A Canção Prometida

Gregg Toland, the great director of photography of CITIZEN KANE, WUTHERING HEIGHTS and THE GRAPES OF WRATH was said to be the highest paid D.P. in America, as well as perhaps the finest B&W lighting cameraman the major Hollywood studio system ever produced. Under long- term contract to producer Sam Goldwyn, he died at the early age of forty-four in 1948, the same year this film was made for his boss. A SONG IS BORN is one of his few Technicolor films. For a man of visual genius, the photography here is surprisingly routine—flatly lit and uninspired compared to the more adventurous color work being done about the same time by Harold Rosson and Joe Rutenberg at the MGM studios. Perhaps Toland was too ill at the time to pay much attention to this project, no more motivated to do his best than was the film's director, the usually brilliant Howard Hawks who had directed BALL OF FIRE, an earlier version of the same story. The film is also flawed by garish makeup for the gorgeous Virginia Mayo. On the plus side, jazz lovers get a few brief moments of pleasure: a rare chance to hear America's prime band leaders of the time—Armstrong, Dorsey, Goodman, Hampton, Louis Armstrong—jamming together with sidemen Mel Powell and Louie Bellson. (Fletcher Henderson probably did the band arrangements) There is absolutely no comparison between this insipidly silly remake and the charming earlier B&W version which starred the incomparable Barbara Stanwyck as the bad/good girl and Gary Cooper in the role Danny Kaye assays with only moderate success.

While there is a decent plot and Danny Kaye does a good job, the best parts are the music scenes with Benny Goodman, Lionel Hampton, Louis Armstrong, Tommy Dorsey and many others. It is a great collection of popular artists of the 40's and earlier.

There are surprises in the plot, especially if you don't recognize some of the actors until they perform.

Danny Kaye's form of humor is not fully appreciated now, but in his time he drew a large following. This movie is a good example of his artistry. His best movie was probably "Hans Christian Anderson." I watched it as a kid and I can still remember the song "Beautiful, Beautiful Copenhagen."

Howard Hawks remake of his 1941 comedy "Ball of Fire" was a vehicle for Danny Kaye, who was popular at the time. This film is based on a story by Billy Wilder and Thomas Monroe, which had also been the basis of the original film. The movie was shot in Technicolor, something that must have been one of the stipulations of its star, Danny Kaye.

By changing the original premise from learning about slang to learning about the new popular rhythms that had come out during the thirties and forties, the creators thought they were updating the basic idea, and they succeed, at times. The best thing in this film is the array of talent we see. Some of the giants in popular music of that time, are seen at their best in musical numbers that are clever and that reminds the viewer how classic compositions could relate to the new expressions.

The central story is just a pretext to present Danny Kaye, who is the nerdy professor Frisbee, and his co-star, Virginia Mayo, a night club singer, Honey Swanson. Professor Frisbee gets in hot water because unknown to him, Honey is involved with a gangster, Tony Crow, who doesn't want to let go of his beautiful girlfriend. Besides the two stars, Steve Cochran puts in an appearance as Tony.

Some of the best known popular musicians of that era are seen doing wonderful music together. Tommy Dorsey, Mel Powell, Buck and Bubbles, Charlie Barnett, Louis Armstrong, Lionel Hampton, and Benny Goodman, who plays one of the professors.

The film, while not as original as its model, is worth watching for the music alone. Music fans are in for a treat thanks to Mr. Hawks.

Where else can you see a jam session with Louie Armstrong on trumpet, Charlie Barnet on saxophone, Benny Goodman on clarinet, and Tommy Dorsey on trombone? Four major swing band leaders jamming out, and they do it more than once on this film. The movie is sufficiently entertaining to watch, but the real treat is the music jam sessions. Some of you may not know Charlie Barnet. Barnet was from a wealthy family, and his bands were more freewheeling than most traditional swing bands. He was the first white band leader to integrate his bands, and he gave Lena Horne her first gig with a major orchestra.

The true big band aficionado will recognize some of the other musicians, but I will not list them here as I might spoil someone's fun.

This is a musical remake of the 1940 classic "Ball of Fire". The plot is almost the same, a gangster's moll crashes the residence of a bunch of professors who are writing an encyclopedia, and falls in love the the youngest one. This time they're a musical encyclopedia rather than a generalized one, which allows for a lot of musical numbers, some of them pretty enjoyable. It's a lively, superficial, colorful musical with some laughs to it, if you haven't seen "Ball of Fire" you'll probably have quite a good time.

But the film and especially the performances are vastly inferior to the original. Virginia Mayo is the same as she always was in musical comedies, a sort of generic leading lady/straight man. Danny Kaye is limited by his role, he's playing an uptight nerd and can't use his fabulous manic energy at all for most of the film (Gary Cooper was absolutely hilarious as the uptight nerd in the original, he was one good actor). The supporting performances are all pretty cartoonish, none stand out, but there are appearances by Benny Goodman, Louis Armstrong, Tommy Dorsey, and Lionel Hampton which you might want to catch.