I Dream of Jeanie

Stephen Foster lived a pretty interesting, and tragic, life, but this production, ambitious by Republic standards, reduces that life to sitcom level. Played by a game, sweet-voiced Bill Shirley, he's so besotted with nasty Muriel Lawrence that he utterly ignores how much nicer her sister, Eileen Christy, is, and how besotted she is with him. That's the main drama, and along the way we get a fair amount of minstrelsy, including a big minstrel show led by Ray Middleton, as E. P. Christy. Middleton's terrific, taller than anybody else and a great, rich-voiced ham, though you may have to look away when he dons blackface. According to this movie, Foster lived happily ever after once he decided which sister he loved; actually he lived to 38, and his final years were heartbreaking. The music's nicely presented, anyway, and Allen Dwan, whose directing career goes from about 1910 into the '60s, keeps it moving. Note: The copy viewable on Amazon Prime is in black and white, which is a shame, because the color version is a good look at fading '50s Trucolor.

I also watched the DVD that resurrected this forgotten film. The minstrel show scene aside (and that was not considered particularly hateful by white society in 1952), the racism isn't any more offensive than anything you might see in "Gone with the Wind." Ray Middleton is fun to watch as an egotistical hambone of a showman, but he is not the hero of this story. This film's real crime is to make the film's subject, songwriter Stephen Foster, the most unappealing, weak-willed, limp dishrag of a person ever to have a film centered around him, and there was no compensating spark of personality, wit, or nobility to counterbalance that impression. There was a sense of romance about him, in a wan, hopeless, tear-in-the-eye Pierrot sort of way. But really – he was portrayed as such a sad sack human doormat that you couldn't even feel sorry for him. I found it altogether puzzling.

This is purportedly the story of Stephen Foster but bears no resemblance to his real life. It is more than 80% pure fiction and its only saving grace is a load of his music and some very good performances of it. Foster is portrayed as a wimp who is so besotted with a girl who is so obviously a self-centered brat that he swears that he will give up writing music if she will marry him (she doesn't). Many of the facts of Foster's life are portrayed here, his association with Christy, his lack of copyrights, his not being paid royalties, etc., but the basic story is pure Hollywood. Watch it for the good old music but beware, there is a long black face Minstrel show which will jolt many who grew up in recent years. Tacky by today's overly sensitive standards the minstrel show was still alive and well in the 1940s and into the 50s. Foster died, penniless and alone, at an early age but his music lives on and is well represented in this film.

Probably because the songs of Stephen C. Foster were in the public domain and therefore cost penny pinching Herbert J. Yates not a dime, Yates decided to do a minstrel show musical comedy with the life of Stephen C. Foster to hang the story on.

The songs of Stephen Foster retain their beauty to this day, sad though that they do reflect the times they were written in. Since the famous minstrel star and entrepreneur E.P. Christy was the one who popularized Foster's work, to not have a minstrel show in the story would be historically way inaccurate.

But this film isn't anything close to the story of Foster's life. For all the inaccuracies of that film, 20th Century Fox's Swanee River which starred Don Ameche as Foster and Al Jolson as E.P. Christy is far more accurate.

The thin plot seems to be borrowed a bit from Bing Crosby's Mississippi where Bing is courting Gail Patrick, but it's really Joan Bennett who's crushing out on him. Here William Shirley as Foster is courting Muriel Lawrence, but it's really Eileen Christy as, guess who, Jeanie who's giving him the come hither glance.

One thing I will say, the Foster songs are given magnificent vocal treatment. The women both sing well and Shirley most famous for his behind the camera vocalizing in Sleeping Beauty and My Fair Lady has a terrific tenor voice. Ray Middleton however, most famous as the original Frank Butler in Annie Get Your Gun, gives the best performance in the film as the egotistical E.P. Christy.

The rest of the cast, acting wise, is pretty weak. The plot is razor thin and in 1952 there was no excuse for calling a young black kid, Chitlin. Rex Allen, Republic's last cowboy B picture star makes a guest appearance here in blackface as a minstrel and that sure didn't help his career in any way.

I'd stick with the Ameche-Jolson version of the Stephen Collins Foster story.

An interesting film, despite the slightly overblown sentimentality and romance. Great music and ballads. Disturbing slave-era imagery, and even more disturbing, but historically accurate black face performances in the portrayal of Christy's Minstrels.

The one thing I would like to know is how accurate are the portrayals of E.P. Christy and Stephen Foster? Christy's Minstrels was a black face troupe, and their performances are among the more disquieting moments in the film...you want to enjoy the music...but can't due to the irreconcilable racist undertones.

All in all it's an enjoyable film, but be cautioned that your kids might ask "why are those people wearing black paint?" an honest question and worthy of in-depth dialog to help "foster" respect for all people in upcoming generations.

It feels like a film from the early thirties, surprisingly it's from '52. I bought it for the performance of "Beautiful Dreamer."