It's no secret that summers in Texas are tough. With the onset of record-high temperatures permeating the state as early as the month of May, outdoor activities become scarce. Consequently, some people try to take vacations or frequent swimming pools and various watering holes around town. Others take on new hobbies or begin home-improvement projects in order to beat the heat. In a culturally diverse city like Austin, one can even find high-quality theatrical productions put on by local community players at public parks and outdoor venues or catch movie classics of every genre imaginable at a historic marquee theater. Whatever the recreational avenue may be, nothing makes a hot summer better than the coolest musical in town.
While I tend to rewatch films I love most during that hot summer season, I was curious to find something I've never seen before when considering a selection for this month's Classics in Wonderland installment. Fortunately, I didn't have to look far. The "Summer Movies: 30 Sun-Drenched Classics" book from A Turner Classic Movies (TCM), which I bought over a year ago but didn't have a chance to crack open until now, had all the answers I needed. It was quite a special find, and as I began thinking about the selection of nostalgia-filled musicals that author John Malahy so lovingly put together, several never-before-seen titles caught my eye and ended up on my personal list of must-sees. Some of John's recommendations were not necessarily accessible to stream online; DVD releases, across which I sometimes stumble while shopping at Half Price Books, were not readily available. In the end, I narrowed down my choices to a couple of possible options, but only one ended up making the cut. Perhaps that title found me and not the other way around, but I gladly took what I could get!
Some of the best musicals I've ever seen are Metro-Goldwyn-Mayer (MGM) creations. From the brightest talent to top-notch producers, MGM films always seem more lavish, extravagant and definitive of the Golden Age of Hollywood. When a lesser-known motion picture like Moon Over Miami comes along, it's not always easy for me to switch gears and willingly accept another studio's work. With Twentieth Century-Fox's 1941 release, I was pleasantly surprised. Better yet, I ended up falling in love with a new film that was not "inferior" in any way but, on the contrary, held its own among the so-called surefire MGM winners.
Based on a play by writer Stephen Powys, the story of three sisters who pose as socialites and travel from Kansas to California in order to attract rich husbands, was adapted for the big screen in 1938's Three Blind Mice, starring David Niven, Loretta Young and Joel McCrea. The original black and white film was remade as a musical three years later, following a much-needed Technicolor makeover, the addition of a fresh set of faces and the creative vision of Walter Lang — an American film director who is most notably recognized for his work on 1945's State Fair and 1957's The King and I. With this type of creative elevation, it's hard to imagine the second film falling short of success.
*Contains spoilers*
From the beginning, Moon Over Miami captivates and delights its audience, launching straight into the well-choreographed and staged "What Can I Do for You?" opening number to introduce two of its leading characters. Kay and Barbara Latimer are carhops, working at a drive-in with a song on their lips, a swing in their hips and dreams that are bigger than Texas (which is, coincidentally, where this story begins). Disappointed by an incoming inheritance check that turns out to be anything but lucrative, the sisters talk their aunt, Susan, into quitting her job and spending whatever collective money is left on a joint trip to Miami. If Kay, the mastermind behind the entire operation, can marry a millionaire, the family's financial woes will be over.
While I am not as familiar with the on-screen work of Charlotte Greenwood (Susan) and Carole Landis (Barbara), I simply can't say enough about the wonderful Betty Grable (Kay). As a 10-year-old, I remember seeing Betty — graceful, beautiful and poised — guest-starring alongside her second husband, renowned trumpet player Harry James, on a 1958 episode of the The Lucy-Desi Comedy Hour. Over the years, I've come to find out that aside from being a talented actress, singer and dancer, one of the top 10 box office stars in the 1940s and 1950s, Betty was the ultimate pin-up girl and sex symbol. During the World War II era, for example, one could look up into the sky and spot the Sentimental Journey, a B-17 aircraft that showcased the star in a striking pose that has since become the stuff of legend. There's no denying that Betty's impact on pop culture has been significant, and her performance as Kay in Moon Over Miami is one of the main reasons the movie remains timeless to this day.
Kay, Barbara and Susan's decision to leave the Lone Star State leads to a much-needed change of scenery and an escape to an exotic destination that's filled with a sense of wonder and nostalgia so unlike the bustling city that greets modern-day travelers today.
In what can be described as a glorified travel ad for the city of Miami, viewers get to experience the best of all worlds — from an oversized swimming pool and sailboats gliding along a palm tree-strewn beach to an array of water sports and horse racing.
The most unexpected and pleasant surprise, however, is a pack of pink-feathered birds that greet guests at the doorstep of the historic Flamingo Hotel, which had received international press coverage thanks to the appearance of Rosie the Elephant and the patronage of Warren G. Harding back in its heyday. No longer a staple of Miami following its unfortunate demise in the 1950s, glimpses of the grand hotel are preserved for posterity thanks to the 1941 motion picture.
While the Flamingo Hotel serves as the Latimers' temporary residence, a familiar face joins the cast to remind the audience that there's no place like home. Jack Haley — who forever immortalized the character of the Tin Man in 1939's The Wizard of Oz — plays Jack O'Hara, a bartender who is weary of gold diggers and willing to steer a seemingly innocent Kay away from their fortune-hunting schemes. The star-studded cast continues to impress as Kay meets the well-to-do and strikingly handsome bachelor Jeffrey (Jeff) Bolton II, portrayed by award-winning actor Robert Cummings, and gets swept away by his charms at a social gathering. Shortly after, Kay also makes the bittersweet acquaintance of Jeff's long-time friend Phil McNeil, whose last name is officially credited as but never referred to as O'Neil. Played by a younger Don Ameche, whom I will forever remember as the conniving Mortimer Duke in 1983's Trading Places, Phil is condescending, crude and undeniably ill-mannered. Though Kay is unimpressed, she is not yet aware of the fact that first impressions can be misleading.
During one of the film's many highlights, Kay and Jeff take the audience on a musical journey with "You Started Something," an extremely catchy tune written by composer Ralph Rainger and lyricist Leo Robin that quickly transforms into a showstopper. The heartwarming number starts out with Kay and Jeff singing at the piano, builds momentum and makes its way to the dance floor. There, the Condos Brothers put on their dancing shoes and, along with Betty Grable, impress the partygoing elite with their polished tap routine. With solid entertainment at its core, the party is nothing short of a resounding success, paving the way for Jeff to sweep Kay off her feet — unless Phil can get to her first.
The ongoing rivalry between Jeff and Phil is one of the reasons why Moon Over Miami shines as both a musical and a romantic comedy. Don Ameche's versatility in portraying different dimensions of Phil's personality becomes especially commendable as the story develops, while Robert Cummings' comedic timing is as impeccable as ever. While Phil serenades Kay during the cheerful "I've Got You All to Myself," Jeff goes along for the ride. And when Phil surprises Kay with an underwater excursion in a submarine, Jeff dives in after them. Florida and its array of recreational activities — some of which were shot on location in Silver Springs, Ocala and Winter Haven — serves as the perfect backdrop for the full-fledged love triangle to run its course.
Even as Kay's romantic involvement with Jeff and Phil takes center stage, Jack sets his sights on Aunt Susan, who has been pretending to be Kay's maid ever since the Latimers arrived in Miami. Jack Haley and Charlotte Greenwood shine as a couple that seems like a match made in heaven. During the "Is That Good?" number, the two veteran performers sing, dance and share plenty of infectious laughter with each other and their viewers. For the remainder of the film, Jack takes on a multi-faceted role as Susan's love interest, the family's temporary benefactor and a safekeeper of a revelation that can upset Kay's matrimonial plans.
Another great number that stands alongside "You Started Something" and "Is That Good?" is "Kindergarten Conga." Performed during a soiree that Jeff throws in honor of Kay at the Palm Grove, the production features a well-choreographed routine that draws upon the talents of the entire cast to deliver a solid and praise-worthy performance. Letting the beat of the conga drum be their guide, all the guests who are in attendance gather around in a circle and wait in anticipation as Kay takes center stage. Here, Betty Grable gets another chance to shine as both a singer and dancer, taking the audience on a journey across Havana, Cuba while telling the tale of a fictitious kindergarten teacher's travels abroad through well-known nursery rhymes like "Ring Around the Rosie" and "London Bridge is Falling Down," which are playfully incorporated into its lyrics.
The highlight of this number is the rare appearance of Hermes Pan, a renowned choreographer who's widely recognized for his professional collaboration — consisting of 17 musicals — with the legendary Fred Astaire. Alongside Betty, Hermes shows off his craft and raises the bar to deliver a performance that is of an entirely different caliber. The overall presentation, style and delivery of "Kindergarten Conga" becomes reminiscent of the iconic on-screen partnership of Fred and Ginger Rogers that, ironically, was a product of RKO Radio Pictures (RKO) and not MGM.
On IMDb, some viewers absolutely love Moon Over Miami and call it their favorite musical. Others have described it as a mediocre piece of entertainment or, at best, a decent film. There are even those who have expressed their intense dislike of the movie, criticizing its lack of a plot, Don Ameche's uncomfortable performance and lackluster music. Although I try to take all opinions into account, I can't fully discount the 1941 motion picture.
In terms of plot, while Moon Over Miami is lighthearted and upbeat, there are a few noteworthy situations and interactions that highlight the leading characters' personal struggles and put their loyalties to the test. Even as Jeff feels overshadowed by the professional accomplishments of his father, William (George Lessey), Barbara tries to offer emotional support while holding her love for Jeff at bay out of respect for her sister. Unaware of Barbara's feelings, Kay second-guesses her plan to get married, knowing that a financially suitable match will allow her to provide for her family but potentially rob her of the personal happiness she so desires. With Kay's dilemma in mind, Phil makes a decision in favor of his longtime friend. Whether by intent or mere coincidence, Jeff inadvertently becomes a focal point of the story, acting as the glue that holds the lives of his friends and family members together. And the stakes are as high as ever to draw the story to a satisfying close and ensure that all parties involved can find their happy endings.
When it comes to Don Ameche's performance, I am the first person to agree that the change of heart Phil experiences after first meeting Kay seems random. There is little to
no explanation as to why he decides to pursue her romantically, but one can assume that he is entirely motivated by his ongoing competition with Jeff. At least at the beginning. But despite the lack of a natural progression in Phil's behavior, there are dimensions to the character. By no means can Don's portrayal be called awkward or uncomfortable; on the contrary, the audience begins to recognize Phil as someone who is astute, intelligent and, when he needs to be, charming. His blossoming feelings, especially as he begins spending more and more time with Kay, may be the only explanation for the so-called change of heart that's needed.
Another flaw of the film, which is really my sole criticism, is that there is a rushed and unexplained decision that's made by Jeff regarding Barbara. While the musical makes it fairly obvious that Kay isn't the only Latimer sister who's interested in the handsome millionaire, with several scenes that allow the audience to draw this conclusion, it is unclear as to why and how Jeff has a "eureka" moment that leads him to make an important realization. Throughout the film, Jeff seems to have a fondness for Barbara but, for the most part, pays more attention to Kay. So when Moon Over Miami comes to a sudden close, rushing to tie up any loose ends in the story, there are a few questions that ultimately go unanswered.
Over the past 24 years, I have traveled to Florida on numerous occasions. From my visits to Walt Disney World in Orlando and sun-drenched days spent in Pensacola to a cruise ship bound for Key West and a wedding in Fort Lauderdale, I have seen different parts of the state and made plenty of memories with family members, friends and colleagues along the way. But as great as some of these destinations are, none hold a candle to Miami. This energetic hot spot, which offers something for everyone, is rich in history, culture and diversity. The city's impressive culinary scene and vibrant nightlife are matched only by an eclectic arts community — which notably includes the Art Deco Historic District — and sparkling beaches of white sand and turquoise water. It's truly the best of all worlds!
Given my fondness for The Magic City, I am not the least bit surprised by my recent discovery of and natural draw to Moon Over Miami. The 1941 musical showcases aspects of the popular destination that may very well be lost in time, all the bringing to light some of the sights and wonders that still make it relevant today. Like a well-written postcard, Twentieth Century-Fox's winning combination of travel, song and dance hits all the right notes, making it easy for one to sing the motion picture's praises and embrace the start of something — perhaps a new summer movie tradition? — that began with Betty Gable.
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