Melody Cruise

What a fun and bouncy few reels of musical fun we have here! Music is everywhere, even in the shoveling of snow and the steam of a locomotive. As mentioned by others, the wipes, transitions, and segues are novel and creative, still fresh, really, after going-on 90 years. Charlie Ruggles is as delightful as ever. And who knew Phil Harris was ever this good-looking and could play the chief love interest in any kind of film? But he was and he did. And this wasn't just any kind of film. Creative photography is a just a little over-the-top in a way keeps that keeps your eyes on the screen. It's all a little surreal and funny and fine.

"Melody Cruise" is a breezy RKO musical made just before the beginning of the Astaire-Rogers series. Directed by Mark Sandrich (who directed five of the Astaire-Rogers films), it is still easy viewing today because of its innovative editing style and its pre-Code sensibility.

I believe this is one of the films that established the use of the playback system for musical numbers, giving filmmakers more freedom for visual creativity. Only one of its songs is presented in a traditional way of having a performer sing while another listens, and even this progresses into a sequence of invention. Other songs are often spoken by various members of the chorus, each saying one line -- at one point, just a single word -- as the musical narrative proceeds. The song, "He's Not the Marrying Kind," perfectly illustrates this.

The musical numbers play energetically with the editing and seem to enjoy their own inventiveness. The opening sequence shows how movies can create an engaging musical number out of such non-musical elements like someone pushing a broom, a man blowing at his hands to keep warm, a shop sign swinging in the wind. Only the ice skating ballet disappoints as a limp Busby Berkeley imitation.

Many transitions are done by using a wipe, a popular editing device of the period. The film editors and effects team seem to have had fun creating wipes that visually comment on the story. (The great Linwood Dunn was one of the special effects artists.) A shot of the cruise ship in rough sea with high waves wipes to a shot of Charles Ruggles feeling seasick in his stateroom by using the visual effect of water washing down the screen. A flower vase falls and "breaks" onto a cymbal in the ship's dance band just as the drummer hits it. A love dialogue between Phil Harris and Helen Mack is protracted over a number of scenic California locations, first through diagonal wipes and then jump cuts.

Naughty pre-Code elements are embodied, literally, in the presence of Vera and Zoe (Shirley Chambers and June Brewster), two party girls who pass out in Ruggles' cabin after the bon voyage party instead of leaving the ship. When told their clothes have been thrown overboard, Vera reminds Zoe: "It's possible, Zoe. You know whenever you get a few drinks in you, you always want to take your clothes off."

The film offers an early version of the driver's license/marriage license scene the ended George Cukor's version of "Born Yesterday".

What a joy it is for a movie collector like me to find a movie I've never seen before that is so darn good. It's hard to describe this movie because it's so many things at the same time. It's a comedy, it's a musical, it's sexy, groundbreaking and different.

Most of the dialogue is spoken rhythmically, a device that might have been tiresome in lesser hands. Zoe and Vera, are two interesting characters in this film. They are "party-goers", stranded in a stateroom. To keep the women safely in his cabin, Pete bribes steward Hickey to steal their clothes. They escape anyway.

The most fun elements of the film are both technical and sub-story-wise. The technical are the creative dissolves from scene to scene. They don't just fade; they are patterned in truly artistic ways. The film contains many highly entertaining special effects created by Vern Walker and Lyn Dunn. Decorated with lots of pretty girls, punctuated with melodic interludes, its strong points are a very pretty ice-skating ballet and the work of Charles Ruggles.

Melody Cruise is mixture of nonsense and music which makes for an excellent show. It's not the singing or the clowning that makes this a smart piece of work, but the imaginative direction of Mark Sandrich, who is alert in seizing ANY opportunity for cinematic stunts. From the viewpoint of direction this production is quite an achievement. I'm very happy to have this excellent film in my 3,000 DVD/Blu-ray collection.

In this RKO musical Charlie Ruggles was brought over from Paramount but he's playing his usual role of a cheating playboy who has written an indiscreet letter and wants it back before wife Marjorie Gateson sees it. She's in Europe and Charlie is on a delightful cruise to California through the Panama Canal with cuties June Brewster and Shirley Chambers.

Along for the ride is Ruggles's pal Phil Harris who finds some true love on the cruise with Helen Mack. Some forgettable songs are in Melody Cruise save for its main theme Isn't This A Night For Love repeated throughout and best used as an ice ballet when the ship docks in California and Phil and Helen are in Squaw Valley. I have to say Busby Berkeley could not have done better over at Warner Brothers given the bigger budgets he had than what RKO did here.

What's hard to believe here is that Phil Harris was ever that young for those of us who remember him as Jack Benny's brash bandleader and in only a few more years. Handles his end of the singing nicely.

One only wishes that RKO had borrowed Mary Boland as well as Ruggles from Paramount. Ruggles always did his best work with her though no complaints about Gateson.

Nice ending for Ruggles when he knows the jig is up.

The plot, characters, and acting in this movie are undistinguished and easily forgettable.

What I found different and interesting was the editing in some of the (few) musical numbers. In particular the opening of the movie, which cuts from one example to the next of people dealing with the cold in New York City. In a minor way, it was reminiscent of the opening Song of Paris number in Rouben Mamoulian's very clever Maurice Chevalier/Jeanette MacDonald movie *Love Me Tonight*, which had been released the year before by Paramount.

There is also a love duet, of sorts, on the ocean liner that cuts from Phil Harris singing (sort of) the melody to German and Italian immigrants singing (much better) the same tune to different words.

In between those few moments, there's a lot of clichéd drivel. The fact that it is a pre-code movie only means that we get to see two women in their lingerie more often than in dresses. Not much to titillate you, I'm afraid.

Phil Harris doesn't sing well in this movie - you'd never guess this was the voice of Balou in The Jungle Book - and doesn't make a convincing leading man.

In short, a mostly forgettable movie with some interesting editing.