SOMETHING TO SING ABOUT
US, 1937, 89 minutes, Black and white.
James Cagney, Evelyn Daw, William Frawley, Mona Barrie, Gene Lockhart, Philip Ahn, Kathleen Lockhart.
Directed by Victor Schertzinger.
Something to Sing About is a lesser-known James Cagney vehicle. As a contrast from his gangster roles as in Public Enemy and Angels with Dirty Faces which was to follow, he plays a song-and-dance man. In fact, Cagney won his Oscar in 1942 for Yankee Doodle Dandy as song-and-dance man George M. Cohan.
Cagney is a very genial screen presence. Opera singer Evelyn Daw is the leading lady and there is comic support from William Frawley and Gene Lockart as well as from Korean -descended American Philip Ahn who played numerous villains during the 40s and 50s.
The film was directed by Victor Schertzinger, who directed a number of musicals and comedies and was a composer (‘Tangerine’).
The film is interesting as a spoof of Hollywood. Gene Lockhart is an ineffectual studio director. William Frawley is a scheming PR man. Mona Barrie portrays a European-born prima donna. There is insight into the processes of film-making – and is reminiscent of some of the humour of films like Singin’ in the Rain.
1.An entertaining musical comedy? Of the 1930s?
2.A James Cagney vehicle? His screen image in the 1930s? Gangsters? Drama? Song-and-dance man? His effectiveness as a dancer? As an actor? As portraying a dancer trying to be a film star?
3.The music, the songs? The dance routines? The title?
4.Terry Rooney, his band in New York City, the clubs, his dancing, his love for Rita, the proposal and the ring, going to Hollywood?
5.Terry in Hollywood, the encounter with Hank Meyers and the PR, the photographs with the women at the station? Meeting B.O. Regan? The makeup criticism, his diction criticism, his wardrobe criticism? The criticism from Steffie?
6.On set, the director and his friendliness? Regan and his not wanting Terry to be spoilt? The clashes with Steffie?
7.The training, his practising his vowels? His makeup, his new suit? The performance? Everybody happy with him – but the studio director telling them not to praise him?
8.The final fight, the clash, the genuine fight and the cameras rolling? Audience reaction to the fight, men and women? The reaction to his songs? The film as a hit?
9.Ito, his Japanese style – and the fact that he was American-born and could speak with great diction? His contribution to the plot?
10.Rita coming to San Francisco, the marriage, going on the honeymoon, song-and-dance routines on the ship? In the meantime everybody searching for him? The headlines? The success?
11.Their return, people in the street, at the theatre, autographs? B.O. and Hank coming to see him? The contract, his not to be married, Rita and her solution?
12.In Hollywood, Rita as his confidential secretary? Steffie persuaded to act with him? Amy Robbins and her being a journalist, getting the stories, the interviews, Hank Meyers planting the stories, Steffie and the announcement of the engagement? Amy Robbins and her watching the performance?
13.Rita, the clash, the premiere, going back to New York, with the band, singing? Her phoning, Steffie answering? Her dismay, the performance, the billing?
14.Terry, flying to New York, arriving, joining Rita on stage – and the happy ending?
