by Tony Nash
(WordPress Follower Appreciation #4: Master Mix Movies)
(All opinions are of the author alone)
(Mild Spoilers)
Kiss Me Kate (1953) ***** PG
Kathryn Grayson: Lilli Vanessi/”Katherine ‘Kate'”
Howard Keel: Fred Graham/”Petruchio”
Anne Miller: Lois Lane/”Bianca”
Keenan Wynn: Lippy, Mob Collector
James Whitmore: Slug, Mob Collector
Tommy Rall: Bill Calhoun/”Lucentio”
Kurt Kasznar: “Baptista”
Bobby Van: “Gremio”
Bob Fosse: “Hortensio”
Ron Randell: Cole Porter
Written by: Dorothy Kingsley, adapted from the stage play by Sam Spewack (as Samuel Spewack) & Bella Spewack, freely based on The Taming of the Shrew by William Shakespeare
Directed by: George Sidney
Synopsis: A divorced acting couple put aside personal animosity to put on a production of Cole Porter’s musical take on Shakespeare’s romantic comedy The Taming of the Shrew. The film mixes both the production itself, and the backstage antics of the couple, and two of the other cast members as they figure out their romantic feelings, all while the lead actor does whatever it takes to keep his ex on the stage.
While the 3D craze was still the fashion of the early to mid 1950’s, the Musical genre got its taste of the fad with the film Kiss Me Kate. The film within a film, which explores both a theater company’s performance of a production and the backstage antics of the cast, and others associated to them, is a fine setting for the 3D process as it allows actors to punt items to the camera in a believable fashion that doesn’t feel as if they’re entirely playing to the camera for the sake of the effect, whether it be the throwing of a prop or the extended in focus view of an object. The film’s main comic element is the two leads constant bickering that finally has the leading lady having enough of her ex husband/male lead’s manipulations and ego, and the man’s zany efforts to keep her from leaving, and to keep the show from ending up a financial and critical disaster. Destiny or luck seems to be on his side when a member of the cast signs an IOU with the lead’s name for a gambling debt that has two Mob enforcers coming to collect, prompting the “hero” to play the mix up to his advantage, stating he won’t be able to “pay” if his leading lady walks out on the show, leading to very funny and outlandish events and situations. A solid side plot has an aspiring acting/dancing couple who’s budding romance is on the skids because of the woman’s flirtatious nature and the man’s bad luck in games of chance, which ignites the chaotic events of the night.
(Author’s Note: Cole Porter, who wrote the songs and music for the original stage version and the film, is given a small cameo played by Ron Randall in the film, isn’t a character in the original stage performances, only mentioned as being the author of the play.)
Kiss Me Kate was one of the many successful modern takes on a Shakespeare classic, and one of the few Hollywood efforts to show what possibly might go on backstage before and in between the acts of a play/musical, including the tensions between big name stars who can’t seem to coexist in the same production. A lot of changes had to be made before MGM gave the film the greenlight to begin filming. The original script by married couple Sam and Bella Spewack had quite a bit of colorful language, swear words, and a lot of sexual innuendo. “Brush Up Your Shakespeare”, sung by the two hoods, had them performing the number during the Broadway version in a more comical manner that hinted the duo may have been homosexuals, which was a major no-no in the then still enforced Hayes Code, moved as a diversion by the hoods while Fred and Lilli had their big spat about Fred’s deception to keep her from quitting acting to right before the ending as a means of cheering Fred up after he believes he’s lost Lilli for good. There’s quite a bit else changed for the sake of cleanliness, but that’s the main bit everybody talks about.
Kathryn Grayson, the Opera Soprano trained singer who went to Hollywood, is a sheer delight as both Lilli Vanessi and the title character of Shakespeare’s famous Shrew. Grayson’s voice and style is perfect for the nearly always frustrated Lilli who has a love/hate relationship with both her ex-husband and the acting profession, her voice going deep Alto every time someone gets her mad. While it’s clear she loves performing, the tough time she had with ex Fred Graham has soured her to the calling, and wanting to start afresh by marrying a wealthy and doting Texas Cattle Baron. The mix of the film going from the performance to the backstage shows Lilli is very much like the character of Kate in that the she’s quick temper, isn’t afraid to get physical, and would gladly punch the lights out of her would be suitor, but unlike Kate, Lilli loves to be romanced and dotted upon, just wanting the man she marries to treat her like an equal and a partner, rather than just a cog in the theater machine to success. Her ire really gets up when Fred stoops to a new low and cons two hoods into making her stay with the production, falsely believing Fred owes their boss money for a gambling loss, making the hoods wish they hadn’t taken the job when, during a scene in the play, she begins throwing very real dishes, pots, and vases at them. Her emotions eventually become conflicted upon realizing that Fred truly does care about her, but at the same time feels he did her wrong so many times when they were married the first time that she wonders if she can honestly trust him.
Howard Keel, with his Tenor-Baritone pipes and rascally persona, does a fine job in the roles of Fred Graham and Petruchio. A Poster Boy example of what a hammy ego-maniac star usually is like, Fred Graham is the kind of guy who may very well make a struggling actor or actress a name in the business, the main question really being how long will it take before the performer wants to strangle him for being too demanding and difficult. Fred is an actor/director who knows what he wants and knows what will make a show a success, but his methods for getting the job done are fairly questionable. Not above using jealousies and professional competition as a means to coercing hard to get actors and actresses to accept roles in his productions, Fred may have bit off more than he could chew when he goes too far in trying to match ex wife Lilli’s verbal barbs and she finally has enough and decides to quit show business. Panicking over the failure of the show, in both money and within the theater community, and what it’ll mean for his reputation, Fred once again gets far too desperate in his actions to save the show. After a co-star, who’s jealous of the swoons his girlfriend gives Fred, signs his gambling IOU debt with Fred’s name, Fred equally deceives the hoodlums who intend to break the debt holder’s body parts unless the money’s coughed up, by making them think Lilli’s performance is the only way the show will make money to pay them off, thus using force to make her stay. The plan goes awry in the end when Lilli manages to scare the hoods and Fred into letting her go by threatening kidnapping charges to the police. Realizing Lilli’s on to all his tricks, Fred tries being honest with her, saying theater, and he himself, are nothing without her talent and gracefulness, and admitting that it was his ego that fouled up their marriage. He then must wait and see what happens.
Ms. Grayson and Mr. Keel are joined by a bevy of talented theater and film performers.
Anne Miller, the Queen of Tap Dance, is a hit as the other woman Lois Lane (no pun on Superman here) and the late casted Bianca for the Graham production. Lois is an aspiring performer actress/dancer who innocently flirts with Fred Graham to help move her career along. Her problem is that her boyfriend Bill Calhoun is content with being just another nameless hoofer in the chorus, and prefers the thrill of gambling over the excitement of applause and performing. His frustration over Lois and his bad luck is what leads to the crazy events later on, but in the end things work out for them. Keenan Wynn (Disney Legend Ed Wynn’s son) and James Whitmore, two of Hollywood’s more reliable heavies and antagonists, are blasts in the respective roles of Lippy and Slug, Mob debt collectors. When Bill’s losses at gambling round up to $2000, the duo’s boss sends them to either get the money owed to him, or to break the welching gambler’s arms and legs. Because they didn’t see Bill at the gaming joint, and only know the IOU bears the signature Fred Graham, the duo immediately head for the known Broadway star’s dressing room. Eventually they come to like Graham, and don’t relish the idea of beating him to a pulp for not paying, never finding out they’ve been given a bum steer by Bill. Oddly enough, both Wynn and Whitmore come off as more comical than menacing, as per script, and audiences can’t help but like them. Broadway fans will like that icon Bob Fosse made his first film appearance in Kate as one of Bianca’s suitors, Hortensio to be exact, and even in this small role, his song and dance talent can be clearly seen. Kurt Kasznar, known to most people as the bumbling and shifty Mr. Fitzhugh in Irwin Allen’s Land of the Giants, plays another unnamed actor playing the role of Kate and Bianca’s father Baptista. This guy clearly has no clue Fred and Lilli are at the breaking point of civility to each other, and shows the professionalism of actor’s by trying to keep the show going in spite of the mayhem.
The film is a highlight of the Golden Age of Musicals, along with Singin’ in the Rain, The Band Wagon, and Easter Parade, and while some of the film’s content can be seen as dated, old fashion, and borderline sexist/chauvinistic, the music and performances make up for the flaws, and the flaws of course can also be overlooked as an object of the time it was made in. It’s surprising the Musical didn’t do more in the 3D realm as 3D was perfect for the genre, allowing for the gimmicks to used in believable ways that didn’t look like playing to the camera.
(I do highly recommend this very well done Musical for anyone who likes the genre, and for those looking for a good place to start with it. There are some clichés involved with it, and some material that is dated, or hasn’t translated well for future viewers, but the film overall can still speak to many generations about the pratfalls of being in the theater, and how temperament amongst actors can make or break both personal and professional relationships. I do this one in honor of one of my more recent Followers Master Mix Movies, who loves all sorts of genre cinema, and seems to really like films that mix genres together, so I hope he takes a liking to this one. There is a Blu Ray available from the Warner Archives label, and while the transfer of the film is immaculate, only the original 3D print is used for the release that requires the specialized 3D TV and 3D capable Blu Ray player. The original release Blu Ray had both the 2D and 3D versions, but has long been out of print. The DVD is still a great option as it has the same transfer of the Blu Ray, but is the 2D version.)
all images courtesy of Google.com/Google Images and their respective owners
for more information
https://www.imdb.com/title/tt0045963/
https://en.wikipedia.org/wiki/Kiss_Me_Kate_(film)
buying options
Filed under: Film & TV: Potpourri, Film: Analysis/Overview, Film: Special Topics
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