Five hundred miles up the ol' Mississippi, some shanty boat folks are having a wedding. Working girl Barbara Stanwyck is marrying riverman Joel McCrea. His pa, Walter Brennan, is providing the music on his "contraption," a framework with various musical things so he can be a one-man band. A fair number of folks attend the ceremony and afterparty. But an accidental "murder" forces Joel to flee. Fate is against the newlyweds, and for the rest of the movie they seek to reunite--way down yonder in New OrLEANS becoming the scene of their fulfillment.
The film is curious in that the director and editor don't proceed at a snappy pace, but give stars and supporting actors more than ample time to show off. Especially Walter Brennan (without his upper denture), who spouts off at length in his countrified accent and repeatedly plays his contraption. Family friend Buddy Ebsen, too, drawls, sings, and dances in his unique countrified style. Otherwise, accents are a stew, notably Barbara of Brooklyn and Joel of California.
On-the-make Walter Catlett, in his trademark glasses, does his trademark mugging. Katherine de Mille (Cecil B. DeMille's adopted daughter) wants Joel for her own. She's somewhat beefy, and is allowed only one dress, kinda Sadie Thompson style. But she does get to heat up the film with her black stockings, and finally is stripped down to an industrial-strength slip. Helen Westley is demoted to a cackling grandma in a rocking chair.
MUSICAL NUMBERS
Banjo on My Knee and Saint Louis Blues pop up here and there in the film, and also get full treatments. (By the way, this film was an Academy Award nominee for Best Sound Recording; the soundtrack is well preserved, sharp at times. And the print is good, but may profit from a crankup of Brightness.)
1. [on the shanty boat] Banjo on My Knee. Ebsen sings and dances.
2. [ " ] When the Lazy River Goes By. Stanwyck does a short subdued solo to McCrea. The refined delivery suggests it's dubbed.
3. [Cafe Creole, Latin Quarter, New Orleans] There's Something in the Air. Spotlighted Tony (credited as Anthony) Martin sings to the folks at the tables. He's prettified, especially his penciled brows, greased hair, he slips deftly around the floor, dark jacket, light pants, and knows he has a voice to die for--with tremolo. He looks like he's passing for straight.
4. [facade of three-tiered apartment house for blacks, with a courtyard] Saint Louis Blues. This is the big production number, with the Hall Johnson Choir on the soundtrack, and stealing the picture, Theresa Harris, seated immobile and serious, doing full justice to that Saint Louie woman with all her diamond rings. (This pretty, trim performer did many films, occasionally singing and dancing but mostly playing maids.)
5. [Cafe Creole] Brennan and his contraption do a suth'n medley: Way Down upon the Sewanee River, Dixie, etc.
6. [ " ] When the Lazy River Goes By. The long version in a duet by Barbara, using her own voice, and Tony, plus dancing.
7. [ " ] I Go Right On Singing with a Banjo on My Knee. Ebsen sings and dances.
8. [ " ] Sewanee. Barbara and Buddy dance.
The fresh songs are by composer Jimmy McHugh and lyricist Harold Adamson. (They also wrote Comin' In on a Wing and a Prayer; I Couldn't Sleep a Wink Last Night.)
AS THE END NEARS...
...the Special Effects Department takes over the Mississippi River. Boy! you really got a lot for your dime in 1936.
P.S. Tony Martin's character is named Chick Bean (because he's from Chicago). Well, that's better than Chick Pea, eh ?
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