Drôle d'histoire

Look at the number of actors on the IMDB cast list who had their scenes deleted (Roy Rogers, yet!), and you'll smell trouble: It's not typical for a big, expensive Technicolor wartime musical like this one to clock in under 80 minutes. Sure enough, it's a disjointed, haphazard musical fantasy, though full of talented people behind the scenes, notably Ira Gershwin and Kurt Weill. The songwriters bring a little pep to the story of a 4-F wannabe soldier who finds a magic lamp inhabited by an inept genie, who keeps putting him into the wrong century. The historic events visited feel terribly random -- the American Revolution, Columbus' voyage, Puritan New England -- and make one curious about what sequences were omitted. It's a cute idea -- the screenwriters, Morrie Ryskind and Sig Herzig, were Broadway veterans, and one suspects they originally conceived this as a stage musical -- but it's spun out with little real wit, and an aggressively uninteresting supporting cast fails to mine the minimal humor in the script. MacMurray, normally not a song-and-dance man, reveals a pleasant baritone but hasn't much to play, and he looks distinctly uncharmed by either of his leading ladies, though he did in fact marry June Haver. There's one celebrated sequence, a 10-minute mini-opera-bouffe called "The Nina, the Pinta, the Santa Maria," where Bill (MacMurray) convinces Columbus' crew not to mutiny, since America needs to be discovered. (A wonderful couplet describing America's bounty was disallowed by the censors: "The girls are delightful/ Their sweaters are quite full.") Suddenly the whimsy takes off, and the singing's splendid, and the film feels as bizarre and pixilated as "The Wizard of Oz." It doesn't last, though, and then it's back to 20th Century Fox's back lot and more halfhearted jests about history and patriotism.

A try at something different, certainly, in an age where Hollywood musicals were mainly backstagers, and it has its moments. But mostly it's a missed opportunity. If the missing footage ever turns up, it might be worth looking at.

Saw it as many times as I could before it left the scene. A delightful and entertaining film with some of my very favorite stars. Only wish I could find it again! Would certainly buy/view it if I could. Please, somebody, bring it back. Fred MacMurray was perfect in his role as a patriot during World War II, and his leading ladies, Joan Leslie, and especially June Haver were beautiful and charming. It was a musical, but also romantic, funny, and clever. This was my favorite movie starring June Haver, although I always liked her. Her dazzling smile lit up the screen, and her beauty and talent were an asset to any film. The supporting cast lent credit to their individual roles. A well-balanced and light-hearted film; only wish we had more like it!

This is a delightful fantasy operetta romp through American history, with a score by Kurt Weill and lyrics by Ira Gershwin.

Bill Morgan (Fred MacMurray) wants to join the Army but is ruled 4F. Instead, he is put in charge of local scrap recycling. He breaks a lamp, and frees a genie. Morgan tell the genie he wants to get into the Army--but doesn't mention which century he wants. Morgan's girlfriends Sally (Joan Leslie) and Lucilla (June Haver) accompany him through the centuries.

The fine score carries the film through and past its sillier moments. Leslie has the best song - "If Love Remains". The Christopher Columbus segment is done as an opera with MacMurray breaking up the grand opera with a patter song in the style of Gilbert and Sullivan. Haver is the liveliest of the three, as a born con woman, throughout the centuries. Watch for Anthony Quinn and read the traffic signs--no matter what century they're in.

The idea behind "Where Do We Go from Here?" is an excellent one. Too bad the movie stinks....and it does indeed stink!

Bill Morgan (Fred MacMurray) is upset that he keeps getting rejected for military duty in WWII. He wants to do his part and get girls. So, when he discovers a magical vase and releases the genie, he asks to be able to fight in the war....but the dopey genie keeps sending him to the wrong wars and the film takes a trip through history.

Fred MacMurray is oddly cast in this film. This is because it's a musical and his singing talents are fair at best. His voice is thin but not unpleasant...but not the sort of guy you'd expect in the lead in a musical. Additionally, the comedy is limp and, combined with the songs, wears thin very, very quickly. Not fun to watch in the least.

By the way, trust me on this but the Columbus section repeats a lot of myths...such as that Columbus was trying to prove the world was round. Folks in 1492 KNEW the world was round...they just didn't want to head west because they had no idea what was there! The things you learn when you are a history teacher!

During a Kurt Weill celebration in Brooklyn, WHERE DO WE GO FROM HERE? was finally unearthed for a screening. It is amazing that a motion picture, from any era, that has Weill-Gershwin collaborations can possibly be missing from the screens. The score stands tall, and a CD of the material, with Gershwin and Weill, only underscores its merits, which are considerable. Yes, the film has its problems, but the score is not one of them. Ratoff is not in his element as the director of this musical fantasy, and Fred MacMurray cannot quite grasp the material. Then, too, the 'modern' segment is weakly written. BUT the fantasy elements carry the film to a high mark, as does the work of the two delightful leading ladies - Joan Leslie and June Haver. Both have the charm that this kind of work desperately needs to work. As a World War II salute to our country's history - albeit in a 'never was' framework, the film has its place in Hollywood musical history and should be available for all to see and to find its considerable merits.