(On Cable TV, May 2019) Here’s what you need to know about Hollywood Canteen: During WW2, Hollywood celebrities got together and paid for a club in Los Angeles exclusively reserved for servicemen on leave where they could get free drinks and meals. Adding to the appeal, glamorous movie stars donated their time by actually bartending and waitressing for patrons of the place. This is all true—although accounts of the place usually underplay the considerable Pro-Hollywood publicity value in this arrangement. Further adding to the mystique is this film, not a great one but a fascinating time capsule of propagandist wish fulfillment that shows WW2 soldiers enjoying a few days in Los Angeles and spending time at the Hollywood Canteen where they get a chance to rub shoulders with movie stars. (Lost to twenty-first century audiences is the idea that when this film was shown to servicemen overseas, they could have been these guys.) The film itself, once past the bare-bones setup, is a series of performances by Hollywood then-stars at the Canteen, effectively turning the film is a series of variety show sketches while the film’s protagonists kiss Hollywood starlets, empty sandwich trays or watch the acts with mouth agape. If some scenes make you somewhat queasy at the way the actresses are offered to soldiers for kisses, then you do have a good grasp at the hierarchy of values presented here, elevating the fighting soldier on a special pedestal. Hollywood Canteen remains both a wartime propaganda film, and a revue of who was who in Hollywood at the time—some of them featured in the movie, others referenced through dialogue. Many of the jokes are obscure now that the stars are gone—Jack Benny gets a laugh from the characters just by showing up, for instance, leaving twenty-first century audiences puzzled for a few moments. It’s fun to see some Hollywood stars in a far more relaxed environment, though—especially Bette Davis in a more comic role. The Canteen acts as a pretext, as the characters have adventures around town, our protagonist gets to romance a movie star and we tour the Warner Bros studios of the time. It’s actually quite a fun movie even with the propaganda material … but it works far better as a reminder of a bygone era.
(Second viewing, On Cable TV, February 2021) I first saw Hollywood Canteen barely two years ago, but since I’ve spent much of the intervening time deepening my knowledge of classic Hollywood, revisiting it felt like a different experience. This is true of most films if you’re interested in the vast meta-narrative of Hollywood, but it’s particularly relevant in discussing Hollywood Canteen, as it’s a film that relies a lot on celebrity cameos for effect. The plot of the film remains the same from a first viewing to a second: it’s a fictionalized homage to the real “Hollywood Canteen” that, during WW2, offered free meals, refreshments and entertainment to servicemen on leave in the Los Angeles area. Thanks to the effort of notables such as Bette Davis, Hollywood studios pooled their resources and stars for the upkeep of the place, and it wasn’t rare to see a screen legend serving tables at the Canteen. The result was a propaganda victory for Hollywood, and fuel for fantasies involving soldiers and starlets. Alas, this aspect makes it intact in the film, as there’s a truly uncomfortable amount of time and attention lavished on named stars granting kisses and weekend getaways to the film’s fictional soldier characters, each of them over the moon to get some personal attention from their screen favourites. The film is at its worst when focusing on Joan Leslie playing “Joan Leslie,” an object of lust for many but luckily snagged by our protagonist as the millionth G.I. to enter the Canteen. Blech. But plot is the least of Hollywood Canteen’s worries when there’s a stream of musical numbers and comic cameos to act as a revue musical. That’s when a second viewing comes in: Cameos can be more mystifying than satisfying if you’re not familiar with the actors making a winking walk-on appearance, but they pay off the more you’re familiar with the comic point being made. 1944 audiences had no trouble catching the various jokes, allusions and parodies in Hollywood Canteen, but modern audiences will be tested on their knowledge of early-1940s pop culture — and specifically the Warner Brothers roster of stars. Having brushed up on my classic Hollywood in two years, I now knew who was Joe E. Brown and now could appreciate the donut gag as intended. The more you know about the character actors at the time, the more you can appreciate the bit with S. Z. Sakall and his cheeks, or Sydney Greenstreet hamming it up menacingly with Peter Lorre. My growing appreciation of Ida Lupino went up with every word of French she spoke (a gag made even funnier by Victor Francen’s follow-up), and so did my slow-burn liking of Bette Davis as she came onstage to explain the genesis of the Canteen. I’m not as up to speed when it comes to musical stars, but even I could appreciate the Andrew Sisters, Roy Rogers and his horse Trigger, the rather funny “You Can Always Tell a Yank” (which eerily sounds like a Disney song for reasons I can’t quite figure out), duelling violins and the background music by Jimmy Dorsey and his orchestra. Even the second time around, I maintain that Hollywood Canteen is somewhat distasteful as a narrative, but I grew much fonder of the remaining three-quarter of the film, as a comic musical revue.
