Has any biopic had a more visible reason for being than 1942’s “Yankee Doodle Dandy”? This terrific movie, featuring the once-in-a-lifetime performance of James Cagney, may be one of the best World War II propaganda films Hollywood would produce.
Ostensibly the life story of George M. Cohan, Broadway songsmith, playwright, producer and actor, whose career peaked before World War I, the movie is shot through with anachronistic exhortation to “get behind the man behind the gun,” as the film’s additional lyrics to “Grand Old Flag” urge. In similar fashion, so do the additional verses of Rodgers and Hart’s “Off the Record,” from 1937’s “I’d Rather Be Right,” tweaking Hitler and Japan. Was it any wonder? “Yankee Doodle Dandy” premiered only seven months after the attack on Pearl Harbor, at a time when war production and home front restrictions were gearing up. While a Cohan biopic had been a possibility for a number of years before then, the fortuitous match of current events and flag-waving subject resulted in one of the most memorable Hollywood films of that era. Watching it today, you can easily imagine audiences in 1942 responding when Cagney, during the World War I “Over There”scene, turns to the camera and proclaims “Everybody sing!”
In true biopic fashion, there’s a lot of editing and sanitizing with respect to Cohan. While depictions of real figures in his life—Sam Harris, Fay Templeton, the other members of the Four Cohans—appear in the film, both his marital history and his anti-union bias are scrubbed (His siding with Broadway producers rather than actors in the 1919 strike that lead to the creation of Actors Equity was the real reason for his split from producing partner Sam Harris). Yet “Yankee Doodle Dandy” features that wonderful Cohan song catalog, and best of all, James Cagney.
I can think of few other stars of that era for whom the description “There’s no one else like him” is more apt. Whether as Cohan or Tom Powers in the iconic “Public Enemy,” or the psychopathic Momma’s boy Cody Jarrett in “White Heat,” there’s not a moment you can—or even want—to take your eyes off him. His boundless energy, that cocky strut, the feeling that only he and the audience are in on the joke, all stand him in excellent stead in “Yankee Doodle Dandy.” More than that, you sense he enjoyed every minute shooting the film, which makes for the happiest of viewing experiences. Yet he’s not just a sunny song and dance man: the scene he plays with the memorable Walter Huston as his dying father is one of the most poignant he ever shot. Rarely has a Best Actor Oscar been more deserved than the one awarded Mr. Cagney for his performance in “Yankee Doodle Dandy.”
Long before Turner Classic Movies I grew up with “Million Dollar Movie,” featured on one of the local New York City stations. The program would run the same film every night for an entire week, and “Yankee Doodle Dandy” would show up regularly. Even though I can probably recite all the film’s dialogue by heart, I never tire of watching it. It’s so Warner Brothers—S.Z. Sakall as Schwab, the roped-in producer of Cohan’s first hit (“I pwomise, I pwomise”); George Tobias as tin-ear producer Dietz, spending his wife’s money; Irene Manning as Fay Templeton, actually playing the piano for “Forty-Five Minutes From Broadway;” the raucous, jalopy-riding teenagers who show up on Cohan’s front lawn (“Stix Nix Hix Pix”). And there’s Cagney, tapping down those White House stairs.
Long may it wave!
P.S.: In case you’re wondering, Cagney copied his “Yankee Doodle Dandy” dancing style directly from George M. himself, as is evident in a YouTube video from the 1932 film “The Phantom President” (Warning: Cohan appears in blackface for a good portion of the clip). While Cagney’s normal style did feature some “on his toes” tap work, his dancing more closely resembled that of a typical hoofer of that era. Check out the “Shanghai Lil” number from “Footlight Parade.”
Holidays are always the best time for binge-watching, and this July 4th is no exception. Somehow I missed that Season 3 of “Janet King” just dropped on Acorn TV, I’ve barely started the latest run of “Orange is the New Black” and I haven’t even touched “Glow” yet. Best of all, though, the latest, and unfortunately last, season of “Broadchurch” recently premiered on BBC America.
I was terrifically let down when I learned that “Broadchurch” will shortly end. However, after watching the first episode of the new season, I think I know where the show is headed. “Broadchurch” at its best is about the impact of crime—on the family and friends of the victim, on the community and on the police who investigate. This was starkly portrayed in the first season of the show which focused on the murder of 11 year-old Danny Latimer. The second season, while rich in character portrayal, meandered in plot. However, “Broadchurch” seems to be back at full throttle in its current episodes. Even after three years the repercussions of young Danny’s murder are still being felt, and a new crime threatens the community. Stunning in its detail, this episode walks us through the police and hospital response to a rape—the compassion and support offered to the victim and the painstaking efforts to obtain, catalog and preserve evidence of the crime. The tone of this sequence couldn’t be more fitting. Needless to say, we’re far beyond what “Law and Order: SVU” can depict.
On a happier note, I’m delighted to see the return of my favorite bickering (un)married couple, the detective partners Ellie Miller and Alec Hardy. The lapse of three years hasn’t spoiled their style or their differences. There’s added value this time around—it’s eye-opening to see Ellie having to instantly change gears from ace detective to exasperated single mother called to a meeting at school to discuss her 15 year-old son’s suspension for dealing porn. And it’s odd to see loner Alec Hardy parenting his teenage daughter. But unlike other shows, “Broadchurch” has a way of using issues outside crime and police work to illuminate rather than distract.
Looking forward to the next seven episodes.