Words and Music

Even when you consider how these whitewashed Hollywood musical biopic extravaganzas usually play out, "Words and Music" is embarrassingly ill-conceived. MGM might have been wiser to borrow Abbott & Costello from Universal for the roles of Lorenz Hart and Richard Rodgers. But, the movie is beautifully produced at all times, by Arthur Freed and the studio. And, the musical numbers range from terrific to indispensable. For a song, listen to Mel Tormé doing "Blue Moon"; it's one of the most beautiful renditions of that standard, and became a Capitol hit for Mr. Tormé. For a dance, observe Gene Kelly and Vera-Ellen doing "Slaughter on 10th Avenue"; it's a superbly performed and choreographed vignette, and belongs with the best of Mr. Kelly's work.

****** Words and Music (12/9/48) Norman Taurog ~ Mickey Rooney, Tom Drake, Gene Kelly

For years, I read again and again that this movie would disappoint me, that it was a waste of talent, that it was badly fictionalized, et cetera. What a load of hooey! The dialog is crisp and rings true, the musical numbers are full to the brim with pep and style, and the performances are nothing short of masterful! If you like music, Broadway, and old-fashioned musical brilliance, then this is the movie for you. I hate to sound like an advertisement, but you'll laugh, you'll cry, you'll sing along, you'll dance in your seat! This is movie is not to be mistaken for a masterpiece, despite all of this. It is a very standard musical for the period and for the MGM style -- but that's the best!

Words and Music is one of those films that is heavily flawed but is still a pleasure to watch. The failures are mainly to do with the biographical parts, with anachronistic and rather stilted dialogue, an underwritten and stodgily paced story that takes truth liberties to the extent that Richard Rodgers and Lorenz Hart just don't seem very interesting and the heavier dramatic elements seemed on the ham-fisted side. Unfortunately there are also casting issues too. Tom Drake is so restrained as Rodgers that he comes across as colourless, especially when compared to Mickey Rooney who chews the scenery to pieces with the subtlety of a sledgehammer that seems at odds with the rest of the film. Janet Leigh also has very little to do and her performance doesn't register as a result. The film has lovely sets and costumes though and the cinematography is very nicely done. The music is top drawer with witty lyrics and melodies that are both beautiful and catchy. The choreography brims with sharpness and nostalgia too, and several of the performers are great. Of the musical numbers, my personal highlight was Slaughter on 10th Avenue, utter class of the highest order and danced to perfection by Gene Kelly and Vera-Ellen. Very close is Thou Swell, June Allyson performs it with such lively energy, and you have to love the Blackburn Twins' coyness. Blue Room benefits from Perry Como's sensitive singing and Cyd Charise is able to show her elegant dancing and long legs just as beautifully. Mel Torme's rendition of Blue Moon is incredibly touching, as is Judy Garland and Rooney's(his best moment in the film easily) reunion rendition of I Wish I Were in Love Again. Garland's Johnny One-Note charms too and Lena Horne's The Lady is a Tramp is a winner. All in all, the biographical elements don't really work but the musical numbers do and the best ones(Slaughter on 10th Avenue and Thou Swell) are outstanding. 6.5/10 Bethany Cox

To describe the 1948 WORDS AND MUSIC as a "whitewashed" version of the famous song-writing team Rogers and Hart is a gross understatement. Lorenz Hart (1895-1943) was a homosexual in an era when such was flatly unacceptable; the pressures of the closet drove him into a wildly self-destructive alcoholism that ultimately killed him. Richard Rogers (1902-1979)was Hart's polar opposite, a highly disciplined individual who had zero tolerance for Hart's extremes. Their friendship and working relation was stormy, to say the least.

Needless to say, there was no way on earth that 1940s Hollywood could approach these facts. What we get instead is the story of the brilliant but glitchy Hart (Mickey Rooney) who is disappointed in love by singer Peggy McNeil (Betty Garrett), never gets over it, and falls apart as Rogers (Tom Drake) and his wife Dorothy (Janet Leigh) look on in dismay. It's pretty much a lot of pap, but fortunately for all concerned the movie gives us a lot of music along the way.

Most of the music is the form of cameos by a wash of MGM's musical stars. Perry Como has unexpected screen presence; Lena Horne, saddled with the excessive gesticulation and odd costumes typically inflicted upon her during her Hollywood years, still manages to give truly memorable performances of "Where or When" and "The Lady Is A Tramp;" June Allyson does a charming "Thou Swell;" Gene Kelly and Vera-Ellen offer a memorable version of the jazz ballet "Slaughter on 10th Avenue." Other notables include Anne Southern, Cyd Charisse, and Mel Torme.

The big noise among the cameos is Judy Garland, who was battling MGM over withheld salary at the time and finally agreed to do two numbers to even out what the studio said she owed them. The result would be the final pairing of Judy Garland and Mickey Rooney in a motion picture, the two performing a charming duet of "I Wish I Were In Love Again," with Rooney clearly trying to break Garland up--and often succeeding. It's tremendous fun and followed by Garland's hard-belting and equally enjoyable "Johnny One Note."

Cameos aside, the primary cast is quite good with Rooney a stand out as Hart; one wonders at what performance he might have given if the script had been a no-holds-barred account. Granted, WORDS AND MUSIC is the sort film you watch for the musical moments rather than the plot--but when all is said and done it does what it does extremely well. Recommended, but primarily for musical fans.

Gary F. Taylor, aka GFT, Amazon Reviewer

I just saw it on TCM, and a fresh viewing of it gives rise to so many ironies regarding the real Lorenz Hart. Many critics have attacked the film because it so clearly ignores the facts. But what mainstream film do *you* know from 1948 that features an openly gay protagonist? When the studio is sweetness-and-light MGM you simply have to buy the premise and move on. (Note through all of Mickey Rooney's pursuit of Betty Garrett, she keeps alluding to 'something' about him that keeps her from marrying him. Foreshadowing?) Rooney, to his credit, seems to go for pathos in his performance but just overacts the role, and winds up making Hart into some kind of wind-up toy about to explode. Later in the film when he's wallowing in loneliness (punctuated in the party sequence with the song "Blue Moon"), the drama is much better. But more than anything else, there are the exhibits of the glorious songs: "Manhattan," "Thou Swell," "Small Hotel," "With A Song In My Heart," a double-bill of Judy Garland alone and with Rooney (the song "I Wish I Were In Love Again" is a standout); "Where Or When" and "The Lady Is A Tramp" given the chanteuse treatment by Lena Horne; "Blue Room" sung by Perry Como and danced (or, more accurately, spun like a top) by hostess Cyd Charisse; and the sexy "Slaughter on Tenth Avenue" finale with Gene Kelly and Vera-Ellen. Entertainment at its classiest, nothing more or less.