MARJORIE REYNOLDS: HOLIDAY INN AND MORE

Marjorie Reybolds starred in one of the most beloved movies of the 1940s Holiday Inn. However, she was not only overshadowed by co-star Bing Crosby's singing but she was in the background due to the introduction of the most popular song ever written "White Christmas". Bright, vivacious Marjorie Reynolds (née Marjorie Goodspeed) was born in Idaho on August 12, 1917 to a doctor and homemaker, and raised in Los Angeles.

Making her film debut at age 6, she "retired" after only a few years in favor of a normal education. She returned in the mid-30s, as a teenager this time, and began the typical assembly-line route of extra and bit roles for various mega studios, this time billed as Marjorie Moore. Her first speaking role was in Columbia Studio's programmer Murder in Greenwich Village (1937), this time billed as Marjorie Reynolds (her first husband's last name), a moniker she kept for the duration of her career.

The blonde (originally brunette) actress then went through a rather non-challenging prairie flower phase opposite Hollywood's top western stars such as Tex Ritter, Buck Jones, Roy Rogers and Tim Holt. It all paid off, however, when she won the top female role opposite Bing Crosby and Fred Astaire in the seasonal film classic Holiday Inn (1942), a role originally designed for Mary Martin. It remains Marjorie's most popular and cherished role on film, but it did not help her make a permanent transition into 'A' quality fare.I had the opportunity to interview Marjorie's daughter shortly after her mother's death, and she remembers her mother saying Bing was sometimes cold to herm because he had wanted Mary Martin for the role. However, she said Bing was professional. Despite what Bing might have thought of Marjorie in Holiday Inn, he thought there was enough chemistry to choose her as his leading lady again in 1943's Dixie, which was another hit for Bing.

Marjorie continued as a dependable "B" co-lead in such films as Up in Mabel's Room (1944), Meet Me on Broadway (1946), and 

Heaven Only Knows (1947), with an exciting movie offer such as Fritz Lang's Ministry of Fear (1944) coming her way on a rare occasion.

Along with maturity and a new entertainment medium (television) in the 50s came a return to her natural hair color. As William Bendix's patient, resourceful brunette wife on the comedy TV series The Life of Riley (1953), Marjorie became a semi-household name. Her career took a steep decline following its demise five years later and she was only sporadically seen in films, commercials and TV guest spots after that.

Married twice, her first husband was Jack Reynolds, who was an Assistant Casting Director for Samuel Goldwyn. They had one daughter, Linda, before divorcing in 1952 after 16 years. Linda was named after her mother's character from Holiday Inn. Second husband, film editor John Whitney, worked for a time in the 40s as an actor. They were married for 32 years until his death in 1985.

Long retired, Marjorie made her last movie appearance in 1962's The Silent Witness. However, she did continue to have sporadic television roles until 1978.  Marjorie died  on February 1, 1997 of congestive heart failure after collapsing while walking her dog. Though she didn't fully live up to her potential as a serious, formidable actress, her gentle charm and obvious beauty certainly spruced up the 60+ films in which she appeared...

TIME MAGAZINE REMEMBERS BING CROSBY - PART TWO

The Road to Bingdom began in 1903, in Tacoma, Washington. Bing was the son of a devout Roman Catholic. His real name, Harry Lillis Crosby, refused to stick. According to one legend, he so loved a comic strip called the Bingville Bugle that he became Bing himself. He also became a dedicated sportsman (football, baseball, fishing), a good singer in a house full of singing, and a conspicuous truant. He nevertheless went to Gonzaga University in Spokane as a law student. The only useful part of the course, which ended with his first amateur musical success, was public speaking. Said he, "I owe all to elocution."

Wide recognition came after a few years of modest success as one of the Rhythm Boys featured by Paul Whiteman -- this before the King of Jazz fired him for not taking his work seriously enough. Nor was Whiteman the only early employer that Crosby disenchanted by drinking and carousing too much. He became a national name only after a medical fluke -- the sudden occurrence of nodules on his vocal cords -- caused him to lose his voice just before his first scheduled radio network show in 1931. When the voice came back, it had, thanks to the nodules, what Crosby called "the effect of a lad with his voice changing singing into a rain barrel."

The effect was just what the Crosby sound needed. In earlier work he sang with much jazzier effects. An artist in search of a personal style, he listened hard to Al Jolson, Mildred Bailey and Louis Armstrong. Finally Bing developed that mellifluous tone, a mere phrase of which causes millions of Americans to imagine the gold of the day meeting the blue of the night. Here was the voice that has sold more records than any other on earth save that of Elvis.

There was also the voice, suddenly made famous on radio, that inspired Hollywood to cast Crosby in the feature picture (Paramount's) The Big Broadcast that was to launch the flip side of Bing's career. In the movies as onstage, Crosby seemed always to come on singing happy, upbeat, don't-worry songs that the trouble-weary public loved during the Depression. He scored successees in such movies as Pennies from Heaven and Waikiki Wedding, but it was as the lazy, goodhearted ne'er-do-well in Sing You Sinners, in 1938, that he found the casual acting mode the public relished.

Crosby's biggest critical success was Country Girl, but his personal favorite among his movies was High Society (1956). It found him singing and dancing with Frank Sinatra at an "elegant swellegant" party and playing a concertina and crooning True Love, as only the first crooner could croon, to not-yet-royal Grace Kelly. Unlike many stars, Crosby surrounded himself with other big talents. He worked with Fred Astaire in Holiday Inn (in which he sang White Christmas), with Ethel Barrymore in Just for You and with Ingrid Bergman in Bells of St. Mary's.

It may be absurd to attribute modesty to anyone in the egomaniacal world of show biz. Yet a certain diffidence adhered to Crosby even as a celebrity. In his artistry, he owned the natural jazzman's gift of blending with, rather than blaring against, an ensemble of fellow performers -- a knack never used better than in the scatty and mellow duets (Gone Fishin, for one) that he recorded with Armstrong. A similar trait made his private life seem actually private in contrast to the typical Hollywood star's. He had his troubles, heartbreak at times in his first marriage to hard-drinking Dixie Lee, who died of cancer in 1952, and again in dealing with his four sons with a penchant for mischief. In 1957 he married Kathryn Grant, 30 years younger than he, and started another family. Crosby never claimed to be an exemplary singer or exemplary anything else, and once he attributed his good reputation to his practice of admitting his sins only to the "father confessor."

He had slowed down in recent years but had proclaimed an intent never to retire completely: "I'll keep singing as long as they'll have me." A grieving Bob Hope noted that the two old Roadsters, along with Dorothy Lamour, had just finished working up plans to try one more for the Road. The film, said Hope, was to be called The Road to the Fountain of Youth...

REST IN PEACE- BING CROSBY 1903-1977

PHOTOS OF THE DAY: BEHIND THE SCENES OF HOLIDAY INN

Holiday Inn (1942) is remembered today as the ultimate holiday movie, so yes it is strange that I spotlight it in June. It starred Bing Crosby, Fred Astaire, Marjorie Reynolds, and Virginia Dale. However, the movie did have its premiere on August 4, 1942. So to cool off this summer, here are some behind the scenes photos of Holiday Inn...

HISTORY OF A SONG: WHITE CHRISTMAS

"White Christmas" is a 1942 Irving Berlin song reminiscing about an old-fashioned Christmas setting. The version sung by Bing Crosby is the world's best-selling single with estimated sales in excess of 100 million copies worldwide. Other versions of the song, along with Crosby's, have sold over 50 million copies.

Accounts vary as to when and where Berlin wrote the song. One story is that he wrote it in 1940, in warm La Quinta, California, while staying at the La Quinta Hotel, a frequent Hollywood retreat also favored by writer-director-producer Frank Capra, although the Arizona Biltmore also claims the song was written there. He often stayed up all night writing—he told his secretary, "Grab your pen and take down this song. I just wrote the best song I've ever written—heck, I just wrote the best song that anybody's ever written!"

The first public performance of the song was by Bing Crosby, on his NBC radio show The Kraft Music Hall on Christmas Day, 1941; a copy of the recording from the radio program is owned by Crosby's estate and was loaned to CBS News Sunday Morning for their December 25, 2011 program. He subsequently recorded the song with the John Scott Trotter Orchestra and the Ken Darby Singers and for Decca Records in just 18 minutes on May 29, 1942, and it was released on July 30 as part of an album of six 78-rpm discs from the musical film Holiday Inn. At first, Crosby did not see anything special about the song. He just said "I don't think we have any problems with that one, Irving." The song established that there could be commercially successful secular Christmas songs —in this case, written by a Jewish-American songwriter.

The song initially performed poorly and was overshadowed by Holiday Inn's first hit song: "Be Careful, It's My Heart". By the end of October 1942, "White Christmas" topped the Your Hit Parade chart. It remained in that position until well into the new year. It has often been noted that the mix of melancholy—"just like the ones I used to know"—with comforting images of home—"where the treetops glisten"—resonated especially strongly with listeners during World War II. A few weeks after the attacks on Pearl Harbor, Crosby introduced "White Christmas" on a Christmas Day broadcast. The Armed Forces Network was flooded with requests for the song. The recording is noted for Crosby's whistling during the second chorus.

In 1942 alone, Crosby's recording spent eleven weeks on top of the Billboard charts. The original version also hit number one on the Harlem Hit Parade for three weeks,  Crosby's first-ever appearance on the black-oriented chart. Re-released by Decca, the single returned to the No. 1 spot during the holiday seasons of 1945 and 1946 (on the chart dated January 4, 1947), thus becoming the only single with three separate runs at the top of the U.S. charts. The recording became a chart perennial, reappearing annually on the pop chart twenty separate times before Billboard magazine created a distinct Christmas chart for seasonal releases.

In Holiday Inn, the composition won the Academy Award for Best Original Song in 1942. In the film, Crosby sings "White Christmas" as a duet with actress Marjorie Reynolds, though her voice was dubbed by Martha Mears. This now-familiar scene was not the movie makers' initial plan. In the script as originally conceived, Reynolds, not Crosby, would sing the song. The song would feature in another Crosby film, the 1954 musical White Christmas, which became the highest-grossing film of 1954. (Crosby made yet another studio recording of the song, accompanied by Joseph J. Lilley's orchestra and chorus, for the film's soundtrack album.)

The version most often heard today on the radio during the Christmas season is the 1947 re-recording. The 1942 master was damaged due to frequent use. Crosby re-recorded the track on March 19, 1947, accompanied again by the Trotter Orchestra and the Darby Singers, with every effort made to reproduce the original recording session. The re-recording is recognizable by the addition of flutes and celesta in the beginning. Although Crosby dismissed his role in the song's success, saying later that "a jackdaw with a cleft palate could have sung it successfully," he was associated with it for the rest of his career...

ASTAIRE'S FORGOTTEN DANCE PARTNERS

Fred Astaire danced with some of the most talented leading ladies from Ginger Rogers to Cyd Charisse. Many people would agree that he never danced with anyone better than Rogers, but Astaire danced with numerous leading ladies over his forty year career in Hollywood. Not every dancer Astaire made a movie with spelled success or are remembered as Ginger Rogers was. After Rogers, Fred Astaire made a lot of movies with different actresses in the early to mid 1940s.

After leaving RKO in 1939, Astaire made his way to Paramount Studios. The studio teamed Astaire with Bing Crosby, and since the men were the stars of 1942′s Holiday Inn, the studio could cast females who weren’t necessarily name above the title types. Thus Marjorie Reynolds (1917-1997) and Virginia Dale (1917-1994) got their chances to dance with the master. Rewatching the movie, Reynolds danced with Astaire better than Dale did. Virginia Dale's main number with the famed dancer was "You're Easy To Dance With". Dale looks like at the most she is making all of her steps, but she looks heavy footed. It is definitely not a comfortable or graceful pair. Astaire does much better with Marjorie Reynolds. Reynolds could not sing a lick, but her dancing is much better than Virginia Dale's attempted moves. Reynolds and Astaire's best number was "Be Careful It's My Heart". It is a graceful and elegant slow dance, I could have seen the dancing duo making another movie together but they never did. However, after this film both actress-dancers returned to B films and faded from public view — although Reynolds had a brief comeback on TV as the wife on the popular Fifties situation comedy, The Life of Riley, starring William Bendix as the bumbling Chester Riley.

At the age of 18, beautiful actress Joan Leslie (born 1925) was paired with Astaire in the film The Sky's The Limit. The score was written by Johnny Mercer, but not much greatness came out of the movie except for the song "One For My Baby". Astaire did a great job on the song, but it became the unofficial anthem of Frank Sinatra in the 1950s. All dances were choreographed by and credited to Astaire alone, another unusual departure for him, as he generally worked with collaborators. What is not unusual is the selection of dance routines, which is the standard Astaire formula of a comic partnered routine, a romantic partnered routine and a "sock" solo, each of which is seamlessly integrated into the plot. Joan Leslie is one of the most beautiful actresses in the 1940s, but she could sing as well as she could dance. The only good dance numbers were the ones that Astaire did on his own.

Lucille Bremer (1917-1996) was an accomplished dancer under contract to MGM. She was a former Radio City Hall Rockette who had been on Broadway, and after signing with the studio was given a big push. She was Judy Garland’s older sister in Meet Me in St. Louis, then given a starring part opposite Astaire in Yolanda and the Thief, released in 1945. She danced with him again in two sequences for The Ziegfeld Follies (1946). But then, after Til the Clouds Roll By, she seemed to fall out of favor with Mayer and producer Arthur Freed. In later years it was reported that after singer Ginny Simms turned down Louis B. Mayer's advances that he turned to Lucille Bremer who became his secret girlfriend for awhile. When she broke up with him, he basically made sure she would never be a huge star. I never thought she danced well with Astaire. Her best dance scene was with Van Johnson in Til The Clouds Roll By, but then again Bremer looked good dancing next to Johnson. In any event it was deemed that she hadn’t scored with the public. Her career languished. Whether it was the studio’s, or Bremer’s decision, her contract wasn’t renewed. She starred in a few non dancing roles, then retired.

After dancing with Joan Caulfield and Olga San Juan in another Bing Crosby film, Blue Skies (1946) Astaire retired from movies yet again. However, he was a work alcoholic and he was coaxed back to working by MGM and an injured Gene Kelly for Easter Parade (1948) with Judy Garland. Throughout the 1950s Fred Astaire kept dancing with new, younger partners. like Vera-Ellen, Jane Powell, Leslie Caron, Audrey Hepburn, and Cyd Charisse. No matter how big, or small their careers might be the women who danced with Fred Astaire on screen are in a class by themselves...