1942 (June) A Warner Bros. First National Production Produced by Hal B. Wallis Directed by Michael Curtiz Written by Robert Buckner and Edmund Joseph (Julius J. and Philip G. Epstein) Photographed by James Wong Howe Musical Direction by Heinz Roemheld and Ray Heindorf Lyrics and Music by George M. Cohan 126 minutes Starring James Cagney, with Joan Leslie, Walter Huston, Richard Whorf, Irene Manning, George Tobias, Rosemary DeCamp, Jeanne Cagney, Frances Langford, George Barbier, S. Z. Sakall, Walter Catlett, Douglas Croft, Minor Watson, Eddie Foy, Jr., Chester Clute, Odette Myrtil, Patsy Lee Parsons, Captain Jack Young George M. Cohan was the most important figure in American musical theatre in his day, the author of more than 35 plays and five hundred songs, but his relationship with the movie business had been stormy at best. In 1940, Cohan, rumored to be seriously ill with cancer, began to shop around the story of his life. Sam Goldwyn tentatively committed himself to the project, but backed out when Fred Astaire expressed his reservations about playing Cohan. Paramount then agreed to make a film based on the composer's life, but this time Cohan backed out. Finally, a mutual friend suggested that he approach James Cagney, who had his own reasons for wanting to play to the famous song and dance man. Twice Cagney had been accused by Grand Juries of being a Communist, so William Cagney took the idea to Jack L. Warner, saying to the studio boss, "We should make a movie with Jim playing the damndest patriotic man in the country....George M. Cohan." A deal was hammered out, and Warners' script department got right to work. The official source for the story was Cohan's own published memoirs, but many of the incidents were taken directly from the transcripts of Robert Buckner's conversations with Cohan. Michael Curtiz came on to direct; James Wong Howe to handle the cameras; Leroy Prinz to do the choreography; and the fabulous Epstein brothers to provide the final shooting script. If ever the Hollywood studio system needed an apologia, this would be it. The Cagneys, though, were the main creative force on the project. Joining James (starring) were William (associate producer) and Jeanne Cagney, in her movie debut as Cohan's sister Josie. The rest of the cast was rounded out by Joan Leslie (as Cohan's wife), Walter Huston (as Cohan's father), Rosemary DeCamp (as Mama Cohan), and Warners' gang of beloved character actors. Songbird Frances Langford and former Metropolitan Opera star Irene Manning were also in the cast (the latter playing Broadway great Faye Templeton). In contrast to Warners' typical cost-conscious approach to filming, no expense was spared on Yankee Doodle Dandy. During the shooting, Cagney announced that he would not re-sign with the studio when his contract expired; and eager to appease its most valuable property, Warner Bros. let Cagney make the film the way he wanted. Every frame was treated to tender loving care, and the musical stagings in particular are mini-masterpieces without rival at this or any other studio. Complicating production were the usual assortment of headaches, the most vexing of which was how to handle Cohan's marriages (Cohan's contract with Warners stipulated that no mention could be made of his first wife, Ethel Levey). Cohan had final approval over the movie, and so all involved in the production were anxious to prevent an approval snafu. In the end, Cohan's wives (Levey and wife number two, the former Agnes Nolan) were combined in a single composite character called Mary. This was a fortuitous decision, as one of the subplots has Cohan writing the famous song of that name for his wife-to-be. The rather episodic plot elements used in the movie are brought together by the trick of a frame narrative. The movie begins with an aged Cohan, starring as the President in I'd Rather Be Right, summoned to the White House for a midnight tete-a-tete with FDR. The President asks for the story of Cohan's life, and Cohan is more than eager to give to it to him. Cohan's birth, his chidlhood in vaudeville, his first success as "Peck's Bad Boy," his partnership with producer Sam Harris (Richard Whorf), the hit plays and flops, are all recounted in flashback, up to and including his summons to the White House. The movie ends with Roosevelt presenting Cohan a Congressional Medal of Honor for his services to the country (which Cohan was in fact awarded in 1936, though he neglected to claim the medal till 1940). The film was in the can, and set to premiere on July 4, Cohan's birthday. But the composer's rapidly deteriorating condition decided the studio push ahead the date for a May 29 premiere. Cohan still had final approval, so the the Cagneys flew east with a print and projection equipment. After several nervous moments, Cohan gave it his thumbs up. He lived to read the reviews and hear about the movie's mounting box office take, and died in the knowledge that his place in American history was secure with this film. Come Oscar time, Yankee Doodle Dandy garnered eight Academy Award nominations, including Best Picture, Best Original Story, Best Director, and Best Support (Walter Huston). Mrs. Miniver swept most of the categories that year, but Cagney's Cohan was undeniable. Neither a great singer nor a great dancer in the traditional sense, Cagney makes the audience believe he is on the brute force of his personality. It was the performance of his life -- cocky, kinetic, captivating -- perhaps the greatest star impersonation in the history of American cinema. He accepted the Oscar for Best Actor with Cohan's famous curtain speech -- "My mother thanks you -- my father thanks you -- my sister thanks you -- and I thank you." In later years, looking back at a career that had brought many stunning performances to the screen, Cagney would say: "I don't watch any of my movies execpt that one, Yankee Doodle Dandy. That was the best. It had everything. I'm still proud to be waving my flag." He had cause to be. The film is a classic, in every sense of the word, returning every Independence Day with the splendour of a meteor. Highest recommendation. Soundtrack (words and music by George M. Cohan except where noted)
Notes (for Yankee Doodle Dandy)
Further Reading: McGilligan, Patrick. Yankee Doodle Dandy. Wisconsin/Warner Bros. Screenplay Series. Madison: U of Wisconsin Press, 1981. Schikel, Richard. James Cagney: A Celebration. Boston: Little, Brown and Company, 1985. |
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