Le grand tourbillon

I was not at all surprised to read that "Look for the Silver Lining" is a highly sanitized bio-pic. After all, Hollywood has a long, long history of making biographies that omit all the wicked stuff in favor of glitz and entertainment. A couple such films that come to mind are "Night and Day" (which bears little similarity to the life of Cole Porter...especially since he was gay) and "Love Me or Leave Me" (which makes Ruth Etting seem almost as sweet as Mary Poppins). To Hollywood, history was just a starting point in 1930s-50s films and a little embellishment (or A LOT) was just part of making the story marketable. Because of this, it's usually bad if the viewer thinks this is a history lesson! In fact, a film of the era that accurately tells the story is the exception rather than the rule. So, if you want to learn about the life of Marilyn Miller, I suggest you read a biography or skim the internet!

This film begins with Marilyn (June Haver) an established star about to do a new stage production. She seems a bit under the weather...and the film soon flashes back to her youth before she became famous. You then see her life unfold...or at least the studio's version of her life. It's all very slick, very entertaining and filled with nice scenes and very nice song and dance numbers...though as I said above, it's terribly sanitized and inoffensive. I also thought a couple scenes were overdone (such as when Mr. Miller had the mumps...talk about overacting!) and the sledgehammer symbolism with the broken elephant was just too much. Still, inoffensive and enjoyable provided you don't care about the many liberties the story took on the true life of Ms. Miller. This is especially true of the final portion--which bore no similarities to Miller's life at all.

Colorful but with only a cursory acquaintance with the actual facts of Marilyn Miller's life this is an enjoyable musical but worthless as biography.

June Haver is sunny and beautiful as the legendary star but misses giving any real sense of who she was. Charlie Ruggles and Rosemary DeCamp do what they can with thinly written roles as her parents and S. Z. Sakall does his usual charming sputtering and cheek slapping.

Gordon McRae, portraying perhaps the one character with any semblance to reality, Frank Carter, Miller's first husband sings wonderfully as always. The real standout is Ray Bolger who manages to inject some real feeling into his part and gets to showcase his talents well.

A very prettied up version of the facts this still is chock full of great songs well performed and on that basis a good show.

If you love old fashioned musicals as I do, in glorious technicolor, I think you will enjoy this biopic of the extremely popular Broadway star of the early twentieth century, Marilyn Miller, here well played by June Haver. June Haver herself gave up movies shortly after this film, became a nun for a short while and then married Fred MacMurray and retired from movies. She has a similar build, having checked out Marilyn Miller on YouTube as I have, and is well cast, unlike so many movie castings. Perhaps less pretty than the real woman, June gives an effervescent performance throughout and my only gripe is that she didn't really have the charisma perhaps that Marilyn Miller clearly must have had to have been so popular. However, there are two charismatic performances, the leading actor and wonderful dancer, Ray Bolger, who played the scarecrow in The Wizard of Oz, and the future heartthrob singer and actor Gordon MacRae, he of Oklahoma! and Carousel fame. Ray Bolger plays Jack O'Donahue a star dancer who befriends Marilyn, and Gordon MacRae plays her first husband, Frank Carter. Bolger is outstanding as usual, displaying his dancing gifts which make you long for more of his movies to be shown, although he never made that many. The same for Gordon MacRae, who never made enough musicals, who for me had the best baritone voice Hollywood ever had, and here he is under-used, but it was his first musical. Sadly, all of these great musical stars were dropped by the studios when TV and rock 'n'roll took over in the mid fifties. A criminal waste of talent. Luckily for these two guys they could adapt to TV and Broadway to continue their careers. Catch them here in a really good musical (although sanitised according to reports on Marilyn Miller) before the studio chop came. The score here by Jerome Kern and Buddy DeSylva is just beautiful, including of course the title song. Good supporting actors include Charlie Ruggles and Rosemary DeCamp as Marilyn's parents who include her in their act when she is fifteen. June Haver is a little unconvincing at this stage as she looks too old, but then she has to age about fifteen years over the movie. Marilyn Miller died in her mid thirties from a sinus operation but the movie is cut short before this so as not to bring it down at the end, a clever decision I thought.

When June Haver finally got the top musical role of her career, it was Ray Bolger who stole the show. A more accomplished musical actress might have made this musical more than a routine, pleasant backstage story that is actually an incomplete bio of the great Broadway star. The production numbers are fine, the supporting cast is excellent and the technicolor glows--but it's never more than a routine musical with June Haver appealing as the talented singer/dancer who became a Broadway favorite and Gordon MacRae in fine voice as the man she loves but ultimately loses to an untimely accident. Not great, but worth seeing for Ray Bolger's inimitable way with a dance step in some show-stopping routines. Nice supporting players include Rosemary DeCamp, Charles Ruggles and S.Z. ("Cuddles") Sakall.

Judy Garland's brief appearance in Till The Clouds Roll By as Marilyn Miller far outshines Ms. Haver's portrayal of Marilyn Miller. What a pity Ms. Garland couldn't be loaned out to Warner's to add some class to this otherwise paper-thin biopic. And what a treat it would've been to seen Judy and Ray Bolger together again on the silver screen, although I'm not sure if there would've been any chemistry between her and Gordon MacRae, whose stiff and lifeless performance is reminiscent of those given by Nelson Eddy in the 30's and 40's. And finally, I can't understand why Warner Brothers left off Ms. Miller's attempt to make it sound pictures. One of their biggest musical hits of 1929 was the film version of Sally, but their quick follow-up Sunny bombed.