GREATEST SCORES OF THE TWENTIETH CENTURYOriginal Review by Craig Lysy
Columbia Pictures wanted to showcase their star Rita Hayworth, the most popular pinup girl for American soldiers in WWII, and chose a musical romantic comedy to be adapted from the story “Cover Girl” by Erwin Gelsey. Arthur Schwartz was assigned production, Charles Vidor was tasked with directing, and Virginia Van Upp was hired to write the screenplay. Gene Kelly was on loan from MGM and was given creative control and would also manage choreography. Rita Hayworth would star as Rusty Parker. Joining her would be Gene Kelly as Danny McGuire, Lee Bowman as Noel Wheaton, Phil Silvers as Genius, and Jim Falkenburg as Jinx Faulkenberg.
The story follows Rusty, a beautiful chorus girl who stars at a nightclub run by her boyfriend Danny. Spurred by fellow showgirl Maurine, she enters a cover girl contest for Vanity magazine. Maurine and Rusty both fail to win the contest, but Maurine catches the eye of the magazine’s editor John Coudair. John visits the nightclub and is drawn to Rusty, who reminds him of Maribelle Hicks, a showgirl and Rusty’s grandmother, with whom he fell in love with 40 years ago. John brings in impresario Noel Wheaton to see Rusty perform. Noel is impressed by her talent and beauty and offers her a starring role in his upcoming Broadway musical. Danny loves Rusty, but does not want to stand in her way. He purposely precipitates an argument to make it easier for her to leave, and she does, going on to become a star. She becomes engaged to Noel, yet decides that Danny is the man she really loves and so reunites with him. The film was a huge commercial success and critical reception was very favorable, with universal praise for the songs and Kelly’s choreographed dance numbers. The film received five Academy Award nominations, including; Best Cinematography, Best Art Direction, Best Sound Recording, Best Original Song, and winning one for Best Score for a Musical.
Morris Stoloff was Director of Music at Columbia Pictures and decided to personally oversee scoring duties. For the musical numbers, he brought in the renowned Broadway composer Jerome Kern and lyricist Ira Gershwin for their first collaboration. Nine musical numbers would be used in the film, joined with Kelly’s choreography. Rita Hayworth’s singing voice was dubbed by Martha Mears. Stoloff understood that Kelly’s choreographed musical dance numbers would showcase the film and that his task was to support the intervening scenes with music that would unify the film’s musical narrative.
I believe Stoloff understood that at its core, the film was a romance between Danny and Rusty. He would need to support his musically and he chose to use the song melody of romantic ballad “Long Ago and Far Away” as a leitmotif for Rusty, and by extension, a Love Theme for her and Danny. As for the nine musical-dance numbers, the following were provided; “The Show Must Go On”, “Who’s Complaining?”, “Sure Thing”, “Make Way For Tomorrow”, “Put Me to the Test”, “Long Ago and Far Away”, “Poor John!” by Fred W. Leigh Henry E. Pether, “Alter Ego”, and “Cover Girl”, Lastly, for the bridal scenes, Stoloff interpolated the “Bridal Chorus” from the 1850 opera Lohengrin by German composer Richard Wagner.
“Main Title” opens with the Columbia Pictures logo supported by a jubilant fanfare declaration of the “Make Way For Tomorrow” song melody. At 0:12 the roll of the opening credits commences and we flow into “Long Ago and Far Away”, the Love Theme rendered as a happy and optimistic romance for strings. At 01:18 We segue into the film proper with the vibrant and sunny musical and dance number, “The Show Must Go On!”, which features Rita Hayworth. We see the playful, sassy with the flirtatious Rusty and her supporting troupe of seven beautiful gals working their feminine charms.
03:48 “Danny is Unhappy” reveals the club owner telling the girls that the act is too ragged and that practice will start an hour earlier tomorrow at 9 am, which elicits dancer Maureen’s ire. Stoloff supports with the upbeat energy of “The Show Must Go On”. In the dressing room Maureen declares her intention to become a ‘Cover Girl’ by winning Vanity’s ‘Golden Wedding Girl’ contest tomorrow. 05:41 “Vanity’s Golden Wedding Girl” reveals Rusty eyeing the Vanity contest billboard supported by her theme. The music sours at 5:56 as she sees eight other gals sitting in the waiting room. She registers at the front desk and the melody continues to flow with sour interludes as more and more girls arrive. Maureen’s interview with Cornelia Jackson does not quite fit the demur girl they are looking for. As the next gal is interviewed the spiteful Maureen deliberately gives Rusty bad advice on how to behave that is exactly opposite of what Cornelia is looking for; to be animated. Twinkling gentility takes her into the office where she offers over the top animated chit chat, which puts Cornelia off, who usher her out. Later she presents Mr. Coudair with Maureen’s photo, who she says is the best of the lot. He agrees to see her live where she performs in Brooklyn.
14:00 “Rusty’s Disappointment” reveals her sad because of her rejection at the interview. Danny compliments her talent and encourages her to press forward. Stoloff supports with their tender Love Theme as they share a tender kiss. Genius however interrupts the intimate moment causing Rusty to head off to the dressing room. 15:40 “Who’s Complaining?” offers a playful and happy-go-lucky musical number performed by Phil Silvers, Rita Hayworth, Leslie Brooks and Chorus. We close with the song melody instrumentally as Genius says goodbye to each of the four gals. Afterward Coudair asks that Cornelia bring in the red head to see him, much to her surprise.
19:34 “40 Years Ago…” reveals Cornelia back at Coudair’s office ragging that she picked the redhead against her better judgement. He pulls out a program from 40 years ago and when she opens it, she is stunned, as the star is a spitting image of Rusty. Stoloff supports with twinkling effervescence and wistful strings, which support a flashback to that magical night 40 years earlier. A romance for strings unfolds as he relates falling in love with her that night. 20:27 “Sure Thing” We see Rita Hayworth (dubbed by Martha Mears) as Rusty’s grandmother Maribelle and Chorus perform the tender, romantic ballad “Sure Thing”. At 23:23 the song shifts to instrumental rendering as a danza felice as Maribelle and six other couples dance on stage. After a conclusion by harp glissandi, the song continues with Maribelle and men’s chorus supported by a line dance of women.
The curtain closes and we conclude with a horn declared flourish. Afterwards John is determined to meet and marry Maribelle even though theatre owner Tony Pastor says she is already taken by the piano player. Stoloff supports with an instrumental rendering of “Sure Thing”. At her dressing room door, he knocks, and then uses his charisma and sunny confidence to sweep Maribelle off her feet as he takes to high end Rector’s restaurant. In a return to the present, John’s tale is interrupted by a phone call.
27:08 “Oyster Bar” offers a vivacious, infectiously happy, and totally enjoyable singing and dance number! It reveals Danny, Rusty and Genius reprising their usual Friday night ritual of visiting the oyster bar at a local seafood restaurant and hoping to find a rare and elusive pearl. A soft non-descript piano tune plays under the dialogue. They again suffer disappointment yet at Joe’s order, the piano player launches into the boisterous, and unbridled confidence of the song “Make Way For Tomorrow” performed by Gene Kelly, Rita Hayworth (dubbed by Martha Mears) and Phil Silvers.
They pause as a policeman arrives, sheepishly move off, but once around the corner they resume with and unbridled danza felice supported by an instrumental rendering of the song. At 30:14 the song changes form, assuming an American Indian drum propelled iteration. But then it returns to its original form, as a milkman joins them in tap dancing. At 31:00 interludes of musical wobbling are heard as a drunk stumbles in and tries to join the dance. The kinetic dance number comes to a rousing close, earning the applause of the drunkard. We close with silly woodwinds comici as the three bolt indoors as the policeman returns.
31:49 “Telegram” opens with spritely strings with harp adornment as Rusty picks up a Western Union Telegram laying outside her door. She informs the guys that it is from John Cudair inviting her to his office tomorrow. This causes a palpable strain to emerge as Genius frets that he doesn’t want the act to break up. Genius convinces her to stay, tears up the telegram, and at 33:37 strings tristi full of disappointment join after Genius’ departure as Rusty and Danny join in a kissing embrace. He joins Genius in the apartment and reproaches him for not letting Rusty manage her own life, and tear up the letter. Genius goes to the hallway to pick up the mess and strings tristi join as he finds Rusty instead collecting the shreds. In an unscored scene, Rusty arrives the next morning for her appointment with Cudair and Cornelia. His probing question reveals that her grandmother, Mirabelle Hicks was a performer, which explains the resemblance. He hires her as a cover girl and takes her arm.
37:36 “Preparations Montage” reveals a montage of Rusty getting a full round of beauty treatments as she prepares for her Cover Girl shoot. We open with spritely interpolation of Wagner’s Bridal Chorus, which usher in a vibrant musical narrative abounding with happiness as we see Rusty being transformed, outfitted and prepared for her shoot. At 39:10 the spritely music shifts gears becoming more cadenced as we shift to magazines with her on the cover being distributed and quickly bought up by adoring shoppers. Back at the club Maureen pins a cover of Rusty on the board, which Genius unsuccessfully tries to hide from Danny. Strings animato carry him to the stage as a pensive Danny remains back stage looking at the cover. At 40:54 a playful Rusty joins Danny carried by her theme, which offers an extended romantic rendering as she reaffirms her affection for him. At 41:51 a chorus girl answers the phone “Sure, I’ll marry you. Who is this?” supported by a playful, comic interlude. 42:02 “Newspaper Montage” reveals a montage of newspaper articles including the Theater Gossip and Broadway Tattler sections of the newspapers, where Rusty is lauded and readers are told that you can catch the red headed bombshell nightly in Brooklyn at Danny McGuires. A spritely and energetic musical narrative propelled by strings animato supports the montage.
At 42:59 “Put Me To The Test” offers an amazing cinematic confluence of music and dance. A prelude of playful woodwinds animato support Cudair and Cornelia taking a seat at Danny’s. On stage bubbling woodwinds of delight and prancing strings animato open the act as we see seven beautifully gowned women and Danny. After the other gals depart, Dany picks up Rusty’s handkerchief and begins his serenade “Put Me to the Test”, which offers a vibrant romantic ballad, and testament of love. At 44:46 he finds a green gowned dress mannequin, which he prepares with perfume, and begins a dance serenade marked by three horn declarations as he places his hands over his heart. At 45:08 he grabs the mannequin and begins a danza felice. While his back is turned, Rusty replaces the Mannequin with herself as Danny begins spirited dancing at 45:21 with big band energy. When he returns, he is surprised, mirrored in the music, recovers, and the two begin spirited virtuoso dancing to the now high-octane big band driven song melody, which concludes with a flourish as the end with a kissing embrace. In an unscored scene impresario Noel Wheaton attempts to hire Rusty, which roils Danny, however to his surprise, Rusty rebuffs him.
51:07 “Long Ago and Far Away” offers a beautiful romantic score highlight. It reveals Genius playing Rusty’s Theme on piano as Danny changes a chandelier’s light bulbs. Unaware to Danny, Rusty joins wearing a teal southern belle gown as he frets that tonight he lost Rusty. She declares her presence and in a testament of her love sings the heartfelt romantic ballad, which is performed by Gene Kelly and Rita Hayworth (dubbed by Martha Mears).
They join in a loving embrace empowered by a crescendo romantico. From this arises the song rendered as a danza romantico, which supports them dancing together. We conclude tenderly with them walking arm in arm off stage. In several unscored scenes Danny’s club is inundated with roses sent by Noel to woo Rusty. Back at John’s, Noel complains to him and Cornelia to help him procure Rusty for his Broadway theater. John agrees to assist and we return to the club where we see Genius, Danny and Rusty sneaking out the back door. Danny and Rusty quarrel over her wanting to leave after performing in the first show to attend the Vanity 50th anniversary party. Danny however is flippant, and so she repeats that she is leaving after the first show and storms off in a huff. Later that night the girls inform Danny that Rusty has left as they take the stage. Genius informs Danny that he too is invited to the party and persuades him to attend, and bring Rusty home. Danny arrives at the Coudair estate and is received by John, who informs him that there is no party as plans changed. When he inquires about Rusty, John deflects and says he really does not know. We shift to a limousine where Rusty asks Noel why they are not driving to Mr. Coudair’s house? He says he first needs to stop by his theater and asks that she help him out. Back at Coudair’s they argue over what they believe is best for Rusty
In 1:03:52 “Mirabelle’s Portrait” as the two continue their argument, Danny turns and spots a portrait of Mirabelle, which he mistakes for Rusty on the wall. Her plaintive theme supports as Danny is surprised when John relates that it is a portrait of Maribelle, Rusty’s grandmother with whom he was deeply in love. The music sweetens as John speaks of his love for her, adding that like Tony Pastors where Mirabelle performed, Danny McGuire’s is also the wrong background for Rusty. He then relates that his mother did not support his marriage to a stage girl. He asks if Danny ever heard of a song called “Poor John”, adding before he could answer that the song was adopted by Maribelle to punish him for acquiescing to his mother’s wishes. At 1:05:11 “Poor John”, a flashback, takes us back to a Mirabelle performance. The curtain opens and Mirabelle sings the song, performed by Rita Hayworth (dubbed by Martha Mears) and chorus. The song offers very unflattering, and mocking lyrics of rejection, replete with both musical and performance exaggeration. At 1:07:02 a chorus of four men join on stage and they repeat the stanza. Following this, the line dancers tap dance to the song’s melody, and repeat singing the last stanza, concluding with the men carrying her off stage. John could not bear to suffer the performance, leaves midway, and waits for Mirabelle in her dressing room. They argue with her expressing thanks that his mother reminded her exactly where she belongs. At 1:09:44 her beau, the piano player begins a romantic piano serenade, which angers John who slams the door. He makes an impassioned offer to give her love and all the things she desires, and we flash forward to his study where he tells Danny; “Now do you understand my interest in Rusty”. Danny departs saying Rusty will be waiting for him, only to have John add, I wouldn’t be so sure about that, as Rusty wants what we have to give her.” We shift to Broadway, where Noel takes her out on the massive stage of his theater. He tells her, this stage is yours for the asking. He then tells her to close her eyes, and they begin dancing with her spinning out of his arms. At 1:12:18 in “Rusty Dances”, she begins humming her theme, which is soon joined by sumptuous strings as she dances happy and carefree on the massive stage. At 1:12:50 we return to the oyster bar at 3:05 am Saturday morning as a dejected Danny sits with Genius supported by a dispirited Rusty’s Theme. She had never before missed their Friday night ritual and a dejected Danny walks out.
As Danny walks the streets, he argues in his mind with his alter ego, who says to let her go as Wheaton can give her everything she desires. At 1:14:43 we segue dramatically into “Alter Ego” as his alter ego apparition jumps onto the street and forces him into a parody dance, where each dance sequence by the alter ego is repeated by Danny. Jerome Kern provides a riveting and kinetic danza dramatico, which supports Gene Kelly’s virtuoso dancing, achieving an outstanding cinematic confluence! We conclude atop a dissonant crescendo with the alter ego apparition passing into a store window and Danny flinging a garbage can that shatters the store glass with the alter ego vanishing. Back at Danny’s, Rusty returns to find Maureen singing her song “Long Ago and Far Away” during practice. She walks in and asks Danny why Maureen is singing her number, and he answers curtly, because she was here. They have words and when she says she has places she can go, he tells her “Then go there!”, which devastates her. Music enters at 1:19:21 with an anguished rendering of her theme as she weeps, saying she’s glad she found out how he truly felt, and runs away saying if you want to see her again, come to Broadway. As Genius rebukes Danny, he leaves, clearly regretting his words.
1:20:06 “Cover Girl” offers a glorious musical highlight in a song and dance number performed by Rita Hayworth (dubbed by dubbed by Martha Mears) and chorus. We open with an exterior shot of Wheaton Theatre supported by heraldic fanfare. We shift to the curtain opening supported by men’s chorus singing with women models parading on a circular multi-tiered pedestal as a massive camera lens descends behind them. Wordless women’s chorus joins as Rusty appears in the camera prop lens in a green gown. As they sing, a parade of beautiful models, in resplendent gowns under various magazine logos parade.
At 1:21:37 we shift to a string led instrumental rendering of the song as a danza aggraziato with wordless woman’s vocals, as the magazine parade continues. At 1:22:47 the melody shifts to a big band iteration. At 1:23:06 a little girl is seen and the song melody assumes a child-like, music box iteration with celeste. At 1:23:20 a woman in uniform joins and the song shifts to a martial iteration. A diminuendo usher in at 1:23:33 a refulgent crescendo glorioso as Rusty at last appears in gold, jewel studded gown. Horns resound with fanfare dramatico as she removes the studded cloak to reveal a shimmering gold gown. As she gracefully descends, along a winding path from the clouds, a dreamlike ambiance carries her progress. At 1:24:19 she reaches the main stage and is joined by men’s chorus and she begins dancing with one after another as they sing. At 1:25:09 we shift to an instrumental rendering of the song as the entire ensemble joins her in a joyous danza felice, which showcases her grace, beauty and charm. As she ascends the ramp towards the clouds, metallic shimmering snow-like confetti begins falling as the men follow and sing.
We close with a refulgent flourish as she disappears into the clouds and the curtain closes. 1:27:45 “Noel Proposes” reveals Rusty being driven home in Noel’s limousine, where he proposes to her. She hesitates and her theme, full of sadness and longing, supports her promise to give him an answer tomorrow. He graciously accommodates her request to borrow his car for a trip to Brooklyn. At 1:28:42 in “The Club has Been Closed”, her theme emotes with tentativeness and sadness as she enters the club through the back door. A light goes on startling her as Pop emerges from the shadows. She probes, trying to find out if Danny has moved on, and she is stunned when told that he closed the club and went away the day you left. He says that Danny and Genius now travel among the army bases entertaining the troops. Her theme becomes molto tragico as she says I didn’t close the club, and pop replies; “Didn’t you?” She departs quickly and the scene shifts to the oyster bar where we see her imbibing liquor. She is drunk and tells Joe to pour her another drink. She becomes tearful, clearly full of regrets. At that moment Noel and John arrive and she invites them to join her at the bar. She is pitiful as she says she now has it all, and will marry Noel, but it is very apparent to them, these are not her true feelings.
1:34:17 “Truck Concert” reveals Danny and Genius entertaining a truckload of men on an open air bed with a small army band. They reprise with chorus a fun, comedic and very entertaining reprise of the “Put Me to the Test” song, replete with some silly dance routines. We come to a screeching and tumbling halt as the truck slams its brakes as it arrives at the Camp Weston entry sentry post. We end with Danny stunned when the men see a poster of Rusty promoting War Bonds, and one of the men says to cool it! Adding she is not available as she is getting married. Later that night Danny and Genius make a comic entry and take their customary seats at the oyster bar. Joe serves them oysters and they begin the pearl hunting ritual. 1:39:37 “Joe Offers Sad News” reveals Danny asking Joe for any news and he asks, “You mean about Rusty?” Her sad theme joins and descends with devastation when he is told that she is getting married tonight. Yet the music brightens with hope as Genius shouts out; “Danny! You have a pearl!” and we see Danny grab it with amazement. Her theme shifts to a solo violin triste as he says it’s a fake and shoves the platter away from him. Yet at 1:40:27 Genius holds the pearl and realizes it is the real deal. Plucked ethereal harp and tremolo violins support and carries him to John’s office. He requests that it was always her dream to have a pearl and he asks that she be given it. Cornelia suggests that Rusty does not seem happy, has lost ten pounds, and is drinking a lot.
1:41:47 “The Pearl and Love Reawakened” Wagner’s Bridal March is heard and as John and Cornelia depart, with her exhorting him to fix this and make it right. As John escorts Rusty down the stairs he hands her the pearl he said was found by Danny. She starts to sob and says she can’t just run out, only to have Cornelia drop a bombshell, saying that’s exactly what Maribelle did to John. John adds, in this same room, and to the same music. As the minister begins the ceremony at 1:44:24 Rusty says she cannot go through with this, shows a Noel the pearl, and says this is where my happiness lies. Her theme regains its happiness and a gracious Noel wishes her well. The crowd is stunned as she kisses his cheek and runs away. At the restaurant Danny wistfully sings their love song, and is joined by Rusty singing the final lines. She then runs to his kissing embrace. We close at 1:46:08 “Make Way For Tomorrow” with Genius playing the festive song, which is performed by Gene Kelly, Rita Hayworth (dubbed by Martha Mears) and Phil Silvers. Genius joins them and the three dance and joyously sing. The three exit the restaurant and begin jubilantly dancing down the street, and at 1:46:49 “The End” closes the film with a grand flourish coda of the Love Theme.
After viewing the film there is no doubt as to why it was a commercial and critical success, including winning an Oscar for Best Scoring of a Musical Picture. The songs by Jerome Kern and Ira Gershwin are classics, that were vibrant, exciting and entertaining. They were perfectly attenuated to support Gene Kelly’s choreographed dance numbers, offering outstanding entertainment. The peerless dancing by Gene Kelly firmly established him as Hollywood’s premier dancer and choreographer. Stoloff, like all composers for musical picture scores, was tasked with providing a unifying musical narrative that needed to weave together the various dance and musical performances, and interludes. Spot on was his choice to underpin the love and romance between Danny and Rusty with the melody of the romantic ballad, “Long Ago and Far Away”. Their relationship was ever shifting, in flux and at times volatile, yet the melody was very adaptable and resilient, overcoming all obstacles. Musical dance numbers such as “The Show Must Go On”, “Whose Complaining” and “Cover Girl” offered outstanding cinematic confluences, which make this film timeless. Folks, it is a damn shame that we have yet another classic Golden Age musical with no musical release. As such I highly recommend you take in the film from one of the streaming services to experience this exceptional musical and dancing experience.
For those of you unfamiliar with the score, I have embedded a YouTube link to Love Theme, “Long Ago and Far Away”:
Track Listing:
- NOT AVAILABLE
Music composed and conducted by Morris Stoloff. Original songs written by Jerome Kern and Ira Gershwin. Orchestrations by Carmen Dragon, Sidney Cutner, Gil Grau and Paul Weston. Recorded and mixed by P. J. Faulkner. Score produced by Morris Stoloff.