Musique aux étoiles

For Republic Pictures this was undoubtedly one of their bigger productions in 1947 and I couldn't help thinking that with a score by top songwriters Jimmy McHugh and Harold Adamson this film might be better known had some major studio did it.

As it is Calendar Girl takes place at the turn of the last century and it concerns life in the artist's colony of Greenwich Village. Two men of the arts from Boston, painter James Ellison and composer William Marshall, arrive in town and take up residence in the artist's boardinghouse of the indulgent Irene Rich who must have a literal last name to put up with the itinerant payments of rents she gets and expects. Another in the house is singer Jane Frazee who both Marshall and Ellison court.

The problem is that Ellison is already engaged to Gail Patrick back in Boston and he's wealthy on his own and just taking a hiatus from the family banking business. He's making a play for Frazee and that's coming between him and Marshall.

As for Marshall he gets a different kind of partnership. Singer Kenny Baker is becoming Hart to his Rodgers and with his tenor is plugging their songs as well.

I can't forget Frazee's father Victor McLaglen who is a fire captain and still regards Frazee as Daddy's Little Girl even after she becomes a celebrity of sorts when Ellison's painting makes her the Calendar Girl of 1901. McLaglen is just his overbearing, lovable, oafish self.

The lack of production values kills what is a nice picture and could have been a classic over at MGM.

Quick note on the print I viewed: not the best picture or sound quality, but apart from a view small cuts, complete. It can be found on Disc 1 of the 50 Movie Pack of Musicals DVD.

The story is so-so, predictable for a musical. A songwriter and a artist share a flat in an artists-friendly establishment. One is in love with the girl next door but the other enjoys stringing her along.

Someone is wealthy but he doesn't like people to know. And the girl next door has a father with a fiery temper.

The songs are rather catchy and pleasant, and singers such as Kenny Baker and Janet Martin move them along. Attempts at comedy come off well as does the (slight) drama as the story unfolds.

'Calendar Girl' is a cheaply-made B picture from Poverty Row but, for all that, it isn't bad, and will keep you entertained.

"Calendar Girl" is a silly piece of fluff—there's no denying that. However, it's also a FUN piece of fluff—simple viewing and enjoyable. While it has none of the big-name Hollywood stars, it works quite well. The film is a musical romantic-comedy starring Jane Frazee, William Marshall, Kenny Baker and Victor Maglaglen. The story begins at a boarding house where lots of unemployed actors, artists, composers and other bohemians live. Two VERY oddly matched friends, Johnny (who is poor) and Steve (who is rich as obnoxious) get a room with ambitions of making it big in the music industry and in art respectively. However, these goals soon become secondary when they meet the fire chief's daughter (Frazee) and both try to woo her—even though Steve ALREADY has a girl (Gale Patrick)—though why Patrick's character wanted Steve never really made sense to me.

As for the singing, Frazee struck me as no great singer but she was pleasant and the lyrics were very nice. And, for the story, though a big predictable (you KNOW who will win Frazee in the end!), it's all very pleasant—with lots of atmosphere and likable characters (aside from Steve). Not a brilliant film but a very enjoyable time-passer that I almost awarded a 7…almost.

I didn't know that Republic Pictures made a musical until I saw "Calendar Girl" as a second feature of a DVD I bought for another movie. And, what a pleasant surprise. This movie is better than the big studio film on the same DVD. I don't know if B studio, Republic, made any more musicals among its more than 1,100 films, but this sure is a good one. I've seen quite a number of Westerns, war films, and dramas and mysteries that Republic made over the years. Some were quite good, and others not so good.

But "Calendar Girl" is an entertaining and fun comedy musical and romance. The plot is familiar - struggling song writers, musicians and artists going to New York to try to become successful and famous. But, the setting is somewhat unusual, and it provides for much of the humor and some of the warmth of the story. It takes place mostly in and around Lulu Varden's Greenwich Village home for hopeful artists and performers. The comedy, music and antics add up to very good entertainment.

I wasn't familiar with any of the lead actors in this film, but the supporting cast showed that Republic could get some very good casts from around Hollywood. Gail Patrick was a prominent supporting actress in dramas and comedy romances. But two very good comedy actors, and a third from that genre, were very prominent supporting players for many films and studios during the early to mid-20th century. Franklin Pangborn plays a stage show producer, Dilly Dillingsworth; and Gus Schilling plays a sort of scatterbrain handyman for Lulu, Ed Gaskin. Charles Arnt is in the film as Capt. Olsen.

The supporting cast also includes an Academy Award winner in Victor McLaglen. The seasoned actor of drama and comedy won his Oscar in 1935 for his role as Gypo Nolan in "The Informer." But, here, he plays a more familiar comedy role as a brash, tough guy and fireman He's the father of the female lead's character, Patricia O'Neill. Jane Frazee plays Patricia and is one of the five leads with whom I wasn't the least familiar before watching this film. The others are William Marshall as Johnny Bennett, Kenny Baker as Byron Jones, James Ellison as Steve Adams, and Irene Rich as Lulu Varden.

Well, they had varying careers in the film and on stage and all were quite good. Marshall sang for Fred Waring and His Pennsylvanians before he had his own band for a time. But the big surprise is Kenny Baker, with his grand tenor voice. He got his start on radio with Jack Benny. He too didn't have a long career, but he made several more musicals and then quit acting for a career as a motivational and spiritual speaker. Irene Rich had been a silent movie leading and supporting actress. She transitioned well into sound, and when somewhat older she had many very good motherly and matronly roles, as she does in this film. She also became very popular on radio and had her own show for a decade, called "Dear John," aka, the Irene Rich Show.

The plot is very good, with all kinds of talented artists living in Lulu Varden's large home and the adjoining Greenwich Village lodgings for would-be artists. Some of the tunes are familiar, and those who like musicals should enjoy this film.

Here are some favorite lines from this film.

Lulu Varden, "Girls may be attractive to boys, but only ladies attract gentlemen, and only gentlemen are rich."

Johnny Bennett, "Hey, you know, you're pretty intelligent." Byron Jones, "Oh, not only that, but I'm smart too."

Steve Adams, on the phone, "You're the most wonderful girl I've ever known." Olivia "Lily" Radford, "I'd rather be the only one."

Matthew O'Neill, "I save lives." Dilly Dillingsworth, "And we, in the theater, save souls."

Steve Adams, "Love to have you along, John boy, but you know the old adage - Two's company and three isn't even a quartet."

Steve Adams, "Why didn't you let me know you were coming?" Lily Radford, "I prefer to steal up on my prey and catch the critter dead to rights." Steve," Whadda you mean, Lily?" Lily, "I think you know what I mean."

Patricia O'Neill, "It was very nice of you to take me instead, though." Johnny Bennett, "Oh, I didn't want to. I fought against the whole thing. Steve, I said, now why should I take out the most beautiful, the most wonderful girl in New York? When I can be alone in the attic playing dominoes? But I finally gave in."

Lily Radford, "Steve, I've changed my mind. We're going to Delmonicos." Steve, "Oh, but we can't just walk out.. on the mayor." Lily, "He isn't the mayor of Boston. Goodnight." Johnny Bennett," Good night, Lily."

Matthew, to Lulu, "Well, you've sprung your trap, and I'm not in it." Lulu, after he leaves, "Then, I'll just have to set my trap again."

Lulu, "Two people can live as cheaply as one, IF they're in love. And, IF they live in my house."

Lulu, "My dear boy, I may not always be right, but I'm never wrong."

Johnny Bennett, to Lulu, "Good night, Cupid." Lulu, glancing at her shoulder, "Darn it. Is that bow and arrow showing again?"

Johnny, "Look, Steve, uh, don't ever do anything to hurt her." Steve Adams, "I never hurt 'em, kid. I just stun 'em."

Lulu, "Women do have legs, you know. And they're very beautiful." Matt O'Neill, "Woman, you're depraved." Lulu, "And you're blind. You don't know beauty when you see it."

Jane Frazee, huh? Well, who'd have thought the Prelinger site would ever get around to some of the neatest little fillers available? Johnny Downes, Jane, Donald O'Connor ( I live in hope)a few of the names that took the sting from the expression B Movies. Okay so the memory plays tricks, all that used to glisten wasn't, etc, me I just sat back and enjoyed the unexpected treat. If there was ever a fault it was the fact that few, if any, of this kind of 'musical' ever featured material likely to have a life outside of the actual movie. Reams of songs which rarely appeared on a disc so that after watching 'Calendar Girl' you probably left the cinema whistling something from 'Show Boat'. Still a treat to see it, though.