| User & Date | Comment |
| 2007-12-09 12:46:14 | Amazon.com: The plot is a hokey whitewash of the careers of Richard Rodgers and Lorenz Hart, with characters talking in stilted phrases ("Gee, Larry, that's marvelous, really and truly") and complexities reduced to ground zero. But Rodgers and Hart comprised one of the greatest song-writing teams of the 20th century, and Words and Music (1948) is an excuse for a gang of Hollywood's top performers to have their way with the tunes. Mel Tormé croons a melancholy "Blue Moon," June Allyson twinkles through "Thou Swell," and a climactic ballet to "Slaughter on 10th Avenue" features Gene Kelly and Vera-Ellen in slinky, kicky form. As is often the case in MGM musicals of this period, Lena Horne steals the show with a self-contained sequence (so it could be snipped out in theaters in the U.S. South), here contributing stunning versions of "The Lady Is a Tramp" and that most mysterious of American pop songs, "Where or When." The film's sense of time is deranged: Perry Como plays an early friend of R&H, then decades later, himself; Garbo's Camille is shown as a silent film, although it was released 10 years after sound came in; and the grown-up Judy Garland plays herself in a period when she would have been a child. The upside is that Garland romps through "Johnny One Note," one of many examples of Lorenz Hart's lyrical dexterity. Tom Drake is a dull Rodgers, but Mickey Rooney's buzz-saw energy and crazed appetite might have made a brilliant Larry Hart. In a better movie, that is. --Robert Horton |
| 2008-05-13 17:25:11 | Amazon.com: The plot is a hokey whitewash of the careers of Richard Rodgers and Lorenz Hart, with characters talking in stilted phrases ("Gee, Larry, that's marvelous, really and truly") and complexities reduced to ground zero. But Rodgers and Hart comprised one of the greatest song-writing teams of the 20th century, and Words and Music (1948) is an excuse for a gang of Hollywood's top performers to have their way with the tunes. Mel Tormé croons a melancholy "Blue Moon," June Allyson twinkles through "Thou Swell," and a climactic ballet to "Slaughter on 10th Avenue" features Gene Kelly and Vera-Ellen in slinky, kicky form. As is often the case in MGM musicals of this period, Lena Horne steals the show with a self-contained sequence (so it could be snipped out in theaters in the U.S. South), here contributing stunning versions of "The Lady Is a Tramp" and that most mysterious of American pop songs, "Where or When." The film's sense of time is deranged: Perry Como plays an early friend of R&H, then decades later, himself; Garbo's Camille is shown as a silent film, although it was released 10 years after sound came in; and the grown-up Judy Garland plays herself in a period when she would have been a child. The upside is that Garland romps through "Johnny One Note," one of many examples of Lorenz Hart's lyrical dexterity. Tom Drake is a dull Rodgers, but Mickey Rooney's buzz-saw energy and crazed appetite might have made a brilliant Larry Hart. In a better movie, that is. --Robert Horton |
If you'd like to leave a comment, you must be logged in.
Back to recording information.
