Athena

I am very glad to have recently discovered this wacky, breezy musical from the waning days of MGM's glorious heyday. The other reviews here do a fine job of summing up ATHENA'S attributes; my only real disappointment is the fact that the film's final ten minutes is not as well-constructed as the rest; too many back-and-forth confrontations between the main characters, all wrapped up in an unexpected final reprise of the song "Harmonize" (or is it "Vocalize"?).

HOWEVER--- this is a relatively minor quibble when compared to the delights which seem to tumble forth from this silly, quirky, but immensely enjoyable romp. And Martin and Blane's score, while a bit meager in terms of the number of songs which it contains, is TOP-NOTCH.

The opening credits feature the lush title-song "Athena", in the quintessential "exotica/lounge" idiom (complete with MGM's expert chorus), so much a part of the 1950's pop-culture. This song functions solely as "presentation" music and is never actually sung in the film.

Then there's "VOCALIZE/HARMONIZE", a robust, life-affirming waltz that features Hugh Martin's distinctive and novel melody and harmonic progressions. It is very sophisticated, and several cuts above what one normally encounters in the average film musical.

"IMAGINE" is also very intriguing in its musical language; it's essentially a light-jazz "Swing" ballad but again, it's far from ordinary, since it's melody and blues-inspired harmonies continually shift when you least expect them to. Beautifully crafted stuff, especially when carried by Blane's clever lyrics.

"LOVE CAN CHANGE THE STARS" is the score's major romantic ballad, and it is superb. Again, it is anything but predictable in musical terms, but it is utterly, exquisitely logical and beautifully shaped, to boot. MGM's legendary, lush "house" orchestration *(see below)is delicate and shimmery, and demonstrates a phenomenal command of orchestral color.

The Rhino Handmade CD of the ATHENA soundtrack contains the original demos of all of the songs, performed by Ralph Blane (vocal) and Hugh Martin (piano); they are a JOY to listen to (though sometimes Mr. Blane's upper vocal register gets a bit annoying). If you enjoy this score, you really must hear the songs as performed by their creators. I would go so far as to say that the final portion of their piano/vocal rendition of "Love Can Change the Stars" elevates it to the level of Kurt Weill's Broadway ballads-- seriously....it's that good.

"I NEVER FELT BETTER" is another musical marvel. Ralph Blane's lyrics must be heard to be believed; the amazing Johnny Mercer could not have produced anything wittier and more inventive than Blane's lyrics for this tune. It's dazzling, as is the on screen choreography (uncredited!?!), which must have taken three weeks to rehearse, since it was mostly filmed in L-O-N-G, extremely intricate takes.

Then there's VENEZIA, obviously written to showcase the incomparable singing of Vic Damone (since the song serves no dramatic function in the film). But it's SO lovely, especially since its dark, chromatic musical language creates an exotic, wistful quality that is both alluring and sentimental. Add to it the stunning arrangement and orchestration by Albert Sendrey (another of the unsung musical masters who labored uncredited on MGM's staff) which practically drips with luxuriant color (not to mention Jeff Alexander's choral background), and you have another superb example of the Hollywood musical artistry at its height.

Again, the true beauty of VENEZIA is only revealed on the Rhino CD release, which is in the original 1954 optical stereo, amazingly rich, full-bodied and detailed; it sounds as good as anything that's been recorded since. Happily, the audio quality of the DVD soundtrack is also excellent.

* (How deplorable and unjust that MGM arranger and orchestrator Albert Sendry, whose superb work is heard in the Main Title, "Vocalize", "Love Can Change the Stars" and "Venezia" received NO screen credit, while Robert van Eps, who produced mostly shorter, incidental numbers in the score, was listed in the opening credits as sole orchestrator. A raw deal if there ever was one).

Just one more comment about the film itself: most of the script is quite well written. The dialogue is snappy and clever, and I continually crack up at stuffy, stick-in-the-mud lawyer Edmund Purdom as he deals with a continual stream of vexing, annoying and confusing situations. His big dialogue scene with the irrepressible Louis Calhern in the Mulvain family gym is truly funny.

"SINGIN' IN THE RAIN" is definitely the more classic musical when compared to "ATHENA"---what Gene Kelly and Donald O'Connor accomplished on screen was in a class by itself----but I will be so bold as to say that "ATHENA'S score is the better of the two.

So sue me.

ATHENA is definitely worth getting to know. It's a unique piece of our Hollywood film-musical heritage, and cannot be allowed to remain in oblivion. Check it out-- I guarantee that, after listening to these delightful,enchanting tunes a few times, you will NOT be able to get them out of your head for days.

LR

PS-- The charming and supremely talented Vic Damone is 88 years old today (JUNE 12, 2016).

Jane Powell is Athena. Her sister, Minerva, is played by Debbie Reynolds. One is named after the Greek goddess of wisdom; the other is named after the Roman goddess of wisdom. They have five others sisters named after figures from ancient mythology, and they all live with their grandparents (named Ulysses and Salome) in an enclave that celebrates vegetarianism, healthy living, exercise, astrology and a lifestyle designed to create healthy individuals. Those familiar with Jack Lalanne might recognize some tenets of his lifestyle.

To those on the "outside", like the characters played by Vic Damone and Edmund Purdom, this can be confusing or kooky. But there is no denying the allure of these comely beauties who also happen to be surrounded by bodybuilding hunks like Steve Reeves.

This quirky film falls under the musical comedy umbrella, but it seems to offer something different---an outlook on the world. Although it bears a resemblance to another film released in 1954---"Seven Brides for Seven Brothers", its depiction of an alternate culture separate from the rest of the world is similar to another film musical released that year: "Brigadoon".

The unique soundtrack includes songs by Martin and Blane that fit the unusual narrative and allow the cast to demonstrate their vocal talents.

This film is not for everyone, but I find it charming and enjoyable.

The robust smash hit of 7 Brides For 7 brothers literally spawned this star struck mini musical of 1954....and if one has a closer look in reels 1 2 and 3 (instead of 4 5 and 6) one can almost hear the board room pitch quoting the 7 Brides box office as the excuse to rush ATHENA into production: "That what they want! healthy boys and girls with an appetite for life living on some farm. The boys flex their muscles and the girls tend their.......er......garden." and so we have what is a lively and funny musical for the 20 year olds market that was called the teen market very soon after........quite rightly predating the AIP Frankie Avalon and Annette Funicello frolics ten years later in Muscle Beach Party etc. Athena is good fun and well made. The muscle contest at the end to the tune "Jealousy" is well coded with beefcake antics....and all filmed from what might be called the bulging cossie angle. Hilarious! I would be fascinated to see the missing ten minutes as reported on the IMDb that the original running time was 115 minutes as opposed to the 95 mins only now available. I wonder was edited out and where can the footage be seen?

On a visit some weeks ago to my local Hollywood Video store, I noticed this title available among the VHS tapes in the Musicals section. Since I knew it had not been produced in CinemaScope (and therefore wouldn't suffer from the dread "formatting") and being a Jane Powell fan from 'way back, I rented it. It is certainly an odd concoction for a very conservative major studio of the mid-Fifties era; studio bound; directed by the pedestrian Richard Thorpe; packed with a cast selected to appeal, presumably, to the the younger members of its potential audience; and not as overflowing with musical numbers as I had hoped.

Jane is as pretty as ever, in overlit but warmly rich Eastmancolor, chirrupping in her matchless colortura; Debbie Reynolds lends her usual lively support; Vic Damone, despite his eminently listenable baritone, once again demonstrates why he never became a top boxoffice draw; and Edmund Purdom is perfectly cast as an unlikely stuffed-shirt suitor to Jane's way-out-there Athena. One can only imagine the chasm of misunderstandings that would bedevil their future marital bliss. With the elegant Louis Calhern as an unlikely patriarch, health and fitness obsessed, and the lovable Evelyn Varden as his woozy mate, convinced that astrology is the key to happiness. Add a passel of pre-steroid Muscle Beach denizens, including the handsome Steve Reeves and Ed Fury, before their emigration to Italy to appear in all those Hercules epics, and you've got a brew that's not really indigestible but doesn't really coalesce as its makers may have hoped.

A film starring Jane Powell and Debbie Reynolds and featuring songs by those behind the wonderful songs for 'Meet Me in St Louis' Hugh Martin and Ralph Blaine promises much. They certainly do not disappoint, though 'Athena' could have been better than it turned out to be.

It is let down by a story that is paper-thin, flimsy is being generous, sometimes contrived and routine in direction in the non-singing and dancing scenes. The script is even sketchier (if shining in the scenes with the grandparents), with little logic and even less attention to characterisation which is all nice and pleasant (with nobody being characters that you hate) but not much else. And as beautifully as Vic Damone sings (and goodness isn't it a wondrous sound he makes), it is not matched by his dull presence and wooden acting.

However, Jane Powell is cute as a button and effortlessly charming as well as being on top-form vocally (especially in "Chacun Le Sait" from Donizetti's 'La Fille Du Regiment'). She is matched and partnered wonderfully by the energetic and spirited Debbie Reynolds, who also shows a knack for beautiful singing. Edmund Perdum brings a delicious dry wit to his character, and while the stuffy, pompous and stiff kind of character can easily be an annoyance when poorly executed Perdum does bring enough charm to stop him from being insufferable.

Louis Calhern is an absolute joy in his supporting role and it is a shame that he didn't have more scenes. Steve "Mr Universe" Reeves is imposing and commanding, with the body-building scene one of the film's highlights. Evelyn Varden is delightfully eccentric without overdoing it, while Virginia Gibson also has fun with her role.

Production values in 'Athena' are above average, with luminous photography and very attractive costumes. The sets are less than lavish but have enough imagination and colour to stop them from looking ugly. The songs, while not classics like the best of the composers' songs for 'Meet Me in St Louis', are better than given credit for. The melodies are easy to remember and very beautiful, the marvellous orchestration helps it, and there is some very clever and sophisticated lyric writing.

Standouts are "Love Can Change the Stars", "I Never Felt Better" and the role-reversal version of "The Boy Next Door" (here called "The Girl Next Door"). "Vocalise"/"Harmonise"/"Imagine" are also lovely. "Venezia" is touchingly wistful but holds the least relevance to the story. The dancing is full of dazzling energy and the choreography always avoids being overblown or routinely static.

On the whole, unexceptional story and script wise, but when it comes to all but one of the performances, the songs, the choreography, the singing and the dancing 'Athena' is also irresistible. 7/10 Bethany Cox