Saint-Louis Blues

Rather ill-conceived and condescending Fox musical study of "river folk," meaning mindless Southerners who overreact to perceived slights and say "dad-blamed" a lot. River lad Joel McCrea, always appealing but playing a really unlikable leading man, marries "land girl" Barbara Stanwyck, none too bright herself, then high-tails it to Europe on his wedding night when he mistakenly thinks he's killed Victor Kilian, who got fresh with his bride. Walter Brennan's his superannuated dad; if you like Brennan's style of corn pone and shtick you'll like him here, but I don't. Stanwyck, surprisingly believing the lies of citified Walter Catlett, follows him to New Orleans, then has second thoughts, and ends up washing dishes in Minna Gombell's cafe, where she also harmonizes with Tony Martin and soft-shoes a bit with Buddy Ebsen. I love Stanwyck, but singing and dancing really aren't her fortes, and one is constantly aware that she's more intelligent than the woman she's playing. More interesting is a scowling, Joan-Crawford-looking Katherine de Mille, as her nasty rival. There are some nice musical interludes, notably an elaborate "St. Louis Blues" with the Hall Johnson Choir, but the plot meanderings are arbitrary and the ending's never in doubt. Nicely photographed, with an impressive river storm near the end.

... one of the most bizarre movie musicals ever made. As someone else mentioned, this film makes more sense if you think about when it was made - 1936 - and what it represents - the marriage of Darryl F. Zanuck's 20th Century Pictures that was aiming to make a name for itself in musicals and with well-known stars, and failing Fox Films, which had specialized in films for and about rural folk from its inception until its bankruptcy in 1935. This film was made the year after their merger and so the aims of both companies show through. What results is a rustic semi-musical about rural Southern folk starring two stars (Stanwyck and McCrea) who do their best but really don't belong here. Buddy Ebsen and Walter Brennan seem much more at home here with charming performances you'll expect given their roles in other films.

What's a shame is that Barbara Stanwyck really isn't given more to do here. What's also a shame is that Joel McCrea, an actor who is a favorite of mine, is relegated to the part of the mindless muscle. He thinks with his fists, takes actions that make no sense when those fists have consequences, is kind and even obliging to people that are obviously trying to use him, and thoughtless to those who love him.

I really liked the musical performances and I thought the tunes were quite catchy and memorable. It's just a shame more effort wasn't put into making a story that played to Stanwyck and McCrea's strengths.

This film is a rarity seldom seen on cable. It came as a total surprise, but the casting looked intriguing. John Cromwell directed this 1936 film with sure hand. He takes us to meet the river people that populate the banks of the Mississippi, eking a living out of their fishing. The cinematography of Ernest Palmer does wonders to give us a realistic view of the majestic river and New Orleans.

Barbara Stanwyck proves to be the biggest surprise of all, singing and dancing with great verve in a few of her scenes. She plays Pearl, the city girl that comes to marry Ernie Holley, an uneducated man, but who clearly loves her. Joel McCrea is the stubborn man who doesn't realize he has a gem in Pearl.

The best thing though is Walter Brennan, who is Ernie's father and a man that looks forward to a grandchild to dote on. He is a river musician who plays a strange contraption. Mr. Brennan gave a great performance as Newt, who warms our hearts with his simple melodies.

Buddy Ebsen is Buddy, a river boy who loves to dance to the tunes that Newt produces. Tony Martin is perfect as the star of the cafe in New Orleans where he is heard singing some beautiful songs. Katherine DeMille is Leota, the girl in love with Ernie who will do everything to get Pearl to leave her man.

The movie will warm the viewer's heart because its simplicity and the great direction Mr. Cromwell got from this cast.

The total movie, if one goes by the plot and the practicality of it, is much below standard - too many coincidences - not only in hit but also misses and also the bigamy at the end, with active connivance - or support from all, including the Justice of Peace (of course the first, and hence legal, wife is excluded from this list) . But sometimes that doesn't matter - when the speed of the narration is just right, and with the lovely musicals and witty dialogue, unless one is really a professional critic, trying to tear everything in view to shreds, the movie is a bit better than just OK. And of course I have to add the radiant Barbara in the list. And of course I shouldn't miss on the very lovable grandma (whose?) Helen Westely, she too sparkled every time she was put on screen.

Good enough for one view, and considering the music, dialogues etc, may be repeat ? I can't give it 8, it is somewhere about 7.25-7.5 on my scale.

When the odious "Slade" (Victor Killan) pushes his luck at a wedding, the groom (Joel McCrae) thwarts his attempts to steal a kiss from his bride (Barbara Stanwyck) by sending him headlong into the river! Fearful that he might never be found, "Ernie" has to do a runner leaving "Pearl" in the capable hands of pop "Newt" (Walter Brennan). Six months go by and then he returns to suggest they all relocate. "Pearl" is not about to be separated again, and a tiff ensues ensuring their separation. Misunderstandings galore now occur all over a measily twelve dollars, some dishwashing whilst "Leota" (Katherine De Mille) takes a shine to him, "Chick" (Tony Martin) to her and by the time they make it back to their Mississippi houseboat it's anyone's guess who might marry whom? Except, well no - there isn't really any jeopardy here with this really quite predictably lacklustre enterprise. Neither Stanwyck nor McCrae look like they are enjoying it much, and but for the ever reliable Brennan and mischievous granny (Helen Westley) the film would sink without trace. There are some enjoyable enough numbers peppering this, though, with Brennan, McCrae and Miss Stanwyck exercising their vocal chords with varying degrees of success throughout. The sort of ensemble effort on "Where the Lazy River Goes By" stands out most, but the title song is also quite a decent little toe-tapper that when mixed in with some more traditional musical themes presents us with an amiable showcase for some talented stars trying to make a cinematic silk purse from a sow's ear. There's plenty of fisticuffs, a good storm scene and a kimono, so batten down the hatches.