DVD Review: TCM Spotlight – Esther Williams, Volume 2

Warner Bros. | 1945-53 | 594 mins. | Not Rated

(Thrill of a Romance / Fiesta / This Time for Keeps / Pagan Love Song / Million Dollar Mermaid / Easy to Love)

In July of 2007, Warner released the first entry in their “TCM Spotlight” series. It was dedicated to MGM’s one-of-a-kind swimming movie star Esther Williams and included five of her starring vehicles from her thirteen year tenure with the studio. Now, a little over two years later, the studio has released a second volume, this one containing six of her films: Thrill of a Romance (1945), Fiesta (1947), This Time for Keeps (1947), Pagan Love Song (1950), Million Dollar Mermaid (1950), and Easy to Love (1953). As an added bonus, the set also comes with a slate of special features that will help viewers get into the mood of what would have been a typical movie-going experience in the fifties.

THRILL OF A ROMACE

A gorgeous public pool swimming instructor, Cynthia Glenn (Esther Williams) is spotted one day on the high dive by influential business tycoon Robert G. Delbar (Carleton G. Young). With the help of one of her young students, Delbar learns Cynthia’s address, and begins to relentlessly pursue her, the way he we would a business deal. Cynthia lives with a modest but eccentric home with her Uncle Hobart (Henry Travers) and Aunt Nona (Spring Byington). Her aunt and uncle are very kind people, but they are clearly not too concerned about the ways of the world. Cynthia is quickly swept off her feet by the persistent Robert, and soon marries him. Whisked off to a spectacular resort in the Rockies for her honeymoon, trouble begins that night when Robert is called away to Washington on an important deal. Shockingly, Robert leaves before anything happens. Soon, Cynthia can’t help but become attracted to handsome aviator hero Major Thomas Milvaine (Van Johnson), who’s getting some rest and relaxation at the resort, but she’s a married woman, so there can’t even be a question of whether or not she’ll sleep with him. That is, until vacationing Metropolitan Opera star Nils Knudsen (Lauritz Melchior) ends up playing matchmaker for the two.

This film was the follow-up to Esther Williams’ breakthrough success in Bathing Beauty. As a matter of fact, MGM rushed the film into production, once they saw that Bathing Beauty was going to be a major success. Though Thrill of a Romance offers plenty of opportunities for Esther Williams to get into a pool as a swimming instructor, the film is devoid of the lavish water sequences she is best known for.

The supporting cast is filled with people: Tommy Dorsey and his band in residency at the luxury hotel, Danish opera star Lauritz Melchior in his film debut, and the solid pairing of Henry Travers and Spring Byington as Williams’ eccentric Aunt and Uncle. Williams and Van Johnson make for an appealingly sympathetic duo, and whenever their story threatens to drag, the filmmakers can simply cut to something spectacular such as a performance from Melchior, or drum solo from Buddy Rich. Thrill of Romance may be a bit short on plot, but all-in-all, it still makes for entertaining viewing.

FIESTA

Easily the weakest film of the set, Fiesta has an utterly unbelievable plot, even by MGM’s 1940’s standards. Esther Williams and Ricardo Montalban play twin siblings Maria and Mario Morales (I said it was unbelievable). The brother and sister are the only children of famous retired toreador Don Antonio Morales (Fortunio Bonanova). Antonio’s dream is for Mario to follow in his footsteps. The proud, but overbearing father trains his son relentlessly, but it is quickly evident his interests lie in music.  When, on the eve of an important bullfight, Antonio sabotages Mario’s chance to study with acclaimed Mexican composer Maximino Contreras (Hugo Haas), Mario is nowhere to be found. Desperate to get her brother to return, Maria concocts a scheme, with the assistance of the family servant Chato Vasquez (Akim Tamiroff) to impersonate Mario in the ring. She risks it all, for her brother and her family’s honor; because as a Mexican woman, she is expected to marry scientist Jose “Pepe” Ortega (John Carroll) and live the life of a ‘proper’ lady.

In her autobiography, Million Dollar Mermaid, Williams acknowledged that Fiesta was a terrible film, and talked about several problems during the production to boot. The first and most obvious issue is that she and Ricardo Montalban look nothing alike. Williams has no Mexican accent, a move apparently okayed by the producer even after Esther expressed concern over the incongruity. Worse than that, it’s not an “Esther Williams film.”  Saddled with a ridiculous bullfighting plot, there is only one brief scene that has Williams swimming—from a dock out on a lake, to the shore. Unfortunately, this mess is all too forgettable.

THIS TIME FOR KEEPS

Dick Herald, Jr. (Johnny Johnston) is a returning war veteran who doesn’t want to go back to the opera to sing with his father, Richard Herald (Lauritz Melchior). He hasn’t informed his fame-hungry fiancée Frances Allenbury (Mary Stuart) yet, which could be a problem, since she’s more interesting in his last name then his personal goals and desires. After seeing an ad featuring Broadway star Nora Cambaretti (Esther Williams), Dick remembers some fun times they spent together. He pulled a trick on Nora when he was at the V.A. hospital recovering from his wounds; she was putting on a swimming and diving expedition, and Dick began to sing along with the music. Touched by the blind soldier who sang to her, Nora let Dick touch her face. So moved, she gave him a kiss. Suddenly, the other men explode on laughter; Dick has been pulling this stunt on the nurses, he can see plain as day. Remembering this moment, Dick decides to track down Nora and get a job singing in her show. Nora isn’t exactly thrilled to see him, but predictably, she begins to fall for the handsome singer, despite the fact that she has a boyfriend (Dick Simmons) and against the warnings of the man who apparently raised her, Ferdi Farro (Jimmy Durante). However, his engagement to Frances threatens to ruin his newfound happiness.

Every member of the cast gets to do what they do best whether that’s swimming, singing jazz, opera, or “Inka-Dinka-Doo”, which makes it sporadically entertaining. Unfortunately, the elements never coalesce into something substantial. It is an indication of Williams’ progression as an on-screen performer that the studio was now willing to pair her with a less polished actor as her leading man. Nightclub singer Johnston had been appearing in films for a few years, but had not progressed as an actor as much as Williams had and it shows.

PAGAN LOVE SONG

Half-Tahitian beauty Mimi Bennett (Esther Williams) is leaving Tahiti to go to America. Arriving on the boat that will take her to this industrious new world is Hazard Endicott (Howard Keel), an Ohio schoolteacher who has inherited the “Endicott Plantation.” Expecting to live the life of a rich, single plantation owner, Endicott finds his land to be a little less glamorous than expected. Despite the initial disappointment, he is spurred on to uncharacteristic industriousness by the local people, and decides to make a go at copra farming. In order to make any money, Hazard is forced to enlist the help of the happy natives in his new farming endeavor. However, housekeepers Tavae (Charles Mauu) and Terru (Rita Moreno) have a hard time keeping their minds on work when the big fete is approaching, while Hazard has his hands full with the three little children who have adopted him. Will Hazard stay in Tahiti, and will Mimi leave?

While lots of people consider Pagan Love Song another misfire on the Esther Williams cannon, I rather like it. Shot on location in Hawaii, (in Technicolor, of course), the film looks beautiful and everyone in it is gorgeous as well. And at a mere 76 minutes, the film is short enough, so it’s over before the plot because a muddled mess. Pagan Love Song is by no means a great or serious film, but Williams, Howard Keel and the legendary Arthur Freed created a perfect piece of escapist entertainment.

MILLION DOLLAR MERMAID

Perhaps Esther Williams best known film, Million Dollar Mermaid tells the highly fictionalized life story of Australian swimmer Annette Kellerman. Things begin in Australia, where the young Annette (Donna Corcoran) is confined to leg braces. Her father, Frederick Kellerman (Walter Pidgeon), runs a conservatory of music out of their house, unaware that is daughter is walking to a nearby lake everyday to swim. Once he does discover her activities, he eagerly embraces her love for swimming, despite his wish that she pursue music. Soon, Annette (now played by Esther Williams), is winning nearly every swimming competition imaginable. Unfortunately, economic conditions in Australia force the Kellerman’s to move to England, where Frederick has accepted a position to work at a conservatory. Unfortunately, upon their arrival in London, father and daughter find out the conservatory has closed. With little money, Annette is forced to sell her trophies and Frederick gives music lessons whenever he can to make ends meet. However, a huckster-would-be-showman named James Sullivan (Victor Mature) has a plan for the pretty Annette. He comes up with a plan to have her swim the length of the Thames, which causes a sensation. Next, Sullivan convinces the Kellerman’s to try for success in America, with the ultimate goal of becoming a featured performer at New York’s Hippodrome. Forced to start in smaller town sideshows, Kellerman inadvertently creates a firestorm of controversy when her swimwear is deemed too risqué for early 20th century America. The resulting headlines and Kellerman’s development of a one-piece bathing suit that satisfies her critics leads to burgeoning popularity and the call from Hippodrome producer Alfred Harper (David Brian) of which she dreamed, but it also threatens to ruin her developing romance with Sullivan.

In all honesty, the film itself isn’t all that good. It feels too long, and some of the events to ridiculous to believe—after all, even though Million Dollar Mermaid is theoretically a bio-pic, it’s been very well established that those involved played very fast and loose with the facts. Despite that, Million Dollar Mermaid still has three things going for it that make the film well worth watching: the obvious chemistry between Esther Williams and Victor Mature (according to Williams’ biography, the two had a very intense affair during filming), the tremendous Busby Berkley directed water sequences, and the chance to see Maria Tallchief dance, playing the role of Paplova.

EASY TO LOVE

Cypress Gardens owner and business tycoon Ray Lloyd (Van Johnson) works his star attraction, Julie Hallerton (Esther Williams) to death. Not only is she the central performer in his spectacular aqua-shows, she also poses for tourist pictures in the beautiful gardens, and she acts as his secretary; all for seventy-five dollars a week. But, she does all of this because she loves him. Ray, ever the businessman, is completely oblivious to her feelings. Julie threatens to quit and leave with handsome hunk swimmer Hank (John Bromfield) until Ray promises a get-together in New York City. Expecting a vacation, Julie is crestfallen when she discovers the trip is just another excuse for Ray to work her (in a print ad), so she decides to flirt it up big-time with the singer featured in the ad: Barry Gordon (Tony Martin). Deciding to leave Ray again, this time to work on Broadway when Barry gets her an audition, Ray manages to convince Julie to come back to Florida, but he wasn’t counting on Barry following Julie back to Cyprus Gardens.

Among the films strengths are some breathtakingly beautiful cinematography that exploits the Cypress Gardens locations. Also, Busby Berkeley once again does a great job with the musical and aquatic set-pieces. He goes for variety with a beautiful Technicolor dream of an aquatic ballet between Williams and Bromfield at the beginning, a humorous sequence with Williams in full clown make-up just past the mid-point, and a spectacular water skiing finale that tops them both featuring helicopter shots that look fabulous.

Unfortunately, while Van Johnson is dependable as always, somehow Tony Martin and John Bromfield just feel like lightweights compared to the other men Williams shared the screen with during those years. Musically, the Cole Porter title tune (which was also used as a love theme from This Time for Keeps) is a ringer that stands head and shoulders above the lighter poppier fare crooned by Martin in the rest of the film. I don’t know, other than the water aquatics, I find Easy to Love a rather weak film.

The first question film aficionados will likely ask about the Esther Williams: Volume 2 collection is whether or not the Technicolor looks out of register. There are individual shots here and there that do look off. Thrill of a Romance has the most – only three or four – which are noticeably off synch. Fiesta looked a tad muddy, while Million Dollar Mermaid has some print damage at the beginning, while overall it looked pretty solid. Generally speaking, though, these look as good as one could expect for unrestored Technicolor films. All of the films are shown in full-frame, 1.37:1 aspect ratio.

he Dolby Digital English mono soundtrack accurately represents the original theatrical presentation of these films. All dialogue is cleanly rendered. Hiss is noticeable, but not distracting. English subtitles and closed-captioning is available.

All extras are presented in color 4:3 video with Dolby Digital 2.0 mono sound unless otherwise indicated below.

Thrill of a Romance:

• The Great American Mug (9:42) – One-reel Short from John Nesbitt’s “Passing Parade” series. It first focuses on a modern (circa 1945) barbershop and then takes a nostalgic look at such an establishment in the early 20th century.
• Wild and Woolfy (7:36) – 1945 Technicolor Tex Avery cartoon in which an outlaw wolf rides into an old western town, tears it up, kidnaps saloon singer “Red”, and rides off to his hideout.
• Outtakes (6:44 w/”Play All”) presents the following excised musical numbers. All feature audio and video quality just a hair below that of the film itself:
  • Gypsy Mattinata – featuring Melchior
  • I Should Care – Tommy Dorsey & singers.
  • Please Don’t Say No – Melchior with the King Sisters and Tommy Dorsey
• Theatrical Trailer (2:09) – Promises various “Thrills” including the thrill of discovering Lauritz Melchior and “the thrill of Van Johnson making love to Esther Williams”.

Fiesta:

• Goodbye, Miss Turlock (10:26) – Vintage one-reel short from John Nesbitt’s “Passing Parade” series. It takes a nostalgic look back at American rural school houses, recreating such a school environment overseen by the stern but caring teacher of the short’s title via period re-enactments with voiceover narration by Nesbitt.
• Hound Hunters (7:18) – Vintage MGM Technicolor cartoon directed by Tex Avery In which two bears named George and Junior (modeled after George and Lenny from Of Mice and Men) decide to improve their hobo lifestyle by getting jobs as dog catchers.
• Theatrical Trailer (4:03) – Is a lengthy assemblage of the film’s dramatic highlights that begins by introducing “Two Spectacular New Stars: Ricardo Montalban and Cyd Charisse”.

This Time for Keeps:

• Now You See It (9:22) – Is a color short in the “Pete Smith Specialty” series. It features some impressive “macro-cinematography” and “micro cinematography” of small and detailed items like wristwatch gears, baby hummingbirds, lizard eyes, cat tongues, and a wide array of insects with wry narration from Smith. This technically impressive short was nominated for an Oscar in 1968
• Dr. Jekyll and Mr. Mouse (7:25) – Is a vintage Technicolor Hanna-Barbera Tom & Jerry cartoon in which cat Tom tries to concoct a poison beverage for mouse Jerry, but inadvertently creates a potion that makes him big, strong, and aggressive. Massive slapstick cat abuse ensues. This cartoon was nominated for an Oscar in 1948.
• Little Big Shot Outtake (1:38) – Is a brief deleted musical number where Jimmy Durante sings young Sharon McManus to sleep.
• Theatrical Trailer (3:30) – In addition to the film’s stars and musical numbers, this promo emphasizes the Mackinac Island locations and the bevy of aquatic beauties. Not a bad strategy.

Pagan Love Song:

• Curious Contests (8:27) – is a vintage one-reeler from the “Pete Smith Specialty” series. This entry looks at unusual competitions including a Dance Marathons, a Diaper Derby, a Firemen’s Ball, an Infant Crawling Contest, Sumo Wrestling, a Pie Eating Tournament, a Basket Race, a mud-fest Tug-of-War, odd variations of Bull-Fighting, a Train Wheel Twirling contest, a Log Chopping contest, Water Jousting, Old-Fashioned Bicycle Racing, and a put-the cat-out competition. Footage of the event is accompanied by Smith’s standard wry narration and a few sound effects to underline the humor.
• The Chump Champ (7:15) – Is a hilarious vintage Technicolor Tex Avery cartoon in which Droopy (aka “Droopy Poodle”) and Spike, (aka “Gorgeous Gorillawitz”), compete in a series of athletic events for the title of “King of Sports”. Spike’s increasingly desperate attempts at cheating in each event continuously (and sometimes literally) blow up in his face.
• Outtakes (14:46 w/”Play All”) –
  • Why is Love so Crazy – Sung by Williams (on-screen, at least, I am not sure about dubbing details) in and around a hammock in the front yard of her character’s home from the film. It is only a piano and vocal track, but it is in sync with the film
  • The Sea of the Moon – Sung by Williams (again, on-screen, at least), this is a fantasy sequence with a large supporting female chorus and elaborate sets and costumes that would have served as the opening for the film’s climactic dream sequence. The final film gives a brief glimpse of the sets and chorus, but then cuts right to the swimming.
  • Tahiti Version One – Sung by Keel standing still while Williams watches on a rocky beach with the ocean in the background.
  • Tahiti Version Two – Same song as before except on a studio set with a solid colored yellow-orange background intended to be replaced for a process shot.
• Theatrical Trailer (3:06) – Emphasizes the two leads and Tahitian setting. The musical set-pieces are all given names: “The Choral Sea Ballet”, The Dance of the Sirens”, “The Thrilling Ori-Moorea”, “The Rhythmic Taakapati”, “The Love Chant”, “The Samoan Knife Dance”, and “The Fete of the Mythical King”

Million Dollar Mermaid:

• Reducing (8:21) is a vintage one-reeler from the “Pete Smith Specialty” series. Smith applies his wry narration to stage footage of a large woman named “Maggie” who is attempting to lose weight. There are some un-PC fat jokes by today’s standards.
• Little Quacker (7:07) is a vintage 1950 Technicolor Hanna-Barbera “Tom and Jerry” cartoon. It is incorrectly identified as “The Wise Little Quacker” on the box, which made me wonder if they had originally intended to include the 1952 “Barney Bear” cartoon The Little Wise Quacker, which would have been closer in its original release date to Million Dollar Mermaid. In any case, in this short, Tom steals an egg from a mother duck’s nest and when it unexpectedly hatches, he upgrades his meal plans from “omelette” to “roast duck”. The baby duck finds a friend in Jerry Mouse who tutors him in the finer points of slapstick cat abuse with props including a meat cleaver, an axe, and a sledgehammer.
• Lux Radio Theater Broadcast with Esther Williams and Walter Pidgeon (41:44) is an abridged radio-play adaptation of Million Dollar Mermaid. The audio is muffled and sped up so that the voices are pitched way too high. The integrated ads are excised which makes for some awkward edits. Theatrical Trailer (1:12) is a brief dialog-free “clip and title” promo for what it bills as “The Miracle of MGM Musicals”.

Easy to Love:

• Romantic Riviera (8:36) is a vintage color one-reeler from the “James Fitzpatrick Traveltalks” series. It takes the viewer on a tour of the French Riviera with informative narration by Fitzpatrick. The monopack color film looks a bit faded and soft in this video rendering, but it is an interesting snapshot of early 1950s southern France.
• Cops and Robbers (6:21)is a Technicolor Dick Lundy-directed “Barney Bear” cartoon in which Farmer Barney Bear contends with a flock of crows that are eating all of the corn from his cornfield. He hires a scarecrow who proves to be less effective than he initially appears. This short looks decent visually, but has some ill-advised audio processing applied to create a distracting stereo effect.
• Theatrical Trailer (3:40) predictably highlights the stars, Cypress Gardens locations, and big production numbers.