Themes: Musician's Life, Alcoholism, Rise and Fall Stories
Main Cast: Ann Blyth, Paul Newman, Richard Carlson, Gene Evans, Alan King
Release Year: 1957
Country: US
Run Time: 118 minutes
Plot
Ann Blyth plays famed "torch singer" Helen Morgan, from her humble beginnings as a carnival dancer to the height of her nightclub fame in the 1920s. Helen spends most of her spare time anguishing over the on-and-off affections of her boorish boyfriend (Paul Newman), who had discovered Helen during her carnival days and promoted her to stardom. By 1927, Helen is headlining in her own nightclub, with further fame and fortune greeting her when she is cast as Julie in the blockbusting Broadway hit Show Boat. But when she realizes that her erstwhile boyfriend has been using her as a "meal ticket", Helen turns to drink. Losing her fortune to Revenue agents and the Stock Market crash of 1929, Helen hits rock bottom, ending up in the Bellevue alcoholic ward. Her boyfriend suddenly has a change of heart and declares his love for Helen, arranging for a lavish testimonial in her honor, hosted by Walter Winchell. The film ends at this point, suggesting that Helen Morgan is on the road to lasting success and happiness (tragically not the case in real life). For reasons unknown, Ann Blyth, an excellent singer in her own right, was dubbed in The Helen Morgan Story by songstress Gogi Grant. ~ Hal Erickson, All Movie Guide
Review
No more faithful to facts than other Hollywood biopics of entertainers, The Helen Morgan Story piles up a lot of clichés as it tells its rise-fall-rise story, adding in a standard tortured romance along the way. (The real story of Helen Morgan has plenty of drama and soap opera itself and would probably have made for a more compelling film.) Still, Morgan works as a showcase for a number of great standards, as well as for director Michael Curtiz' atmospheric recreations of honkytonks, nightclubs, and the backstage life. There's also some nifty period dialogue, as well as some interesting "is she or isn't she?" allusions regarding the sexual preferences of some of the characters. In the title role, Ann Blyth is appropriately sympathetic and handles her numbers (to Gogi Grant's voice) well, but she has a difficult time with the scenes in which we see the alcohol affecting her. Paul Newman gives a strong and assured performance, and he makes an unsympathetic character fairly likeable -- which goes a long way to explaining why Blyth stays attached to him. In a supporting role, Alan King makes a definite impression and helps to make up for the rather colorless performance of Richard Carlson. If Morgan is not the picture that its subject deserved, it still provides a good deal of entertainment. ~ Craig Butler, All Movie Guide
Morgan begins her career as a Chicago carnival dancer and catches the eye of fast-talking, double-dealing Larry Maddux, whose promotion catapults her to fame as a Broadway performer in Show Boat and a headliner in her own nightclub. She anguishes over her romantic relationships with both him and Russell Wade, a wealthy, married attorney. When she realizes the caddish Maddux merely has been using her to support the upscale lifestyle he has come to enjoy, she turns to drink. She loses the bulk of her money to the Bureau of Internal Revenue and the Wall Street Crash of 1929, hits rock bottom, and is hospitalized in the alcoholic ward in Bellevue. Maddux has a change of heart and arranges a gala testimonial dinner, hosted by Walter Winchell and Florenz Ziegfeld, in her honor. The film's ending suggests this was Morgan's first step on the road to recovery, success, and happiness, which was not the case in real life.
Production notes
In 1950, Boxoffice announced Warner Bros. was planning to release a musical biography with Doris Day as Helen Morgan. This is one of the few studio projects Day refused to make, citing she did not want to portray the sordid aspects of Morgan's life, which were in direct contrast to Day's wholesome screen image.[1][2]
In his review in the New York Times, A.H. Weiler called the film "as uplifting as soap opera" and added, "The indestructible tunes and the producers' fairly honest approach to the sleaziness of the speakeasy era should generate genuine nostalgia, but Miss Morgan's career, on film, appears to be uninspired, familiar fare . . . It's all about as heart-warming as an electric pad. Ann Blyth . . . desperately attempts to capture the essentially moving qualities of the performer . . . [she] is fragile, sweet and timorous in the role, but she cannot manage to project the idea that she is swaying audiences either by singing or emotional force." [3]
Variety called it "little more than a tuneful soap opera" and added, "The story line sometimes strains credulity and the dialogue situations occasionally give the production a cornball flavor . . . Director Michael Curtiz has done a good job with the material at hand, injecting a pacing and bits of business that help maintain interest, and the production gets added benefit from a series of hit tunes of the era . . . Blyth turns in a sympathetic but not always convincing performance. Newman is very good as the rackets guy, giving the part authority and credibility." [4]
TV Guide says, "Helen Morgan was the greatest torch singer, a petite brunette who sat atop pianos plaintively warbling sad songs about the men who mistreated her. More a profile of those songs than a detailed exposition of her life, this film offers only a slice of a fabulous and unforgettable career . . . most of the wobbly plot is fictional, which is unfortunate since Morgan's true story was much more spectacular and, had it been followed, would have provided a finer film." [5]
References
^ Pryor, Thomas M. "STUDIO PLANS FILM ON HELEN MORGAN; Warners Lists Life of Singer for March 15--No Star Is Named for Title Role", The New York Times, February 23, 1956. Accessed January 12, 2007.
