Nasci para Dançar

BORN TO DANCE (Metro-Goldwyn-Mayer, 1936), directed by Roy Del Ruth, is, according to its title, one starring Eleanor Powell as the one born to dance. Being the third in the series of Navy musicals produced within the year, following SHIPMATES FOREVER (Warners, 1935) with Dick Powell and Ruby Keeler; and FOLLOW THE FLEET (RKO, 1936) with Fred Astaire and Ginger Rogers, the title "Born to Dance" translates itself as a musical, whether a song and dance or backstage story, being a combination of both, it gives no indication as one with a U.S. Navy background. Regardless, BORN TO DANCE ranks the best of the trio, thanks to a fine score by Cole Porter, witty dialogue, particularly from the secondary characters (Sid Silvers and Una Merkel), as well as the very young James Stewart surprisingly effective singing through his soft-spoken Fred Astaire-ish style of vocalizing.

The second of its annual Eleanor Powell musicals, BORN TO DANCE brings back her co- stars from her initial MGM musical, Broadway MELODY OF 1936, including Sid Silvers, Una Merkel, Frances Langford and Buddy Ebsen, with Virginia Bruce substituting for June Knight as the temperamental actress. As an added plus Frances Langford, who, in Broadway MELODY of 1936, only participated in the song numbers, this time gets to belt out her songs and take part of the plot.

Following the opening titles with a background of musical notes (yes, this is a musical) and still silhouette dancing images of Eleanor Powell, the story opens with singing sailors submerging from a submarine and going on shore leave in New York City. Ted Parker (James Stewart) meets Nora Paige (Eleanor Powell) at a Lonely Hearts Club, managed by Jenny Saks (Una Merkel), who is married to a Ted's fellow Navy partner, "Gunny" (Sid Silvers), whom she hasn't seen in four years, and through him, is the mother of a three-year-old daughter (Juanita Quigley). While Jenny finds Gunny to be a big disappointment to her, and unwilling to tell him that he is a father, Ted finds himself becoming very much interested in Nora, whose ambition is to become a dancer (hense the title). Their romance is soon broken up when Lucy James (Virginia Bruce), a famous musical-comedy star, along with her press agent, James McKay (Alan Dinehart), visits Ted's ship for publicity pictures, and after her Pekinese dog falls over board with Ted jumping in to save it, McKay then makes a romance story out of it. Ted finds his time being occupied being with Lucy, and away from Nora. However, Ted arranges for Nora to get into Lucy's upcoming show as her understudy without either girl being aware as to whom was responsible for this arrangement. As Ted is going through his complications such as believing Nora to be a mother to Jenny's little girl, there is "Mush" Tracy (Buddy Ebsen) who finds time in becoming the romantic interest of another Lonely Hearts Club employee, "Peppy" Turner (Frances Langford).

Song numbers include: "Rolling Home" (sung by the Foursome Quartet, Sid Silvers, Buddy Ebsen and James Stewart); "Rap-Tap on Wood" (sung and danced by Eleanor Powell); "Hey Babe, Hey Babe" (sung by James Stewart, Eleanor Powell, Sid Silvers, Una Merkel, Buddy Ebsen and Frances Langford); "Here Comes Lucy James" (sung by sailors); "The Captain Had a Very Bad Night Last Night" (recited by Raymond Walburn); "Love Me, Love My Pekinese" (sung by Virginia Bruce/ chorus); "Easy to Love" (sung by James Stewart & Eleanor Powell); "I've Got You Under My Skin" (danced by George & Jalna/ sung by Virginia Bruce); "Easy to Love" (sung by Frances Langford/ danced by Buddy Ebsen); "Love Me, Love My Pekinese" (audition dance by Eleanor Powell); "Swinging the Jinx Away" (sung by Frances Langford/ with Buddy Ebsen/ danced by Eleanor Powell); and "Easy to Love" (sung by cast).

The other members of the cast consists of Raymond Walburn, Barnett Parker, Jonathan Hale and Reginald Gardiner, making his movie debut, in an awkward but amusing cameo as a policeman in Central Park who fantasizes himself as conducting to the score to "Easy to Love" with an unseen orchestra (only in New York!).

As with Powell's other "Broadway Melody" series, BORN TO DANCE includes moments of singing and dancing on cue, with a full orchestra playing in the background, whether it be at the Lonely Hearts Club, on the Navy vessel or in the middle of Central Park. Comedy also takes its toll in BORN TO DANCE, including Walburn as the confusing captain who can't distinguish the difference between the very tall Mush (Ebsen) and the ultra short Gunny (Silvers), asking them if they are twins, and in giving an assignment for Mush deliver an important message to a Rear Admiral Stubbins at the Brooklyn Navy Yard. Mush, however, keeps forgetting, and when he does remember, can't find Brooklyn and ends up in Yonkers; as well as Helen Troy's classic bit as sharp-tongue Brooklyn-ese switchboard operator. Troy must have been an inspiration for Lily Tomlin's comedic character in later years when appearing as a telephone operator in the late 1960s variety comedy show of LAUGH-IN.

BORN TO DANCE is light on plot, memorable on songs and well constructed with dance numbers as choreographed by Dave Gould, highlighted by the lavish but classic 13 minute finale of "Swingin' the Jinx Away" (portions would be reused again for the finale in Eleanor Powell's latter 1943 musical titled I DOOD IT, newly re-scored to appeal more to the big band era for the time of its release).

Other than having its presentations on commercial television some decades ago, the original soundtrack recording to BORN TO DANCE was displayed in record stores in the late 1970s. If there is any Eleanor Powell worth seeing, it's BORN TO DANCE, by all means, that's what she was, and does it well. Available viewing on Turner Classic Movies. (***1/2)

The plot, such as it is, of this movie is best forgotten.

What is impossible to forget are the musical numbers, many of which have become American classics, like "You'd be so easy to love." Add to that Eleanor Powell's spectacular dancing, especially in the finale, which is downright breathtaking, and you have one very entertaining movie.

Sure, you could find fault here and there. The movie is too long - too much plot - and the story is too complicated.

But all of the musical and dance performances - and I do say all, including James Stewart's - are a joy to hear and behold.

I doubt they could get away with making a movie like this today. There's really not much to it. Except great music, great dancing, and - except for Frances Langford, who was very good - passable singing.

Also not to be forgotten: Reginald Gardiner's great parody of Leopold Stokowski conducting in Central Park.

Trust me, this movie will put a smile on your face.

From the rollicking opening of the camaraderie of a returning U.S. submarine crew to the booming "Great Guns" of the movie's finale, it's easy to understand why this movie was an antidote to the Depression Era. I personally discovered Eleanor Powell for the first time in this movie. She sure knows how to dance! Jimmy Stewart, who plays a clean cut sailor in this film, shows his talent, not just as an actor but as a singer and dancer as well. A little known Sid Silvers, who plays "Gunny Saks"in this movie is a short, stocky energetic dynamo who probably deserves more recognition, also is credited for the screenplay of the movie. Another actress I discovered for the first time when I saw this movie was Virginia Bruce and she is captivating in the musical number aboard the submarine with her Pekingese companion, "Cheeky". I had recognized the name but another actress who I had little knowledge of was Frances Langford and she is natural to dance with the young boot scooting Buddy Ebson. All of the other character actors in this film are a joy to see. The no-expense-spared musical number at the end of this movie is inspiring. Out of all the movies, I own, I watch this one over and over again, especially when I'm in a good mood.

With Born to Dance MGM succeeded in combining two musical types, the sailor story with the Broadway opening night story. Although the plot is down right silly, that hardly makes Born to Dance unique back in its day. What you take from it is the wonderful singing and dancing and the glossy production values of an MGM musical.

And of course Cole Porter's score. It contains two of his most beloved standards, Easy to Love and I've Got You Under My Skin. The rest of the score is serviceable for the plot. I particularly like Hey Babe Hey in which all the principals of the plot participate. How they got James Stewart to dance must have been a challenge.

Of course Born to Dance is famous for Easy to Love being introduced by James Stewart. Stewart had always maintained that the proof of Easy to Love being a great song is that it survived his singing of it to become a great popular standard. His singing is adequate, but for the life of me, I'll never understand why Allan Jones who was up for the part wasn't picked. Especially since I've heard Allan Jones's contemporary recording of Easy to Love. Stewart is all right, but the part isn't exactly a stretch for his thespian talents and for cryin' out loud, Jones was one of the best movie singers ever.

The other standard is introduced by Virginia Bruce, spoiled mantrap of a Broadway musical star who takes a shine to Stewart after he saves her Pekingese from drowning while Bruce is visiting his ship at the Brooklyn Navy Yard. Bruce sings I've Got You Under My Skin directly to Stewart with a come hither glance to lure him from Eleanor Powell who is her show's understudy.

Borrowing from Hit the Deck with a plot of three sailors and three civilian women, Born to Dance pairs off Stewart with Powell, Buddy Ebsen with Frances Langford, and Sid Silvers with Una Merkel. Raymond Walburn is at his avuncular best as the ship's captain who keeps entrusting Silvers and Ebsen to deliver a message to the Admiral and they keep getting sidetracked by their women.

With Powell as the understudy to Bruce and them both vying for Stewart, you can readily guess how this story will resolve itself. Eleanor dances divinely, especially in the finale number Swinging the Jinx Away which Frances Langford sings and Buddy Ebsen also dances.

With all the talent involved and a plot which is a walking cliché, but easy to take, it's easy to love Born to Dance as I do.

Sailor James Stewart meets aspiring dancer Eleanor Powell and they fall in love. But a misunderstanding involving Broadway star Virginia Bruce comes between them. Eleanor then gets a job as understudy to Virginia. Hopefully everything will work out in time to put on the big show! What do you kids think?

Jimmy Stewart in a musical. Where's Clarence when he really needs him?!? Seriously though, Jimmy does a good job. He's not the best singer but he can carry a tune. If you like pretty movie stars, this one's the picture for you -- Eleanor Powell, Virginia Bruce, Una Merkel, Frances Langford are all beauties. Powell is the star of the show with her awesome tap dancing numbers. Keep your eyes peeled for Dennis O'Keefe in Powell's first number. He's the guy she taps on the shoulder. Una Merkel is perfection as always. Buddy Ebsen singing and dancing is a hoot. Sid Silvers and Raymond Walburn are funny comic relief. Adorable Juanita Quigley plays Una & Sid's daughter.

It's a slight but fun story with a killer cast. Outstanding Cole Porter songs include classics "Easy to Love" and "I've Got You Under My Skin." But my personal favorites are " Hey, Babe, Hey" and "Swingin' the Jinx Away." As always, Eleanor Powell's dancing is spectacular. Add some nice humor and the immense likability of Powell and Stewart and you have a real gem. Get this on DVD or catch it on TCM next time they show it.