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61% buy the item featured on this page: Three Little Words CDN$ 22.49 |
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Product Details
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Product Description
From Amazon.com
Three Little Words (1950) was an example of Hollywood's late-'40s/early-'50s interest in the lives of famous songwriters. Fred Astaire plays vaudeville dancer Bert Kalmar, whose act with Jessie Brown (Vera-Ellen) runs aground due to his interest in magic acts and a backstage accident. While in rehab, he meets composer Harry Ruby (Red Skelton), and the two discover a knack for writing Tin Pan Alley songs, then Broadway shows, together. There's some mild conflict in their lives as portrayed in film, but mostly the movie is an excuse to pull out a slew of Kalmar & Ruby songs such as "Who's Sorry Now," "My Sunny Tennessee," "Nevertheless," "I Wanna Be Loved by You," and the title tune. Vera-Ellen is an excellent partner for Astaire, and the relatively restrained Skelton puts in a good performance. Also appearing are Arlene Dahl as a musical actress, Gloria De Haven as her own mother, a young Debbie Reynolds as Boop-a-Doop girl Helen Kane, and the real Harry Ruby as a baseball player playing catch with Skelton, the movie Harry Ruby. Three Little Words isn't one of the great MGM musicals of its era, but it's an entertaining picture, especially for fans of Astaire. --David Horiuchi
Review
No more accurate than other MGM musical biopics, Three Little Words has some interesting elements to it, even if they're not fully exploited. The fact that both Kalmar and Ruby have outside interests other than songwriting -- magic and dancing for the former, baseball for the latter -- is a nice change. (Unfortunately, Kalmar's injury that keeps him from dancing is conveniently forgotten; this allows Fred Astaire to perform as he must, but it damages the "integrity" of the plot.) Also of note is the believable and entertaining verbal sparring and friendly antagonism between the two lead characters, as well as the curious moral question raised (but not appropriately resolved) concerning whether friends should lie to one another to spare their feelings. None of this really matters in the long run, of course; what matters are the numbers, and as long as Astaire and Vera-Ellen are around, the film is in excellent hands. Red Skelton and Arlene Dahl also handle their numbers well, but with less aplomb than their co-stars. The film has a leisurely but somewhat comforting pace; although several numbers make an impression, none are spectacular, but this adds to the overall relaxed atmosphere of the piece. Astaire and Vera-Ellen would team up again in The Belle of New York. ~ Craig Butler, All Movie Guide
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