Minha Vida é uma Canção

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.

If you have the patience to sit through one of Mickey Rooney's most frantic and hyperactive performances in which Larry Hart becomes a caricature, you'll be rewarded by some typically stylish MGM musical interludes with stars like Judy Garland, Lena Horne, June Allyson, Gene Kelly and Vera-Ellen. Perry Como and Mel Torme both have a chance to warble a couple of Rodgers & Hart tunes too.

The musical numbers have the glossy MGM touch but the main storyline is diminished by allowing Rooney to chew so much scenery that he ends up resembling a frantic wind-up toy--and he's less than convincing when he attempts the heavier melodramatics of the final scenes. He throws the whole picture off gear and makes us yearn for the music to start so we can see cameo turns by MGM's roster of stars. His only good moment is a song routine with Judy Garland that he does in typical Rooneyesque manner.

By contrast, the restrained and natural performances of Tom Drake (as Richard Rodgers) and Janet Leigh (as the girl who becomes his wife Dorothy) are a welcome relief. Betty Garrett does well to in a supporting role as Rooney's highly fictional girlfriend.

The only musical number which failed to charm me was the routine given Ann Sothern for the Garrick Gaieties number. A weak song with even weaker choreography. All of the other numbers are done in high style, especially Judy Garland's solo on the "Johnny One-Note" song and June Allyson's delightful "Thou Swell". Lena Horne also gets a chance to strut her stuff with "The Lady Is A Tramp".

Fans of MGM musicals will love this one--with reservations, perhaps, about its inaccuracies and Rooney's sledgehammer acting. A more serious attempt to play Hart is sorely needed--preferably with another actor in the part.

This technicolor musical biopic from MGM and director Norman Taurog charts the lives of songwriter Richard Rodgers (Tom Drake) and lyricist Lorenz Hart (Mickey Rooney), from their early successes, to their mid-career successes, to their late career successes. We also see their various romances, bot the successes and the failures.

This movie can be looked at in two parts: a biopic, and a musical showcase. As far as biopics go, this was horrendous, as not only does it not shed any real light on who Rodgers and Hart were, or take a serious look at their process, it portrays character traits that are completely fictitious, while ignoring others that are integral to understanding who these men were, particularly Hart. On the musical front, as usual, if you're a fan of this type of music, and these particular songwriters, then you'll most likely love it, as there are some of Hollywood's best belting out the tunes. I enjoyed the "Slaughter on Tenth Avenue" ballet sequence with Kelly and Vera-Ellen, even if the latter looked a bit like she was suffering from a hip disorder rather then as if she were dancing.

Among the leading cast of "Words and Music" are 5 fine talented performers who posed great problems for future casting. They're all ideally presented here to utilize their best assets.

The stars are Tom Drake, Betty Garrett, Marshall Thompson, Perry Como and Lena Horne. All super-gifted, providing they're given the right forum.

Drake was forever the "boy next door," and his charming, naive persona was seldom as well used as here and in "Meet Me in St. Louis." Garrett had a great personality and contralto voice, who was seldom allowed to show her full potential.

Thompson was the perfect supporting player but, like Tom Drake, limited to lightweight parts which came few and far between.

Como and Horne, while superstars as singers and entertainers, were likewise limited to "specialties" in films rather than leading roles. Como went on to star in his own tv show, which lasted for many seasons. But Horne represented a truly great talent who was wasted in terms of future acting roles and other musical offerings.

They're all presented in "Words and Music" in their element, and come across beautifully. Other stars are well featured in this fictionalized and Hollywoodized bio of two great songwriters, Rodgers and Hart.

What wonderful music this collaboration rendered musical theater, and this film preserves many of their best numbers.

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