Ma vie est une chanson

For years, I read again and again that this movie would disappoint me, that it was a waste of talent, that it was badly fictionalized, et cetera. What a load of hooey! The dialog is crisp and rings true, the musical numbers are full to the brim with pep and style, and the performances are nothing short of masterful! If you like music, Broadway, and old-fashioned musical brilliance, then this is the movie for you. I hate to sound like an advertisement, but you'll laugh, you'll cry, you'll sing along, you'll dance in your seat! This is movie is not to be mistaken for a masterpiece, despite all of this. It is a very standard musical for the period and for the MGM style -- but that's the best!

Even when you consider how these whitewashed Hollywood musical biopic extravaganzas usually play out, "Words and Music" is embarrassingly ill-conceived. MGM might have been wiser to borrow Abbott & Costello from Universal for the roles of Lorenz Hart and Richard Rodgers. But, the movie is beautifully produced at all times, by Arthur Freed and the studio. And, the musical numbers range from terrific to indispensable. For a song, listen to Mel Tormé doing "Blue Moon"; it's one of the most beautiful renditions of that standard, and became a Capitol hit for Mr. Tormé. For a dance, observe Gene Kelly and Vera-Ellen doing "Slaughter on 10th Avenue"; it's a superbly performed and choreographed vignette, and belongs with the best of Mr. Kelly's work.

****** Words and Music (12/9/48) Norman Taurog ~ Mickey Rooney, Tom Drake, Gene Kelly

This technicolor musical biopic from MGM and director Norman Taurog charts the lives of songwriter Richard Rodgers (Tom Drake) and lyricist Lorenz Hart (Mickey Rooney), from their early successes, to their mid-career successes, to their late career successes. We also see their various romances, bot the successes and the failures.

This movie can be looked at in two parts: a biopic, and a musical showcase. As far as biopics go, this was horrendous, as not only does it not shed any real light on who Rodgers and Hart were, or take a serious look at their process, it portrays character traits that are completely fictitious, while ignoring others that are integral to understanding who these men were, particularly Hart. On the musical front, as usual, if you're a fan of this type of music, and these particular songwriters, then you'll most likely love it, as there are some of Hollywood's best belting out the tunes. I enjoyed the "Slaughter on Tenth Avenue" ballet sequence with Kelly and Vera-Ellen, even if the latter looked a bit like she was suffering from a hip disorder rather then as if she were dancing.

To describe the 1948 WORDS AND MUSIC as a "whitewashed" version of the famous song-writing team Rogers and Hart is a gross understatement. Lorenz Hart (1895-1943) was a homosexual in an era when such was flatly unacceptable; the pressures of the closet drove him into a wildly self-destructive alcoholism that ultimately killed him. Richard Rogers (1902-1979)was Hart's polar opposite, a highly disciplined individual who had zero tolerance for Hart's extremes. Their friendship and working relation was stormy, to say the least.

Needless to say, there was no way on earth that 1940s Hollywood could approach these facts. What we get instead is the story of the brilliant but glitchy Hart (Mickey Rooney) who is disappointed in love by singer Peggy McNeil (Betty Garrett), never gets over it, and falls apart as Rogers (Tom Drake) and his wife Dorothy (Janet Leigh) look on in dismay. It's pretty much a lot of pap, but fortunately for all concerned the movie gives us a lot of music along the way.

Most of the music is the form of cameos by a wash of MGM's musical stars. Perry Como has unexpected screen presence; Lena Horne, saddled with the excessive gesticulation and odd costumes typically inflicted upon her during her Hollywood years, still manages to give truly memorable performances of "Where or When" and "The Lady Is A Tramp;" June Allyson does a charming "Thou Swell;" Gene Kelly and Vera-Ellen offer a memorable version of the jazz ballet "Slaughter on 10th Avenue." Other notables include Anne Southern, Cyd Charisse, and Mel Torme.

The big noise among the cameos is Judy Garland, who was battling MGM over withheld salary at the time and finally agreed to do two numbers to even out what the studio said she owed them. The result would be the final pairing of Judy Garland and Mickey Rooney in a motion picture, the two performing a charming duet of "I Wish I Were In Love Again," with Rooney clearly trying to break Garland up--and often succeeding. It's tremendous fun and followed by Garland's hard-belting and equally enjoyable "Johnny One Note."

Cameos aside, the primary cast is quite good with Rooney a stand out as Hart; one wonders at what performance he might have given if the script had been a no-holds-barred account. Granted, WORDS AND MUSIC is the sort film you watch for the musical moments rather than the plot--but when all is said and done it does what it does extremely well. Recommended, but primarily for musical fans.

Gary F. Taylor, aka GFT, Amazon Reviewer

I enjoyed the hell out of this picture. Mickey Rooney should have been nominated, one of the best things he ever did. He has enormous energy, presence, more talent than should be legal and is riveting on the screen.

Most all of the reviews of this picture conclude that they hate it. Why? It's not an accurate portrayal of Hart's life. SO WHAT! You want facts, read the biography.

It is a fully enjoyable musical with wonderful songs and dances by some of the most talented people of the last 100 years. They don't write songs like this anymore, they don't have talent like this anymore. Mickey Rooney was terrific, Gene Kelly was athelitic and wonderful, June Allyson was cute and adorable, this entire picture is just a fine example of the Musical Art I think many of those who dislike this picture need to lighten up and enjoy the Words and the Music! Life's to short for the petty objections related in most of the other reviews.