George M. Cohan

  • Little Nellie Kelly (1940)

    Little Nellie Kelly (1940)

    (On Cable TV, March 2021) While Little Nellie Kelly isn’t much of a film on its own terms, it becomes more interesting in context. It’s one of the early films from MGM’s famed “Freed Unit” that eventually led to some of the best musicals in Hollywood history — and you can hear here a version of “Singin’ in the Rain” sung by none other than a youthful Judy Garland. Garland herself plays an Irish young woman who emigrates to America to follow her husband, but dies along the way — and Garland then returns to play her first character’s daughter. Filled to the brim with Irish idioms (is there anything more Hollywoodish than an Irish beat cop?), it’s adapted from an even older 1922 George M. Cohan Broadway play. As such, it’s not exactly a story told in subtleties — what with killing off a character and time-skipping ahead to her daughter, it’s generous with the “American Immigrant Experience,” the power of love over all other things, and (obviously) some song-and-dance to make everything go down easier. Garland here transitions from youth roles to more adult ones (though she would slip back with Meet Me in Saint-Louis), even if the 18-year-old actress was already acting ten years older with her ruinous lifestyle. Still, little of that was reflected on-screen as she played the role of an innocent felled by tragedy, and then an offspring trying to succeed despite obstacles — she’s young and pretty and lively. Considering this, you can see why Little Nellie Kelly is far more interesting as an early prototype of other, better movies.

  • Yankee Doodle Dandy (1942)

    Yankee Doodle Dandy (1942)

    (On Cable TV, December 2017) I really wasn’t expecting much from Yankee Doodle Dandy other than checking off a list of classic movies I should see, so imagine my surprise when I started to be honestly engaged in the film. Initially drawn in by the time-capsule aspect of the film (as a 1942 framing device leads us to late 1800s vaudeville, and then the birth of Hollywood musicals), I really started enjoying myself in-between the honestly funny comic routines inspired by state work and the birth of American musical movies. Academy Award-winner James Cagney (looking like a young Anthony Hopkins?) shows some serious skills in giving life to actor/composer/dancer George M. Cohan through some sixty-some years. By the time the film ends, we’ve been given front-row seats to a highly dramatized depiction of the evolution of American entertainment from theatre to movies, as well as a full biography ending with a striking piece of palatable pro-American patriotism both in topic matter and presentation. The re-creation of lavish stage spectacles is striking, many of the tunes are toe-tapping good and the film remains sporadically very funny even now. Add to that some directorial flourishes from Michael Curtiz (most notably a sequence charting the evolution of Cohan’s Broadway shows) and you’ve got the makings of an unexpected great movie that has appreciated in the seventy-five years since its release. I’ve been watching more older movies lately, and Yankee Doodle Dandy is the kind of happy discovery that will keep me going deeper into the archives.