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Monday, December 19, 2011

TONIGHT AND EVERY NIGHT (1945)

A smidgen of truth lurks behind this splashy Rita Hayworth WWII musical: there was a Windmill Theatre in London and it did manage to stay open during the ‘blitz;’ the rest is pure Hollywood. And that’s okay because the tasty package holds up surprisingly well, easily besting the better known Betty Grable competition over @ 20th/Fox. Mastered from a lip-smacking TechniColor print, Hayworth gets strong support from producer/director Victor Saville & from Rudolph Maté, who lensed most of Hayworth’s iconic pics. The opening two reels are particularly fluid, with angles, rhythm & a palette that’s more Powell/Pressburger than Harry Cohn/Columbia. Then the plot, such as it is, shows up in the form of Lee Bowman, an RAF pilot who can’t ‘land’ Rita until he’s sent into action. There’s a lot more chemistry in the secondary storyline with near-sighted dancer Marc Platt who settles for Janet Blair after being rejected by both the military board and by Rita. (Born Marcel Emil LePlat, he’s a Ballets Russe vet fresh off OKLAHOMA! on B’way where he doubled for ‘Curly’ in the Agnes de Mille dream ballet. And, man, can he dance!  LINK: Start at the 8" mark:  https://www.youtube.com/watch?v=3x4Z4uLQvtI)  No doubt, the film would be better known if the perfectly pleasant Jule Styne/Sammy Cahn score were stronger. But, with the exception of a dud comic specialty number, and a whacky green-trimmed horror that Blair wears on stage, this is a snazzy package that earns its teary wrap-up.

SCREWY THOUGHT OF THE DAY: Jack Cole, the film’s unsung (and uncredited) choreographer, is usually remembered as a sort of proto-Bob Fosse. But he’s a Fosse with a lot more range (and steps!) and none of the self-loathing. Both of which make him, alas, the less interesting artist.

DOUBLE-BILL: Judi Dench & Bob Hoskins brought us something closer to the real Windmill Theatre Story in MRS. HENDERSON PRESENTS/’05.

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