1945 (June) A Warners Bros. First National Production Produced by Jesse L. Lasky Directed by Irving Rapper Written by Howard Koch and Elliott Paul; original story by Sonya Levien Photographed by Sol Polito Music by George Gershwin (lyrics by Ira Gershwin, Buddy deSylva, Irving Ceasar) Music direction by Ray Heindorf, Ferde Grofe ("Rhapsody in Blue") 139 minutes Starring Robert Alda, Joan Leslie, Alexis Smith, Charles Coburn; and Oscar Levant, Paul Whiteman, George White, Hazel Scott, Anne Brown, and Al Jolson; with Julie Bishop, Albert Basserman, Morris Carnovsky, Rosemary De Camp, Herbert Rudley, John B. Hughes, Mickey Roth, Darrly Hickman Claiming to tell the life story of George Gershwin, the picture is no more accurate than the others of its kind. The essentials, though, are basically in place. Thus we are treated to Gershwin's rise to the top of the song-writing profession, his studies in Europe, his fusing of the folk and classical traditions in "Porgy and Bess," and his tragic early death in California. In a particularly memorable sequence, Walter Damrosch interrupts a New York concert performance of "Rhapsody in Blue" to announce to a stunned audience that its creator has passed away. The natural drama (or melodrama) of Gershwin's life is exploited to the fullest here; but the pathos is punctuated by performances of classic Gershwin tunes that more than compensate for occasional lapses in the script (Gershwin's dialogue, in particular, is prone to corniness). Many of the performers appear as themselves -- Levant as Levant, Whiteman as Whiteman, Jolson as Jolson -- putting their personal touches on some of the most enduring popular music of the Twentieth Century. As George Gershwin, Robert Alda is stiff but not unappealing in the lead role. He manages to convey a sense of Gershwin's passion for his music, if none of his boisterous egoism. The supporting cast is superb -- especially Carnovsky as Papa Gershwin. Carnovsky and DeCamp (as Mama) suggest the Gershwins' Jewish background, though the word "Jew" is never uttered (of course). Also of sociological interest, the film presents African American songstress Hazel Scott in a manner befitting her classiness. The film in this respect is years ahead of its competition at MGM. One of several composer biographies filmed during WWII, its release was held up for a year, as Warners wanted time to build Robert Alda's star. The movie did less well than Warners anticipated, perhaps because it was shot in black-and-white instead of Technicolor (the preferred medium for high-end musicals at MGM, Fox, and even Columbia). The photography, by Sol Polito and company, is incredibly gorgeous, though, with the "American in Paris" montage a standout. As Julie Adams, Joan Leslie plays the patient ingenue whose unspoken love for Gershwin the composer fails to recognize until almost too late. Alexis Smith is Christine Gilbert, a sophisticated American expatriot, the other woman in Gershwin's life. The women are contrasting types, and were meant to represent the whole range of Gershwin's affairs (which were, after all, extensive). Alexis Smith is terrific at being chic and sexy, but her heavy dramatic scene is a little embarrassing. Joan Leslie is wonderful throughout -- she makes us feel Julie's delight in George's success, and her hurt when George returns from Europe with Christine in tow. Period costumes and hair styles are very becoming on Joan Leslie -- she looks equally lovely in Mary Pickford curls and bobbed do. She even gets to perform a swell musical number ("Somebody Loves Me") with Tom Patricola, who reprises his old routine from George White's Scandals. Very highly recommended. |
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