Alice Faye Collection, Vol. 2 [5 Discs]Alice Faye Collection, Vol. 2 [5 Discs]

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MOVIE DESCRIPTION:

    Here's another handful of memorable performances from one of the movie musical's brightest stars. Includes The Great American Broadcast (John Payne. 1941/90 min.), Four Jills in a Jeep (Betty Grable. 1944/89 min.), Rose of Washington Square (Tyrone Power. 1939/86 min.), Hollywood Cavalcade (Don Ameche. 1939/97 min.) and Hello, Frisco, Hello (Jack Oakie. 1943/99 min.). Color-b&w/NR/fullscreen.

DVD FEATURES:
  • Number of Discs: 5
  • Screen: Color
  • Audio: Dolby Digital Mono
  • Aspect Ratio: 1.33:1 (Pre-1954 Standard)
  • Features:
    • cc
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Song - 1943 (Harry Warren, Mack Gordon)
  •     Nominated Best Color Cinematography - 1943 (Allen M. Davey, Charles G. Clarke)
ADDITIONAL INFORMATION:
REVIEWS:
  • As a musical movie, Hello, Frisco, Hello is no great shakes, but as a star vehicle for the lovely and appealing Alice Faye, it serves its purpose very well, thank you. Make no mistake, Frisco has a screenplay that any writer with half a day's experience could have churned out in his sleep. The basic set-up is trite, the plot is all by the numbers, the characterizations make paper seem thick, and the dramatic situations are about as blatant and obvious as one could possibly imagine. Some of the dialogue is a bit better than expected, and there are a few amusing lines here and there, but this isn't a film to be saved by its witty repartee. What saves it is the luscious Faye, looking absolutely stunning in her Helen Rose outfits and practically shimmering in every delicious Technicolor close-up. And she's in very fine voice, using those low, melting tons of hers to milk every last drop out of one of her signature songs, the gorgeous Harry Warren-penned "You'll Never Know," as well as a dozen or so other numbers. Opposite her, John Payne is a bit stiff, and his character not terribly appealing, but Jack Oakie and June Havoc are aces in the comic supporting roles. There are more musical numbers than you can shake a stick at, which is all to the good, for when the singing stops, the trouble begins. Watch Frisco for Faye, the physical production and its songs -- and be ready to press "fast forward" after much of the dialogue. ~ Craig Butler, Rovi
  • As history, The Great American Broadcast leaves a lot to be desired, but as escapist entertainment, it's a nice enough way to while away the time. Forget about the plot; like many musicals of the period -- and especially those which involve radio broadcasts in a big way -- the story is of secondary importance. The screenwriters make an effort by setting the tale in the early days of radio, but they shoot themselves in the foot with a standard issue love triangle plot that doesn't make sense, in which characters behave stubbornly and stupidly only to give the plot some place to go. Fortunately, director Archie Mayo keeps things zipping along so that the plot doesn't matter that much. He does an especially good job with the set piece boxing sequence, and of course the musical numbers are quite good (even if some of the pieces would never really work over the sound-only medium of the radio). Alice Faye is her usual appealing self, in fine sultry voice and looking great. John Payne is stiff as expected but okay, and Jack Oakie provides energetic contrast and relief. The Nicholas Brothers dance up a storm, the Ink Spots deliver the goods on "If I Didn't Care" and the strange, whimsical Wiere Brothers add a special panache. ~ Craig Butler, Rovi
  • Four Jills in a Jeep probably shouldn't be as entertaining as it is. After all, there's nothing to the story really, which is hardly anything more than a framework that allows the members of the cast a chance to do their various things. The songs are pleasing, of course, but most are pulled from hither and yon rather than being a score written especially for this particular film. And although there are some bona fide big stars among the "guests," the leads are either past their screen prime (Kay Francis) or never really top drawer screen stars (Martha Raye, et al). Yet Jills is a heap of fun, in spite of itself. The plot is nonsense, but the routines are quite engaging, whether they're Phil Silvers doing his usual Phil Silvers routine or Alice Faye doing quite right once again by "You'll Never Know" or the always enjoyable Carmen Miranda "I Yi Yi Yi"-ing her way across the screen. And even if they're not in a league with guest star Betty Grable, Francis, Raye, Carole Landis, and Mitzi Mayfair as a group generate a lot of good will. Check your critical ego at the door, and these Four Jills in a Jeep can show you a good time, Charlie. ~ Craig Butler, Rovi
  • Hollywood Cavalcade is overall a fine piece of entertainment, but it would probably rate even higher had it ended about halfway through. Granted, slicing Cavalcade in half would have seriously affected its dramatic trajectory, but the truth of the matter is that the first half of the film is much better than the second half. This is largely because the first portion is concerned with capturing Hollywood during the silent era, when filmmaking was in its infancy and no one knew what they were really doing. They were making up the rules as they went along, and Cavalcade does a fine job of capturing that joyous spirit. It also provides opportunity for some of the silent era's finest comic talent, including Buster Keaton, Mack Sennett, Chester Conklin and Ben Turpin, to make appearances and demonstrate their special magic. The gags they pursue may be old, but the talent is as fresh as ever, and there is genuine sparkle to these sequences. Unfortunately, the second half deals less with Hollywood than with the cliched and predictable love triangle that has sprung up among the leading players of Cavalcade. This story isn't necessarily bad; it just isn't very good, and it drags the second half of the film down a bit. Don Ameche, Alice Faye and Alan Curtis do everything they can -- which is saying a lot -- but one still finishes the film remembering how much more fun it was before it started concentrating so much on the story. ~ Craig Butler, Rovi
  • Rose of Washington Square is at best a middling musical tearjerker, but it will have special interest for certain people. Naturally, fans of stars Alice Faye, Tyrone Power and Al Jolson will be attracted to Rose. But so will fans of Fanny Brice and the much later Funny Girl, for Rose tells the same story, that of Brice and her love for the luscious but shifty Nicky Arnstein, although it does so without acknowledging its real life source. Funny Girl benefited from a tighter construction and songs that were tailored to both the characters and the story; Rose makes do with some numbers that are dynamite but that, with one or two exceptions, don't transcend their onstage "number" status to delineate character. Rose also has the bad luck to tell the Brice story in a patently uninteresting way and to be directed by Gregory Ratoff in a fairly obvious manner that makes the film quite predictable. What Rose does have going for it is its trio of stars. Power looks as handsome as ever and his innate charm is crucial to keeping the audience interested in the love story. Faye is tops, handling the sudsy material with aplomb and delivering her songs, especially the Brice signature "My Man" with great style. And Jolson is Jolson, captured in all his glory; his performance style will strike many as mannered, but for those "into" the man, rose is a treasure trove of some of his most notable songs. It's also a treasure trove of his blackface, which is unfortunate -- but also an inseparable part of his style. ~ Craig Butler, Rovi

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