THERE’S NO BUSINESS LIKE SHOW BUSINESS
- it.: Follie dell’anno; Sog.: Lamar Trotti; Scen.: Phoebe Ephron, Henry Ephron; F.: Leon Shamroy; Mo.: Robert Simpson; Canzoni: Irving Berlin; Coreografie: Robert Alton, Jack Cole (non accreditato); Scgf.: Lyle Wheeler, John DeCuir; Cost.: Charles LeMaire, Miles White, Travilla; Eff. Spec.: Ray Kellogg; Su.: E. Clayton Ward, Murray Spivack; Int.: Ethel Merman (Molly Donahue), Donald O’Connor (Tim Donahue), Marilyn Monroe (Vicky Hoffman, in seguito Parker), Dan Dailey (Terry Donahue), Mitzi Gaynor (Katy Donahue), John- nie Ray (Steve Donahue), Richard Eastham (Lew Harris), Hugh O’Brian (Charles Gibbs), Frank McHugh (Eddie Duggan), Rhys Williams (Padre Dineen), Lee Patrick (Marge); Prod.: Sol C. Siegel per Twentieth Century-Fox 35mm. D.: 112’. Col.
Film Notes
Taking its cue from the lyrics of Irving Berlin’s rousing show business anthem, this old-fashioned musical is the story of a fictitious family of stage troupers, the Donahues. We follow their ups and downs from vaudeville in 1919, to Florida nightclubs, ending with an all-star benefit finale at New York’s famous Hippodrome theatre sometime during World War II. Despite the cavalcade of vintage songs from the Irving Berlin catalogue, there is little period feel: the soundstage-bound production is lavishly colourful, with production numbers utilizing hydraulics, platforms, and waving pennants, but the costumes, especially, are more 1950s than 1920s or 30s. Broadway legend Ethel Merman is in fine form, and her performance as a strong, practical matriarch holds the film (and her cinematic family) together. One of the film’s highlights is her brassy belting of “There’s No Business Like Show Business”, a precious capturing of one of her signature tunes on film; she introduced it on stage in Annie Get Your Gun but didn’t get to play the role when it was filmed. Merman and her onscreen family perform a range of numbers from the Irving Berlin songbook, including “A Pretty Girl Is Like a Melody” and variations on “Alexander’s Ragtime Band”, besides some screen originals. (It was a big year for Irving Berlin songs on film; Paramount’s White Christmas also came out in 1954.)
Dancing talents are also on show, with Donald O’Connor (who performs a lively number with fountain statues coming to life), Mitzi Gaynor, and Dan Dailey. O’Connor’s love interest is an ambitious, man-wise hatcheck girl who becomes a nightclub star. Her rise to fame is little wonder, as she is played by Fox’s resident blonde, the glorious Marilyn Monroe. Working with uncredited choreographer Jack Cole, who had staged “Diamonds Are a Girl’s Best Friend” in Gentlemen Prefer Blondes, Marilyn sizzles as the gal from Martinique who waves her skirts in “Heat Wave”, proving to a group of chorus boys that “the temperature’s rising, it isn’t surprising, she certainly can, can-can”. Monroe’s other two specialty numbers are just as hot: “Lazy”, delivered with sultry, writhing poses on a chaise longue, and the sexy “After You Get What You Want, You Don’t Want It” – her figure-hugging white lace Travilla gown is worth the price of admission.
Catherine A. Surowiec