Artistes et modèles

ARTISTS AND MODELS (Paramount, 1937), directed by Raoul Walsh, stars the legendary comedian Jack Benny in a lively musical as Mac Brewster, the head of a failing advertising agency who tries to promote a new campaign, the Artists and Models Ball. He uses Paula Sewell (Ida Lupino), his fiancée, to pose as a socialite who later falls in love with Brewster's important client, Alan Townsend (Richard Arlen), in fact, his only client. Brewster is given the task of crowning a queen of the Artists and Models Ball, and Paula goes after the crown to be awarded at the ball by Townsend. Because Paula is snubbed for being a professional model instead of a débutante, she grows more determined, taking the next airplane to Miami to compete against Cynthia Winworth (Gail Patrick), an attractive socialite who catches the eye on Brewster. In between song numbers, situations arise during the Artists and Models Ball when Brewster's engagement is to be publicly announced, first to Cynthia at 11:30, and to Paula at the stroke of midnight.

The supporting cast includes Cecil Cunningham as Stella, Brewster's secretary; Hedda Hopper as Mrs. Townsend, Alan's mother; along with Sandra Storme as herself in a brief model bit; Peter Arno, McClelland Barclay, Arthur William Brown, John Lagatta and Rube Goldberg as the artists; Russell Patterson's Personettos; and Andre Kostelanetz and his Orchestra.

While not "colossal, tremendous, gigantic, stupendous, the super special epic of the year" as addressed during the opening and closing of the story by Brewster's wacky associates (played by the Yacht Club Boys) who not only supply some wild antics, but one comedic musical number that opens up the story which has Brewster politely offering his opinion that "It stinks." Aside from that, ARTISTS AND MODELS succeeds with its amusing screenplay and its share songs and musical numbers in the lineup.

The musical program in order as they appear includes: "Sasha-Pasha" (performed by the Yacht Club Boys); "Pop Goes the Bubble" (written by Ted Koehler and Burton Lane/ sung by Judy Canova); "Whispers in the Dark" (written by Frederick Hollander and Leo Robin/ sung by Connee Boswell); "Stop, You're Breaking My Heart" (by Koehler and Lane/ sung by Judy Canova and Ben Blue); "Mister Esquire" (by Koehler and Victor Young/ instrumental with Ben Blue surrounded by puppet musicians); "The Ballad of Frank and Jesse James" (performed by The Canova Family); and "Public Melody Number 1" (by Koehler and Lane/ sung by Martha Raye and Louis Armstrong).

Judy Canova, who would specialize in hillbilly roles later in her career, is given a substantial role as Ida Lupino's best friend and roommate (labeled under her own name but addressed as Toots). Of her memorable highlights, the first finds Canova in the shower singing "Pop Goes the Bubble," stepping out to unwrap a towel, revealing a bathing suit underneath; and her confrontation with a "screwball" lover-boy named Jupiter Pluvius II (Ben Blue), a rainmaker whose father, it is revealed, was responsible for the Johnstown flood, leading to the amusing "Stop You're Breaking My Heart" number. Blue also takes part in a quite original number, "Mister Esquire," which is performed by Russell Patterson's Personnettos, or better known as "live" puppets playing musical instruments.

Interestingly, while Canova's interplays could have been performed just as well by Martha Raye, who had performed similar chores as the loyal friend-type from THE BIG BROADCAST OF 1937 (1936), is given a specialty musical act set in Harlem titled "Public Melody Number 1," opposite Louis Armstrong. Darkened up in the style of a light- skinned Negress, she belts out the lyrics with the sounds of Armstrong's trumpet playing and gun shots scoring out in the background. Vincente Minnelli is credited for direction of this production number. This Raye/ Armstrong number, along with the Canova Family ballad about outlaws Frank and Jesse James were usually eliminated from television prints in order to fit in this 100 minute movie into a 90 minute time slot plus commercial breaks. Fortunately the complete and unedited version of ARTISTS AND MODELS has turned turn up February 1, 2009, on Turner Classic Movies. On a final note, Connee Boswell, one of the singing Boswell sisters, seen only in silhouette, is the vocalist to the soothing "Whispers in the Dark," which becomes a large scale swimming number. This song was nominated for an Academy Award.

Aside from these production numbers taking a major part, its top-billed star Jack Benny does find time in supplying some real funny moments on screen, including he being mistaken by underwear salesmen as a model, and his physical examination with Doctor Zimmer (Donald Meek). There's even some inside humor as Brewster is escorting Cynthia (Gail Patrick) to the Artists and Models Ball and walking past a live radio where announcer Don Wilson is introducing Jack Benny, followed by Benny going on the air, "Hello, again, this is Jack Benny talking ..." Mac: "Very clever fellow, I've always liked him." Cynthia: "Oh, really, I've never cared for him." Mac: "Oh, well, everyone to his own taste.

The success of ARTISTS AND MODELS did intend for new annual musical series, which is hinted by the Yacht Club Boys ("Hey boss, have we got it, a great idea for the show next year.") Although Paramount did distribute another, ARTISTS AND MODELS ABROAD (Paramount, 1938), bringing back Jack Benny, this time playing Buck Boswell, and the Yacht Club Boys, with Joan Bennett assuming the female lead. Unfortunately, ARTISTS AND MODELS ABOARD didn't do as well to proceed with other editions to the series. However, in 1955, Paramount released a musical comedy, ARTISTS AND MODELS, starring the comedy team of Dean Martin and Jerry Lewis, but bears no relation to the Benny films except in name only. For a good time, stick with the original. (***)

Though there is a storyline, of sorts, running through this feature, it's really a sort of loosely compèred (by Jack Benny) collection of theatrical presentations based around the woes of an advertising executive. "Mac" (that's Benny) needs to secure a lucrative contract from the faintly libertine millionaire "Townsend" (Richard Arlen) if he is to stop his business going kerplunk. That success will all depend on his finding the right "face" to front the campaign. He favours a professional, his client doesn't. Plan? Well the solution appears to be in the hands of Ida Lupino. She is professional model "Paula Sewell" who is going to orchestrate things so she bumps into "Townsend" as the exciting new amateur prospect "Paula Monterey". Now given the man hasn't met her before, he only has to be convinced that she is the woman for him, then he tells "Mac" who gives the job to a woman called "Paula" - who just happens to be his fiancée, anyway, and so gets the million dollar contract and all in everyone's garden is rosey! What chance? Well the story all treads fairly predictable lines from here on out, and if that were all then maybe it would have worked a bit more coherently. The problem is that the propensity of musical numbers appear to have little, if anything, to do with the story and for the most part aren't really very good. That said. I did quite enjoy Judy Canova's bubble bath serenade and, indeed, she does rather amiably chivvy things alongs when things get a bit slow with a few other numbers, one of which has the most obvious example of hosepipe rain I've ever seen. Louis Armstrong brings up the rear with the Howard Arlen and Ted Koehler song he shares with Martha Raye, and that saves the best til last. It's odd to consider that people would have gone to the cinema to see this rather than the theatre, because aside from that thinnest of plots - a theatre production is what this really is.

"Artists and Models" of 1937 has lots of talent in a revue format of a musical comedy. Jack Benny headlines a cast with several prominent actresses of the day. Benny is still early in his film career when his comedy is very good, fresh and natural. In his later TV days he was funny but not very innovative or original. But this film has some unusual aspects that make it quite good. Some of those will appeal to specific interests.

For instance, there is a fantastic scene of life-side puppets choreographed to music. Russell Patterson was a famous puppeteer of the day, and he designed the lifelike dolls for this film that he called "personettes." I've never seen anything like this before, and it's superbly done.

Then, there are the cameos of several off the top cartoon artists of the day - again, something I don't think has ever been done before or since in a movie. Benny's Mac Brewster is emceeing the Artists and Models benefit show that has six prominent artists all painting a model. He introduces each one separately - getting their names wrong for some humor. They include Rube Goldberg, John LaGatta, Russell Patterson, Peter Arno, McClelland Barclay and Arthur William Brown.

And, this film has a good peek stage life. Lots of movies have been made in which the theater is central to the plot. While most of them give snippets of details behind the scene and stage, very few films have shown the whole operation in setting up a stage for a play. This one does that in the opening. It shows sets going up, lighting and cameras being set, and a good picture of overall behind the scenes production work.

The bevy of prominent female entertainers of the day include Ida Lupino and Paul Sewell, Gail Patrick as Cynthia Wentworth, Jud Canova as Toots, Martha Raye as Specialty, Hedda Hoper as Mrs. Townsend and Cecil Cunningham as Stella. A very young looking Louis Armstrong blows his horn along with music provided by Andre Kostelanetz and his orchestra. Other top actors in the cast are Richard Arlen as Alan Townsend, Ben Blue as Jupiter Pluvius, and Donald Meek as Dr. Zimmer.

Judy Canova and Ben Blue have an excellent song, dance and acrobatic skit, titled Public Melody No. 1. This film is quite wacko in places, but that adds to its enjoyment as a very good musical comedy.

An exchange between Benny's Brewster and Rube Goldberg is one of the wackiest scenes ever. The viewers can't see the canvas that Goldberg was painting during this conversation. Mac Brewster, "Oh, do you mind if I look over your shoulder?" Rube Goldberg, "No, I'd love it. It annoys me terribly." Brewster, "Oh, I don't want to appear critical, but haven't you got her left arm just a little out of place?" Goldberg, "That's her foot." Brewster, "Ohhhh, yes. That explains the shoe." Goldberg, "Well, it's all finished now. Whaddaya think of it?" Brewster, pointing to a gorgeous live model, "Uh, you mean to say this is her?" Goldberg, "Yes, I saw her up there and I brought her down here." (The picture shows two old codgers in a balancing act.) Brewster, "Well, the trip certainly didn't do her any good." Goldberg, "A good likeness, really. I'm, I'm proud of it." Brewster, "Mmm. You mean to tell me that that's art?" Goldberg, "No, no. (He points at one and then the other of the two figures.) That's Sam. That's Art with the beard. Brewster, "Ohhh. Ohhhh! And what connections has he with the model?" Goldberg, "That's her grandfather. I knew him well."

Here are some other not so crazy, but good comedy lines.

Mac Brewster, after falling backward in his chair the fourth time, "I'm either going to get a new chair or spurs."

Mac Brewster, "Look, Paula, let's you and I go out and take a nice long walk - maybe it'll rain."

Mac Brewster, "Now, wait a minute. I may not be any Don Juan, but if I haven't got more appeal than a 40-story jump out of a window, I'll....all right, 20 stories."

Mac Brewster, "I love babies." Cynthia Wentworth, "Oh, do you?" Mac Brewster, "Oh, yes. I used to be one myself."

Mac Brewster, "Don't think I'm jealous. I always turn green this time of year."

Cynthia Wentworth, "Oh, Mac, you have so much to learn about love." Mac Brewster, "I guess so. You know, father was always gonna have a talk with me, but he kept putting it off."

Mac Brewster, "You know, you and I must go out together some time and have our heads examined." Rube Goldberg, "Oh, why bring them along?" Brewster, "Oh, that's right. We'll have more fun alone."

Okay, let me address the "Public Melody No. 1" number: As staged by Vincente Minnelli (this being his first film assignment), it's quite an energetic dance sequence with fine trumpet playing and singing by Louis Armstrong and great singing and dancing by Martha Raye. Now if she had real dark burnt cork with white lips, I'd have a real problem with her makeup but since she looks authentic as an African-American woman, I give this one a pass. As for the rest of the movie, well, Jack Benny is fine being mostly deadpan especially when a clip of his radio show with Don Wilson announcing has his character in the movie commenting on it! Judy Canova is an acquired taste but I mostly enjoyed her hillbilly characterization. That Connee Boswell number was wonderful and deserved an Oscar nomination but why was she not lit brightly? Ben Blue was funny whether performing with Ms. Canova or with some stringed puppets playing instruments. Young Ida Lupino was quite a beauty back then, wasn't she? I think I've said enough so on that note, I say give Artists & Models a look.

Jack Benny, Ida Lupino, Gail Patrick, Judy Canova and Ben Blue star in "Artists & Models," a 1937 film directed by Rapul Walsh. Benny plays Mac Brewster, the owner of an advertising agency who lands the Townsend Silver Account. Mac has a ball planned, the Artists and Models Ball, and the "Townsend girl," who is to be their model, will be queen of the ball.

Mac wants his girlfriend Paula (Lupino) to be the model, but Townsend (Richard Arlen) wants a society girl. Paula takes off for Miami, where Townsend is going, and poses as a society girl. Townsend offers her the job. Mac, meanwhile, has met a bona fide society girl, the beautiful Gail Patrick, who has approached him about helping with a charity. He shows up in Miami with her.

This movie is loaded with musical numbers that, in this writer's opinion, aren't great, with the exception of the last one, a number set in Harlem. That one, featuring Louis Armstrong, would have been better if they'd hired a black woman to sing the lead instead of putting Martha Raye in dark makeup. Ben Blue and Judy Canova are a little bit over the top, and those numbers seem very dated today.

Ida Lupino looks beautiful and always turned in a good performance. When one sees her here as an ingénue, it's easy to appreciate her many accomplishments playing tough-gal roles and her work as a director. Benny is funny, but frankly, he doesn't have great material to work with. Gail Patrick, with her beautiful looks and voice, is her usual classy self. Cecil Cunningham, as Mac's secretary, is a standout with her dry wit.

All in all, not fabulous. I usually don't think of Raoul Walsh and musicals in the same thought process for a reason.