GUEST REVIEW: GOOD NEWS

We are spotlighting another great review that my late friend Bruce Kogan posted. His reviews were always thorough and well thought out. This time we spotlight his review of 1947's Good News...

Good News was the best musical from the Roaring Twenties from the premier songwriting team of DeSylva,Brown&Henderson. It ran on Broadway for 557 performances in the 1927-29 season and gave the team a number of song hits identified with them like the title song, Just Imagine, Lucky In Love, and The Best Things In Life Are Free. All of those songs made it as well as one of the great dance numbers of the Roaring Twenties, The Varsity Drag.

The musicals of that era had the lightweight nonsensical plots which also was taken from the Broadway show. Big man on campus, Peter Lawford, has to get a passing grade in French to stay eligible for the football squad. He gets mousy student librarian June Allyson assigned as a tutor and the inevitable happens as it does in these films. After that Lawford has to choose between mercenary coed Patricia Marshall and Allyson. It's a struggle, but you guess who he winds up with.

This film is strictly about the music and dance numbers and it offers a rare opportunity to see Joan McCracken singing and dancing which she mostly did on the Broadway stage. She introduces a song especially written for the film Pass That Peace Pipe which was a big hit in 1947 and won for Good News its only Academy Award nomination. Pass That Peace Pipe lost to Zip-A-Dee-Doo-Dah for Best Song. But the number is one of the best dance numbers ever to come from an Arthur Freed produced MGM musical. Joan McCracken died way too young as oddly enough her dancing partner Ray McDonald.

Good News presents an idealized version of the Roaring Twenties and is the quintessential college musical which flooded Hollywood mostly in the years before World War II. It holds up well as entertainment and the songs are still fabulous.

BRUCE RATING: 7 out of 10

MY RATING: 10 out of 10

FORGOTTEN ONES: BELLE BAKER - PART TWO

Later in 1927, Belle Baker introduced the song My Yiddishe Momme to the American public. The song was made even more famous by Sophie Tucker and popularized by The Barry Sisters. The song was extremely important from a Jewish American standpoint during this time, as it represented internal conflict over Jewish assimilation into western societies.The song was viewed very positively by gentiles and eventually became so popular around the world that it was banned in Nazi Germany and that Jewish prisoners of concentration camps would often sing it.

Baker had a brief film career as silent film gave way to lavish technicolor musical talkies. She made her film debut starring in the 1929 talkie Song of Love. The film survives and has been screened at film festivals but not released on DVD. Song of Love features two songs performed by Baker written by her husband, "I'm Walking with the Moonbeams (Talking to the Stars)" and "Take Everything But You". She made two more film appearances, in Charing Cross Road (1935) and Atlantic City (1944; in which she performed "Nobody's Sweetheart").

In 1932, Baker became a regular on Jack Denny's radio program on CBS. She was a guest performer on The Eveready Hour, broadcasting's first major variety show, which featured Broadway's top headliners. Baker continued performing through the 1930s, but limited her performances to radio shows.

Baker's first marriage was in 1913, to producer and promoter Lew Leslie. The couple divorced in 1918. In 1919, she married Maurice Abrahams, a successful Russian-American songwriter/composer, who wrote such songs as "Ragtime Cowboy Joe", "He'd Have to Get Under — Get Out and Get Under (to Fix Up His Automobile)", "I'm Walking with the Moonbeams (Talking to the Stars)", and "Take Everything But You". The couple had one child, Herbert Joseph Abrahams, later known as Herbert Baker, who became a screenwriter. After Abrahams' death in 1931, Baker restricted her performing to radio. On September 21, 1937, she remarried, to Elias Sugarman, editor of the theatrical trade magazine, Billboard. The couple divorced in 1941. She made one final television appearance in This Is Your Life in 1955, just two years before her death.

Baker was a Zionist, stating in 1924: "I am a firm believer in Zionism. I believe that the Jewish people should have a home of their own. It is the one prayer our fathers have been saying through the centuries." While in England in 1935, Baker hosted a show to raise money for Jews fleeing Nazi persecution through the United Jewish Appeal.Several years before her death, she performed several songs at the opening of a Congregation Sons of Israel on Irving Place alongside the president of the American Jewish Committee, Rabbi Irving Miller.

Many of Baker's family later became involved with show business after her. Her brother, Irving Becker, married stage actress Vinnie Phillips and became a road manager for a production of Tobacco Road. Additionally, the broadway actress, Marilyn Cooper was her niece.

Baker was very well known and famous throughout her lifetime. At the height of Baker's popularity in the 1920s, a poll taken from over 3 million people found her and Sophie Tucker to be tied for the most popular Vaudeville stars.

Many of Baker's songs, such as My Yiddishe Mama, Blue Skies and All Of Me are still popular to this day. During her lifetime, she was referred to as "the Female Al Jolson and the Sarah Bernardt of Songland." Like Jolson and Bernardt, Belle Baker is sadly forgotten today in 2024...

MUSIC BREAK: BELLE BAKER - MY MAN

FORGOTTEN ONES: BELLE BAKER - PART ONE

Time has been flying by and with each decade old stars are more and more forgotten. One such big star that is largely forgotten is Belle Baker. Born in Los Angeles) was a singer and actress. Popular throughout the 1910s and 1920s, Baker introduced a number of ragtime and torch songs including Irving Berlin's "Blue Skies" and "My Yiddishe Mama". She performed in the Ziegfeld Follies and introduced a number of Irving Berlin's songs. An early adapter to radio, Baker hosted her own radio show during the 1930s. Eddie Cantor called her “Dinah Shore, Patti Page, Peggy Lee, Judy Garland all rolled into one.”

Baker was born Bella Becker in 1893 to a Russian Jewish family originally from Akmene, Lithuania on New York's Lower East Side. She was the third child of eight children born to Hyman (Chaim) Becker and Sarah Rabinowitz. Her mother was chronically ill. Born into extreme poverty, Baker was unable to attend school and was forced to work in a factory when she was 6 years old.

Baker started performing at the Lower East Side's Cannon Street Music Hall at age 11, where she was discovered by the Yiddish Theatre manager Jacob Adler. She was managed in vaudeville by Lew Leslie, who would become Baker's first husband. She made her vaudeville debut in Scranton, Pennsylvania, at the age of 15. She performed in Oscar Hammerstein I's Victoria Theatre in 1911, although her performance was panned, mainly for her song choices. By age 17, she was a headliner. One of her earliest hits was "Cohen Owes Me $97". Belle Baker on the sheet music cover of Nick Clesi's 1916 hit "I'm Sorry I Made You Cry"

Baker first introduced the song "Eli, Eli" to the American public. The song was originally written by a Jewish songwriter only known by the name Schindler for Baker's role as a child in a play. In the play, the mother is crucified and Baker sings the first line in English ("G-d, oh G-d, why has thou forsaken me?"). Gentiles at the time believed that this was a sung version of a Jewish prayer. However, Baker later clarified this, and it became one of the most popular tunes of the time. The song was later covered by John McCormack, John Steel and Dorothy Jardon.

In 1926, Baker became the lead in a play called Betsy. In this play, Baker played the oldest daughter of a Jewish family named the Kitzels. The mother (portrayed by Pauline Hoffman) wouldn't let any of her children get married until Betsy (played by Baker) got married. Legend has it that the story desperately needed a Baker song, and so she called Irving Berlin for help. Baker introduced his hit song Blue Skies in Betsy. The song was such a hit that she played it for twenty-four encores on opening night. Blue Skies would later become immortalized by Al Jolson's performance of it in the first ever talkie movie, The Jazz Singer.

TO BE CONTINUED...

BING CROSBY - THE HOLLYWOOD YEARS: PART 5

AN HONOR FOR JAMES EARL JONES

The historic Cort Theatre has been renamed the James Earl Jones Theatre, honoring the legendary actor’s 64-year Broadway career. Jones made his Broadway debut in 1958 and remains celebrated in theater, film, and television. The $47 million renovation marks a significant tribute to his legendary talent as an actor...

MY FAVORITES: THREE BEST POLITCAL MOVIES

 I won't coment on who is running for president today or who I am going to support. If I wanted to be political, I would start another blog. Here is a look at what I think are the three best classic Hollywood poltical movies...

1. Mr. Smith Goes To Washington (1939)

Have you watched it lately? You should. (And by “you,” we mean every sentient being on Capitol Hill.) Frank Capra’s classic is still the granddaddy of America’s small-d democratic, participatory ideals. And James Stewart’s portrayal of a small-town nobody and his quixotic battle against self-dealing politicians still claims pride of place as Hollywood’s most stirring, convincing and timeless reminder that the Constitution is a sacred trust that all American citizens — and their representatives — have responsibility for bearing.

2. All the President’s Men (1976)

For many viewers — especially the untold number who became reporters after being inspired by it — this flawlessly crafted Watergate procedural is a journalism movie. But in the process of untangling the skein of lies, malfeasance and coverups that defined the scandal, Washington Post reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) wind up exposing the seamy underside of partisan realpolitik, and underline the crucial role of a free press in holding leaders accountable. Bonus points for featuring Jason Robards as history’s best big-screen Ben Bradlee.

3. The Manchurian Candidate (1962)

The 1960s and ’70s produced their share of great paranoid thrillers, but this one proved shockingly prescient, not only regarding the era of assassinations that immediately followed its release, but of today, when foreign influence on our elections poses a credible and escalating threat. Masterfully directed by John Frankenheimer and featuring Frank Sinatra’s finest acting performance, this hallucinatory masterpiece still manages to be darkly funny and queasily discomfiting in equal measure. (Which unfortunately can’t be said of Jonathan Demme’s forgettable 2004 remake.)

Whether your political leanings, you can not complain about our politicans if you don't vote. Go out there and VOTE!

MEMORIES OF SOME LIKE IT HOT

When Tony Curtis and Jack Lemmon first put on the female makeup and costumes for "Some Like It Hot" (1959), , they walked around the Goldwyn Studios lot to see if they could "pass" as women. Then they tried using mirrors in public ladies rooms to fix their makeup, and when none of the women using it complained, they knew they could be convincing as women. There is a scene on the train recreating this moment.

Lemmon got along with Marilyn Monroe and forgave her eccentricities. He believed Marilyn simply couldn't go in front of the camera until she was absolutely ready. "She knew she was limited and goddamned well knew what was right for Marilyn," he said. "She wasn't about to do anything else." He also said that although she may not have been the greatest actor or singer or comedienne, she used more of her talent, brought more of her gifts to the screen than anyone he ever knew.

Lemmon wrote that the first sneak preview had a bad reaction with many audience walkouts. Many studio personnel and agents offered advice to Billy Wilder on what scenes to reshoot, add and cut. Lemmon asked Wilder what he was going to do. Wilder responded: "Why, nothing. This is a very funny movie and I believe in it just as it is. Maybe this is the wrong neighborhood in which to have shown it. At any rate, I don't panic over one preview. It's a hell of a movie." Wilder held the next preview in the Westwood section of Los Angeles, and the audience stood up and cheered.

Many years after the film's release, a movie reviewer asked Curtis why his Josephine was so much more feminine than Lemmon's Daphne. A laughing Curtis explained that he was so scared to be playing a woman (or a man pretending to be one) that his tightly wound body language could be read as demure and shy, traditionally feminine traits, whereas Lemmon, who was completely unbothered, and "ran out of his dressing room screaming like the Queen of the May," kept much more of his masculine body language...