Duchess of Idaho

DUCHESS OF IDAHO is a product of its time. Lavish costumes and settings done the MGM way. No one get dirty, everyone, including the men, are clean, made-up and stylishly dressed. Plot is fun...again, a plot that is a 'product' of its day. ESTHER WILLIAMS is really good in this one. I think she was an underrated actress. If you want pure escapist enjoyment, see DUCHESS OF IDAHO. And just look at that nightclub with its giant swimming pool. How on earth could the patrons see all the underwater stuff? And what nightclub could even afford something as extravagant as that. OH, I forgot...this is an MGM film. And if it's MGM in the 40's or 50's, don't expect realism. But that's the great thing about MGM..especially the musicals. Who wants reality??

If you want to Esther Williams in one of her better roles check this one out. While she still has two very nice water ballet sequences, the best parts of the movie involve the funny antics of its players. The cast is very good especially Williams and Van Johnson who have a great chemistry. It's no wonder they made 3 other movies together. Johnson is absolutely charming and Williams shows that she can do more than just swim. She definately holds her own.

Of course it is pretty easy to perdict what will happen, but it's still a lot of fun. It will definately puts a smile on the face. It's also very neat to see a very young Mel Torme as a messenger.

Esther really shows off her flair for light comedy in this one, and for me - a lover of Esther Williams musicals - this one has the best music of them all...one great tune after another. Former band singer Connie Haines delivers two swinging songs and joins Van for another, and Lena Horne is in top form singing the hot number "Baby,Come Out Of The Clouds" in her glamorous style. Eleanor Powell tap dances to boogie woogie.

This is one of the films where we're supposed to believe that there is a huge nightclub with a giant swimming pool surrounded by chorus girls and filled with muscle men who strike poses with Esther...preposterous Hollywood fantasy, but that makes it all the more fun. A Technicolor delight.

"You always have to have a plot. There's never an easy way of doing things." So says JOHN LUND in this typical ESTHER WILLIAMS movie based on the familiar mix-ups involved when nobody tells the truth.

The mix-ups begin when Esther offers to help secretary PAULR RAYMOND catch a rich playboy (Lund), suggesting a trip to romantic surroundings in Sun Valley, Idaho would help. Esther, in the meantime, is pursued by VAN JOHNSON, a bandleader at the resort, who soon melts her heart. In the interim, there are guest appearances by RED SKELTON (at a potato square-dance contest that is deftly done) and ELEANOR POWELL, who does a guest spot in the usual MGM manner of at first coyly refusing to dance when requested. Then she rips into an impromptu routine that had to be rehearsed for at least three weeks. So much for reality.

It's a strictly fun, escapist musical, which is all it pretends to be. ESTHER WILLIAMS and PAUL RAYMOND look gorgeous in their various Technicolor outfits and Esther gets to do a couple of swimming numbers in her usual charming manner. JOHN LUND and VAN JOHNSON do nicely in the romantic comedy department as the love interest for the gals.

If you like Esther, this one is for you.

DUCHESS OF IDAHO (1950) is one of those lesser-known MGM/Joe Pasternak musicals that bridge the marathon musical spectaculars of the 1940s (BATHING BEAUTY, TWO GIRLS AND A SAILOR) and the more streamlined editions of the 1950s (EASY TO LOVE, Texas CARNIVAL, etc). But as with many of the '40s films DUCHESS is still more concerned with wit, music, and pure style than any kind of cohesive plot line. Musically we're still in the '40s big band mode here, and the songs, by some of MGM's lesser-hyped tunesmiths, are catchy, serviceable, and very 40-ish. (JAILHOUSE ROCK and Presley were still seven years in the future). A highlight is "Let's Choo Choo Choo to Idaho," arranged by Skip Martin, and performed on a train on route to Sun Valley by vivacious band singer Connie Haines, Van Johnson, and an African American quartet called the Jubalaires.

Lena Horne is also on hand with a few numbers, as is Eleanor Powell for one of her last big solo dances on film, and comedian Red Skelton also puts in a guest appearance. A none-singing Mel Torme briefly appears (as a bellhop), and ditto "Gunsmoke's" titian-haired Amanda Blake as one of Lund's rejected girlfriends). In the second female lead Paula Raymond is one of those obscure but promising MGM personalities who, however, never quite made a break through. In DUCHESS she shows glimmers of charm but is seriously handicapped by some of the clunkiest outfits in the usually impeccable MGM wardrobe.

The look of DUCHESS anticipates the peak Technicolor styling of such early 50s MGMs as LOVELY TO LOOK AT, YOUNG BESS, and SCARAMOUCHE. Many of the interiors are keyed to soft beiges and earth tones against which Esther's always-modish outfits (one of which includes slipper socks!) stand out in jolts of brilliance. And of course it wouldn't be an Esther Williams picture without a few aqua numbers though those featured here are some of her most restrained. (A nocturnal ski run with multi-colored torches also provides a trippy visual/musical interlude mid-film).

Someone once said about Esther that "Wet she's a star, but dry she ain't," but on the whole DUCHESS showcases the star's under-rated acting skills and her often-ironic sense of humor. ("You'll see Esther Williams swim and ski and skate and do a dozen thrilling things!" the movie book ads proclaimed). While as noted the plot is not the strongest, the dialogue (by three credited screenwriters) is witty, often sophisticated, and well-delivered by all involved, including deadpan MGM character staple, Clinton Sundberg, who mutters an on-going chorus of grumbling asides as Lund's much put-upon man Friday. DUCHESS OF IDAHO is the cover story for the August, 1950 issue of "Screen Stories" which also includes a full-page ad for the film in the prime MGM spot right next to the contents, indicating that the studio considered this one of their key box-office attractions for the summer.