Follie di New York

Amiable musical is loaded with good music and sprightly performances. Originally planned for Betty Grable whose pregnancy prevented her appearance, then Carole Landis who stubbornly refused to change her hair color and was punished by Zanuck by being relegated to a secondary part he then borrowed Rita from Columbia. She was in the midst of her climb to the top having made strides over the previous two years in a succession of spotlight parts and this continued her ascent.

As a biography it's worthless but as a showcase for Rita's talent and beauty it can't be beat. There are one or two occasions where she is so heavily made up and dressed in an unflattering pink that she appears corpse like but otherwise looks sensational in her period costumes and her dancing and singing are marvelous. Mature is fine as the male lead but is overshadowed by Rita.

Not a classic but a bright, pleasant entertainment. A must for Hayworth fans.

"My Gal Sal" is a Hollywood biopic. And, like most biopics of the era, much of the story is fiction. However, even for a biopic, this one is mostly hooey and is nearly 90% fictional! After all, Paul Dresser's life would have been impossible to accurately portray and yet comply with the Production Code! After all, in real life, Dresser had a mistress who owned a brothel, slept with many prostitutes and later he essentially ate and drank himself to death at age 48! And, when he died he was broke...having spent everything he earned and then some! In fact, he was so broke it took years for him to be properly buried!

The story begins with Paul arguing with his father...something which was pretty accurate, as Paul and his father reportedly had almost no relationship because of this. He then makes his way as a singing at traveling medicine shows, though in real life he ALSO performed as a minstrel...though fortunately this isn't in the film.

His fortunes changed and after writing some successful songs and meeting Sally Elliott, he slowly gained fame. In real life, fame came slower, there was no Sally Elliott and he was in near constant trouble due to his own foolish choices. But in this one, he's a pretty standup guy whose biggest problem is his on again off again relationship with Elliott.

So what is to become of all this? And, is the film worth seeing? As far as whether it's worth seeing, it depends. If you accept that nearly all the story is fiction and just enjoy it for its color cinematography, nice costumes and lovely songs which were lip synched by the leads, then you'll no doubt like the film. As for me, the phoniness of the story made it hard to like...my problem probably because I used to teach history and actually like films to bear more than a passing semblance to the facts. I also didn't like the fictional relationship with Elliott for another reason...their fighting and cooing and fighting got very tiresome after a while.

Darryl Zanuck loved doing these period musicals because the music of the time had by now passed into the public domain. For My Gal Sal, Zanuck didn't have any contemporary composers write anything original for the score on this one. Those original songs are what win Academy Awards as he would prove the following year with You'll Never Know.

My Gal Sal which along with On The Banks Of The Wabash was the most popular song that Paul Dresser ever wrote serves also as the title of this musical biography of Dresser. Paul originally named Dreiser was the oldest of nine children and the youngest was famed novelist Theodore Dreiser and Dreiser wrote a short essay in tribute to his older brother which was the basis for this film. Young Theodore only appears as a child at the beginning of the film.

But the title role is fictional musical comedy star Sally Elliott who is played by Rita Hayworth. She's got publisher John Sutton panting after her, but she's got this love/hate thing going on with Victor Mature as Dresser. The plot for Sutton must have seemed familiar, it's the same one that 20th Century Fox used in A Yank In The RAF where Sutton was in the same position as in this film only with Tyrone Power and Betty Grable.

If this were being made today we would get the real story which was that Paul Dresser was a man of large frame and large appetites. The 'Sal" he wrote this song for was in real life a bordello madame of a certain house that he favored and occasionally took aspiring novelist Theodore in for a quickie. He was also a man close to 300 pounds and the guy who could have played him for real at the time was on the 20th Century lot and that was Laird Cregar.

But Mature and Hayworth were just coming into their own and Zanuck got full use of them. Mature was his studio's property, but Rita was on loan from Columbia where Harry Cohn was starting to realize what a great find Hayworth was. Zanuck was developing his star with three films, this one, Blood And Sand and Tales Of Manhattan. They both looked real good and sang real good with dubbed voices.

A lot of period music, costuming, and sets is what My Gal Sal gets its best marks for. In fact the film won an Oscar for Best Art&Set Design. Rita looked and danced divinely even using someone else's voice as she always did.

It's not the best film of this type that Fox ever did, but if your taste does run into period musicals than you can't go wrong with My Gal Sal.

For a movie that had to pass the Production Code, My Gal Sal has some pretty racy lines that passed through the censors. Victor Mature obviously has a physical relationship with Carole Landis while working in a travelling vaudeville show, and when he starts coming onto Rita Hayworth when he moves up in the world, he's very interested in in seeing her bedroom. He keeps pushing until she finally relents, and she's next seen in a disheveled appearance running late to her next performance.

The costumes in this movie are gorgeous, so if you like the time period of the 1890s, you'll love watching all the beautiful outfits parade across the screen. The songs are source music from the protagonist's collection, but if you aren't familiar with Paul Dresser's work, there will be new schmaltzy tunes for you to listen to. The love story, honestly, isn't that great. Victor's character is written to be selfishly ambitious with a big temper. Rita is rude, snobby, and also has a huge temper. You can't even imagine the depths of their fights, and it makes the audience wish they'd end up with calmer people who might soften their rough edges. Carole was a sweet, caring girl, and John Sutton is steady, stable, and puts up with way too much from Rita.

But hey, you can't have everything. If you like Rita, you can check out this early musical. It's pure escapism that fits right in with the backstage musicals of the WWII era.

RITA HAYWORTH and VICTOR MATURE make a pleasant co-starring team, although it's hate at first sight, proof positive that true love never does run smooth...at least not in these sort of backstage musicals where the paper-thin plot depends upon the boy-loses-girl-until-final-reel contrivances.

Rita has a temper to match her red hair and when she tears up all of Mature's clothes, he does the same to her. And so it goes. They fuss and feud all over the screen until the last moment--but it's all done with such style and charm that you can't resist it.

Alice Faye was supposed to do Rita's role but she was expecting a baby so Rita signed on. As usual, someone else dubs her singing but her dancing is a sheer delight and the technicolor costumes are showcased in all of the musical numbers.

Given short shrift in the cast is CAROLE LANDIS, with almost nothing to do after a bright start, and handsome JOHN SUTTON has a thankless role as Rita's would be suitor. Too bad Fox could never find a worthy starring role for him.

Fun to watch (if you like musicals) and easy to take.