A Rainha do Calendário

For Republic Pictures this was undoubtedly one of their bigger productions in 1947 and I couldn't help thinking that with a score by top songwriters Jimmy McHugh and Harold Adamson this film might be better known had some major studio did it.

As it is Calendar Girl takes place at the turn of the last century and it concerns life in the artist's colony of Greenwich Village. Two men of the arts from Boston, painter James Ellison and composer William Marshall, arrive in town and take up residence in the artist's boardinghouse of the indulgent Irene Rich who must have a literal last name to put up with the itinerant payments of rents she gets and expects. Another in the house is singer Jane Frazee who both Marshall and Ellison court.

The problem is that Ellison is already engaged to Gail Patrick back in Boston and he's wealthy on his own and just taking a hiatus from the family banking business. He's making a play for Frazee and that's coming between him and Marshall.

As for Marshall he gets a different kind of partnership. Singer Kenny Baker is becoming Hart to his Rodgers and with his tenor is plugging their songs as well.

I can't forget Frazee's father Victor McLaglen who is a fire captain and still regards Frazee as Daddy's Little Girl even after she becomes a celebrity of sorts when Ellison's painting makes her the Calendar Girl of 1901. McLaglen is just his overbearing, lovable, oafish self.

The lack of production values kills what is a nice picture and could have been a classic over at MGM.

"Calendar Girl" is a silly piece of fluff—there's no denying that. However, it's also a FUN piece of fluff—simple viewing and enjoyable. While it has none of the big-name Hollywood stars, it works quite well. The film is a musical romantic-comedy starring Jane Frazee, William Marshall, Kenny Baker and Victor Maglaglen. The story begins at a boarding house where lots of unemployed actors, artists, composers and other bohemians live. Two VERY oddly matched friends, Johnny (who is poor) and Steve (who is rich as obnoxious) get a room with ambitions of making it big in the music industry and in art respectively. However, these goals soon become secondary when they meet the fire chief's daughter (Frazee) and both try to woo her—even though Steve ALREADY has a girl (Gale Patrick)—though why Patrick's character wanted Steve never really made sense to me.

As for the singing, Frazee struck me as no great singer but she was pleasant and the lyrics were very nice. And, for the story, though a big predictable (you KNOW who will win Frazee in the end!), it's all very pleasant—with lots of atmosphere and likable characters (aside from Steve). Not a brilliant film but a very enjoyable time-passer that I almost awarded a 7…almost.

Quick note on the print I viewed: not the best picture or sound quality, but apart from a view small cuts, complete. It can be found on Disc 1 of the 50 Movie Pack of Musicals DVD.

The story is so-so, predictable for a musical. A songwriter and a artist share a flat in an artists-friendly establishment. One is in love with the girl next door but the other enjoys stringing her along.

Someone is wealthy but he doesn't like people to know. And the girl next door has a father with a fiery temper.

The songs are rather catchy and pleasant, and singers such as Kenny Baker and Janet Martin move them along. Attempts at comedy come off well as does the (slight) drama as the story unfolds.

'Calendar Girl' is a cheaply-made B picture from Poverty Row but, for all that, it isn't bad, and will keep you entertained.

I enjoyed this movie. It captured the aura of the era better than most 40s productions with many authentic-seeming details. The fire horses were particularly effective. I wonder if they doubled as chariot horses in other movies. One of the most effective devices was having the musicians and singers at their windows, instead of having the music come out of nowhere. The movie made me want to live there! It looked like everyone was having a good time.

The characters were engaging and did clever bits of business--I especially liked the artist on the telephone to his fiancée, the songs were buoyant, the patter was funny--such as the cow painter who couldn't get a word out, the dancing and singing very good. My favorite musical number was The Fireman's Ball which was clever and original but also in keeping with the 1900 setting. (I went back and watched that again because it was so entertaining.) Good line in it about "belle of the brawl." The women were strong-minded as was typical in movies of the war years, and the dresses were beautiful. I'm not a big fan of romantic ballads but I know from listening to 1940s radio shows online that they were hugely popular in that decade so I'm sure the audience liked that part better than I did.

Overcrowded and generally undistinguished Republic musical. Nonetheless, it does have its moments, like the opening hook with Frazee frazzling the boys, or McLaglen's feisty fireman spicing up the screen. Too bad the rather frantic musical scenes don't reach highlight status; after all, the flick has its hopes as a musical. And what's with the many distracting characters just popping in and out without any set-up -- I wish we got to know some better. Then too, what's the big deal between Boston and New York that takes up too much dialogue time. After all, there are many other states sitting among audiences then and now.

The plot itself turns on which guy Frazee will end up with, Ellison or Marshall. Frazee is aptly lively and sweet, but her two suitors are on the forgettably bland side. (Good thing Ellison went on to matinee cowboy movies.) And get a look at the fully-clothed calendar girl so scandalous for 1900; a Playboy version it ain't, but then styles and mores do change.

Anyway, I think the screenplay could have used a lot of sorting-out and a better musical score, if that were possible given scheduling demands. As is, the flick's overall obscurity is not surprsing. All in all, it's not surprising that Republic specialized in cheap cowboy flicks during this same period. So, "Hi-Yo, Silver"!