor costume changes color throughout the scene, reflecting Rooney's increasing drunkenness. As mentioned by other reviewers here, the number is sort of a stand-alone scene that seems rather transplanted from another film altogether...but for this viewer, it's a welcomed shot of "oomph", incongruous or not. One is left wondering why it is that Miss Maxwell is largely forgotten today and wasn't really handed any other roles that fulfilled the promise she showed in "Summer Holiday" (with the possible exception of her equally vivid showing in "The Lemon Drop Kid"). She had a long and busy career, mostly in television...yet her name rings few bells today. Could it be that a certain "Norma Jeane Baker," in largely co-opting her name, sort of pulled the rug out from under her in the process? Bottom-line: If you don't want to see the whole film, tune in about halfway through and catch an indelible star-turn by an indelible star: Marilyn Maxwell. It's her film.

With Mickey Rooney having died about a month ago, I went to the library to see if any of his films were there. I managed to find both this and Thoroughbreds Don't Cry there and checked them out. I just reviewed TDC so this is what I think of this one: It's quite good with the musical numbers and some of the atmosphere of both clean-cut small-town Americana and the more brassy charm of low-rent bars when the Rooney character goes to meet some dance hall girls and has an eye-popping' encounter with Marilyn Maxwell. Gloria DeHaven has her own wholesome charms as his girl-next-door partner. Walter Huston is fine as his wise father. And Frank Morgan is charismatic as his drunk uncle. The songs by Harry Warren and Ralph Blaine are tuneful enough. And the screenplay by Frances Goodrich & Albert Hackett-who also wrote my favorite movie, It's a Wonderful Life-has some nice humorous touches. Not great, but Summer Holiday was entertaining enough for me.