Main Cast: Fred Astaire, Red Skelton, Vera-Ellen, Arlene Dahl, Keenan Wynn
Release Year: 1950
Country: US
Run Time: 102 minutes
Plot
MGM's Three Little Words is a "twin" musical biopic, covering the lives and careers of songwriters Bert Kalmar and Harry Ruby. Fred Astaire plays Kalmar, a frustrated magician, while Red Skelton is cast as Ruby, a wannabe baseball player. After "meeting cute" during a disastrous vaudeville show, the oil-and-water Bert and Harry become a popular songwriting team, dashing off such favorites as Who's Sorry Now?, Nevertheless, So Long Oo-Long, I Wanna be Loved by You, All Alone Monday and the title song (the film unfortunately skimps on Kalmar and Ruby's Gilbert-and-Sullivan style novelty ditties, with the exception of Hooray for Captain Spaulding, Groucho Marx' signature tune in Animal Crackers). Adhering more to MGM formula than the facts, the script contrives to have Kalmar and Ruby split up over a trivial misunderstanding, only to be reunited by their wives for an "all is forgiven" radio broadcast hosted by bandleader Phil Regan. Vera-Ellen co-stars as Kalmar's vaudevillian wife Jessie Brown, while Arlene Dahl portrays Ruby's movie-star spouse Eileen Percy. Gloria DeHaven is seen as her own mother, Mrs. Carter DeHaven; and Debbie Reynolds plays "boop-a-doop" girl Helen Kane, her singing voice dubbed in by Ms. Kane herself. Though not quite as humorous as the subject matter would seem to dictate (Red Skelton gets his biggest laughs in the scenes wherein he, as Harry Ruby, participates in spring training with his favorite baseball club) Three Little Words is an excellent example of MGM's musical unit at the height of its powers. ~ Hal Erickson, All Movie Guide
Review
No more accurate than other MGM musical biopics, Three Little Words has some interesting elements to it, even if they're not fully exploited. The fact that both Kalmar and Ruby have outside interests other than songwriting -- magic and dancing for the former, baseball for the latter -- is a nice change. (Unfortunately, Kalmar's injury that keeps him from dancing is conveniently forgotten; this allows Fred Astaire to perform as he must, but it damages the "integrity" of the plot.) Also of note is the believable and entertaining verbal sparring and friendly antagonism between the two lead characters, as well as the curious moral question raised (but not appropriately resolved) concerning whether friends should lie to one another to spare their feelings. None of this really matters in the long run, of course; what matters are the numbers, and as long as Astaire and Vera-Ellen are around, the film is in excellent hands. Red Skelton and Arlene Dahl also handle their numbers well, but with less aplomb than their co-stars. The film has a leisurely but somewhat comforting pace; although several numbers make an impression, none are spectacular, but this adds to the overall relaxed atmosphere of the piece. Astaire and Vera-Ellen would team up again in The Belle of New York. ~ Craig Butler, All Movie Guide
Debbie Reynolds - Helen Kane; Gale Robbins - Terry Lordel; Gloria de Haven - Mrs. Carter De Haven; Phil Regan - Himself; Harry Shannon - Clanahan; Paul Harvey - Al Masters; Carleton Carpenter - Dan Healy; Douglas Carter - Stagehand; Anita Ellis - Singing Voice of Vera-Ellen; Elzie Emanuel - Black Boy; Pat Flaherty - Coach; Alex Gerry - Marty Collister; Billy Gray - Boy; Sherry Hall - Pianist; Helen Kane - Singing Voice of Debbie Reynolds; Phyllis Kennedy - Mother; Donald Kerr - Stage Manager; George Magrill - Piano Mover; Mickey Martin - Callboy; Beverly Michaels - Shipboard Woman; Fred Millican - Baseball Player; Fred Santley - Juice Vendor; Sid Saylor - Barker; George Sherwood - Director; Charles Wagenheim - Johnny; Pierre Watkin - Philip Goodman; Harry Barris - Pianist; Harry Ruby - Baseball Player; William Tannen - Photographer; Sig Frohlich - Messenger; Pat Williams - Assistant; Harry Cody - Prop Man; Bert Davidson - Photographer; Tony Taylor - Kid; John R. McKee - Baseball Player; Harry B. Mendoza - Mendoza the Great
Credit
Cedric Gibbons - Art Director, Urie McCleary - Art Director, Fred Astaire - Choreography, Hermes Pan - Choreography, Helen Rose - Costume Designer, Richard Thorpe - Director, Ben Lewis - Editor, Bert Kalmar - Composer (Music Score), Andre Previn - Composer (Music Score), Harry Ruby - Composer (Music Score), Andre Previn - Musical Direction/Supervision, Harry Jackson - Cinematographer, Jack Cummings - Producer, Edwin B. Willis - Set Designer, Warren Newcombe - Special Effects, George Wells - Screenwriter
This warm and engaging[1] film was one of Astaire's favourites, [2] possibly because of the nostalgic vaudeville connection. As Hollywood film biographies of the period go, it takes fewer liberties with the facts than usual, and Astaire and Skelton's onscreen portrayal of the partnership is considered psychologically accurate,[1] and is complemented by a mutual chemistry, some quality acting by both, and some fine comedy touches by Skelton.[2] Unusually for Hollywood songwriting biographies of this period, two of the songs, "Thinking Of You" and "Nevertheless" became major hits on the film's release, reaching first and second place respectively, in the U.S. charts.
This film provides an object lesson in how to integrate the many songs and dances seamlessly and naturally into the script - a principle first introduced into the Hollywood musical by Astaire as far back as 1934. Hermes Pan collaborated with Astaire on the choreography which takes the opportunity provided by Vera-Ellen's technical prowess[2] to showcase dance routines notable[1] for leg kicks, lifts and - Hermes Pan's innovative combination of the two - the hurdling lift, first invented for "The Yam" number in Carefree (1938). These routines are contrasted with some choreographically primitive numbers typical of vaudeville c. 1920. The spirit of the partnered dances expands on the theme of marital contentment previously explored in The Story of Vernon and Irene Castle (1939) and the prior year's The Barkleys of Broadway (1949). As usual, Vera-Ellen is dubbed[1] by Anita Ellis.
"Where Did You Get That Girl?": Astaire and Vera-Ellen, dressed in top hat, white tie and tails, impersonate the vaudeville partnership of Kalmar and Brown with this genial song and dance duet set c.1919. Fred and Adele Astaire had greatly admired this partnership: "We used to stand in the wings and watch Jessie and Bert with thrilled envy, wondering if we could equal their finesse and reach their headline billing".[2] The routine is very straightforward, and when contrasted with the creations of Astaire, Gene Kelly and others, illustrates the profound evolution popular dance had undergone in the intervening period. Incidentally Ruby, working as a song plugger,[1] had once played tunes for the Astaire siblings.
"Mr. And Mrs. Hoofer At Home": A hectic and high-kicking comic dance duet for Astaire and Vera-Ellen - choreographed by Hermes Pan and featuring the hurdling lift - which is set in a suburban family living room and portrays[1] the various challenges of contented domesticity. The routine, which, in contrast to the previous one, is thoroughly modern[1] in conception, is nonetheless shown performed at the Keith's Theatre (which later became the K in RKO) in Washington, D.C. in the presence of President Woodrow Wilson, a noted vaudeville fan.
"My Sunny Tennessee": Astaire and Skelton deliver a sparkling[1] version of this 1921 hit.
"So Long, OO-Long": Kalmar and Ruby's 1920 oriental-themed ditty receives another exemplary performance[1] from Astaire and Skelton.
"Who's Sorry Now?": Languorous, syrupy and therefore inauthentic[1] rendition by Gloria DeHaven of this 1923 Kalmar and Ruby standard.
"Test Solo": Danced by Astaire, initially to a spare piano accompaniment by Andre Previn and then to the music of "Where Did You Get That Girl?". This was his fifth tap and cane solo, the first being "Top Hat, White Tie and Tails" from Top Hat (1935), followed by "I Can't Be Bothered Now" from A Damsel in Distress (1937), the "Audition Dance" from You Were Never Lovelier (1942), and "Puttin' On The Ritz" from Blue Skies (1946), - all remarkably dissimilar in execution. In the beginning of the solo, Astaire places his hat on top of a light stand and then waves to it. One year later, in "Sunday Jumps" from Royal Wedding (1951) he would take a clotheshorse into his arms and dance with it.
"Come On, Papa": Another high-kicking song and dance routine, this time for Vera-Ellen and chorus of sailors, to a 1918 song by Ruby and Edgar Leslie.
"Nevertheless (I'm in Love with You)": Kalmar and Ruby's endearing 1931 song is performed on stage by Astaire and Vera-Ellen to Skelton's piano accompaniment. The romantic partnered routine which follows is straightforwardly elegant.[1]
"All Alone Monday": Gale Robbins delivers a sensitive[1] performance of Kalmar and Ruby's 1926 ballad.
Vera-Ellen with Fred Astaire in "Thinking of You"
"I Wanna Be Loved by You": Debbie Reynolds, in one of her earliest film appearances, performs this 1928 number with Carleton Carpenter, with Reynolds dubbed by the original boop-boop-a-doop girl Helen Kane (uncredited).
"Thinking Of You": One of the dance highlights[2] of the film is this romantic partnered routine for Astaire and Vera-Ellen, which follows the latter's mimed and overly slow[1] performance of this 1927 standard. The dance begins quietly and affectionately in a lounge area, and gradually builds becoming progressively more extrovert until the music changes into a rumba - the Latin dance of love - and Astaire embarks on a further exploration of the possibilities of blending Latin and ballroom dance styles, which he had first been inspired to undertake during his celebrated partnership with Rita Hayworth. After this departure - which illustrates the passion than can continue to flourish long after the married nuptials - the dance subsides into a tender coda, recalling its opening mood.
"I Love You So Much": Arlene Dahl, accompanied by a chorus of top-hatted men, sings and dances her way through this number originally written[1] for the 1930 film version of The Ramblers (later retitled The Cuckoos).
"Medley (incl. Three Little Words)": In this closing scene, Astaire and Skelton perform a medley of most of the songs featured in the film, ending with "Three Little Words" - Kalmar having finally found a suitable lyric for Ruby's melody, a running gag throughout most of the film.
Contemporary reviews
New York Times, August 10, 1950: "There is a special quality about the new picture...which deserves immediate mention in detail. That is the polished performance of Fred Astaire as Bert Kalmar... Mr. Astaire has been wearing out thin-soled dancing shoes at a great pace over the years while most of us have grown a little heavier and somewhat slower of foot. But, he hasn't changed. Still lithe in appearance, Mr. Astaire has drawn rich dividends from time and is dancing in peak form...In talking of the fine dancing contributed by Mr. Astaire we forgot to mention how engagingly they carry off the romantic interest and bust into song when the script demands it."[3]
Variety, July 12, 1950: Stal.:"For Astaire, it's unquestionably his best picture in sometime. His terping, as always, is tops, his singing is adequate and his characterisation of Kalmar, while never deeply-etched, does full justice to the late songwriter's many talents...Vera-Ellen, with this picture, becomes the undisputed premiere danseuse of the screen. She matches Astaire tap for tap...and looks to be the best partner he's ever had."[3]
Notes
^ abcdefghijklmnMueller, John (1986). Astaire Dancing - The Musical Films. London: Hamish Hamilton. pp. 300–311. ISBN0-241-11749-6.
^ abcdeAstaire, Fred (1959). Steps in Time. London: Heinemann. p. 296.
^ abBillman, Larry (1997). Fred Astaire - A Bio-bibliography. Connecticut: Greenwood Press. pp. 127–130. ISBN0-313-29010-5.
Rough Ridin' (with John P. McCarthy) •Rarin' to Go •Battling Buddy •Fast and Fearless •Hard Hittin' Hamilton •Rip Roarin' Roberts •Bringin' Home the Bacon •Thundering Romance •Gold and Grit •Full Speed •Fast Fightin' •On the Go •Double Action Daniels •Quicker 'n Lightnin' •Tearin' Loose •The Desert Demon •Saddle Cyclone •Galloping On •A Streak of Luck •The Last Card •The Roaring Rider •Trumpin' Trouble •The Fighting Cheat •Coming an' Going •The Twin Triggers •Deuce High •Easy Going •Rawhide •Speedy Spurs •Double Daring •The Dangerous Dub •Twisted Triggers •The Bonanza Buckaroo •College Days •Josselyn's Wife •The Bandit Buster •The First Night •The Cyclone Cowboy •Between Dangers •The Galloping Gobs •Tearin' Into Trouble •The Ridin' Rowdy •The Meddlin' Stranger •Pals in Peril •Skedaddle Gold •White Pebbles •The Interferin' Gent •The Soda Water Cowboy •Ride 'em High •The Obligin' Buckaroo •Roarin' Broncs •The Desert of the Lost •The Ballyhoo Buster •Desperate Courage •The Cowboy Cavalier •The Valley of Hunted Men •Saddle Mates •Flyin' Buckaroo •The Bachelor Girl •Border Romance
1930s
The Dude Wrangler •Wings of Adventures •The Thoroughbred •Under Montana Skies •The Utah Kid •The Lawless Woman •The Sky Spider •The Lady from Nowhere •Wild Horse •Grief Street •Neck and Neck •Forgotten Women •The Devil Plays •Cross Examination •Murder at Dawn •Probation •Escapade •The Midnight Lady •Forbidden Company •Beauty Parlor •Thrill of Youth •The King Murder •Slightly Married •Women Won't Tell •Secrets of Wu Sin •Forgotten •Love Is Dangerous •I Have Lived •Strange People •Notorious But Nice •A Man of Sentiment •Murder on the Campus •Rainbow Over Broadway •The Quitter •Stolen Sweets •City Park •Green Eyes •Cheating Cheaters •Secret of the Chateau •Strange Wives •Last of the Pagans •The Voice of Bugle Ann •Tarzan Escapes •Dangerous Number •Night Must Fall •Double Wedding •Man-Proof •Love Is a Headache •The First Hundred Years •The Toy Wife •The Crowd Roars •Three Loves Has Nancy •The Adventures of Huckleberry Finn •Tarzan Finds a Son!
.jpg)
