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Right Cross (1950)

Ah, to be June Allyson. She has her pick of men in Right Cross, a boxing drama where both Dick Powell and Ricardo Montalban are deeply in love with her. Poor Dick Powell, though, doesn’t have a chance in the film, despite being married to June Allyson in actuality.

Right Cross is a boxing drama, a love triangle, and a not fully fleshed-out examination of what it means to be Hispanic American. Pat O’Malley (June Allyson) is the daughter of fight promoter Sean O’Malley (Lionel Barrymore), but runs the business for him because of his ill health. The business is on the decline, but they do manage the current boxing champion, Johnny Monterez (Ricardo Montalban).

Pat and Johnny are in love, but Johnny won’t propose because he’s afraid that if he were no longer champion, she would no longer love him. He can’t believe she would really love him for himself, a man of Mexican background who has had to fight for everything he ever had.

There is also a plot-thread involving Johnny’s hand, which has been injured several times. The doctor warns Johnny that his hand could go at any time, spelling the abrupt end of his career. For Johnny, it is a race against the clock, to find a way to make enough money to deserve Pat before he ends up back where he started: with nothing.

The third wheel to the romance is provided by Rick (Dick Powell), a sports journalist carrying a torch for Pat, but he is also a good friend to Johnny. His hobby seems to be drinking and brawling.

It’s a very intriguing set up and the characters are all appealing, though the plot is imperfectly executed. For one, June Allyson and Dick Powell actually have the better chemistry in the film (which isn’t exactly an imperfection, because it is delightful). Not all off screen couples have good on screen chemistry, but June Allyson and Dick Powell did (they are also adorable in The Reformer and the Redhead). Rick comments that “it’s either there or it’s not,” and we are supposed to believe that it’s not there in the film, but it actually is. The scene where Rick tries to cook a spaghetti dinner for Pat (unsuccessfully) and shows her how he would play a love scene is very sweet and almost made me wish that Rick and Pat could be together.

They even have chemistry in this picture

But the main problem is how the film lets some very interesting plot points drop conveniently at the end. Johnny’s mother does not trust “gringos” and is not pleased that Johnny is dating Pat. Johnny is also ashamed to bring Pat home to meet his mother. At the same time, he does not want his sister to date a “gringo.” And Pat’s father is not thrilled that Pat is dating Johnny. The plot sets up these problems, only to let them disappear at the end.

That being said, the cast is highly appealing. Especially June Allyson and Dick Powell. It’s not that Ricardo Montalban isn’t appealing, but his character is callow and has the unfortunate habit of using others to do things for him that he should do himself, like constantly sending Rick to patch it up between him and Pat, which seems callous, unless he’s oblivious that Rick does love Pat. He has some growing up to do.

June Allyson, on the other hand, is very mature, without being matronly. One of the things that is appealing about June Allyson is how naturally she wears her charm. She seems down to earth, utterly capable, unpretentious, like someone you would like as a friend. She seems natural. Like she’s hardly acting at all. Like she just IS.

That kind of persona is easy to overlook and I’ve always rather taken June Allyson for granted. Thanks to Simoa of Champagne for Lunch, who is hosting “The June Allyson Centenary Blogathon,” I’ve had a chance to think about her roles afresh. And to appreciate  how she can make acting look so easy and natural. I believe that she could be a fight promoter. She can play a professional person without looking like she’s trying too hard to convince us that she’s a professional. She seems totally comfortable as a woman, as a woman in love, and as a fight promoter. Quite an accomplishment. It actually might have been nice to see more of that side of her character in the film!

More posts about June Allyson from the blogathon can be found here.

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Posted by on October 7, 2017 in Movies

 

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Cyd Charisse in the “Gotta Dance!” Blogathon

GottaDance_CydGeneClassic Reel Girl is hosting the Gotta Dance! Blogathon today – which is the birthday of Bill Robinson as well as National Tap Dance Day – and I am thrilled to be participating in this celebration of the dance in film by offering a tribute and meditation on the unique talent and beauty of Cyd Charisse.

I have been reading about movie musicals recently and in one article Cyd Charisse was described as “stiff” and in a book she was called “cool,” two words that would never have occurred to me to use to describe her dancing (though perhaps her acting). Interestingly, both comments were made in relation to her dance partnership with Fred Astaire and I’ve discovered that devoted Fred Astaire aficionados are not always as enamored of Charisse as they are of some of his other partners (namely Ginger Rogers and Rita Hayworth).

The reason this is, I believe, is the nature of her dancing. Cyd Charisse is primarily a ballet dancer and although Fred Astaire didn’t care for ballet, it’s influences can still be seen in his dances with her. In ballet, often the man is there to hold the ballerina up and make her look good. Fred Astaire obviously does much more than that, but it is true that in a certain way Cyd Charisse complements Astaire less than say Ginger Rogers or Rita Hayworth. Rather, he complements her and her style of dancing.

Gene Kelly, on the other hand, was almost better at ballet than tap (as Brian Seibert, author of What the Eye Hears: A History of Tap Dancing argues convincingly) and he was interested in expressing himself balletically, making his dances with Cyd Charisse seem more natural to him, though I must confess that I still prefer her collaboration with Astaire, despite those films being less typical of his style. I think the reason is the same reason that Fred Astaire aficionados don’t care for her as much (apart from the fact that she didn’t do any tap dancing).

Usually, a Fred Astaire dance is how he does his wooing. Ginger Rogers resists him until they dance and then you knew her attitude towards him has changed. Not so much with Gene Kelly. He seems to have been more interesting in expressing himself through dance. This means that the lady he is dancing with is not doing as much besides helping him express whatever thought or feeling he is having. The big ballet sequence in An American in Paris has nothing to do with winning the girl (she already loves him, but she’s engaged). It’s more about him working out his internal conflict.

1953: Fred Astaire (1899 - 1987) and Cyd Charisse perform a dance routine in the film 'The Band Wagon', directed by Vincente Minnelli for MGM.It’s the same with the dream sequence in Singin’ in the Rain, which he dances with Cyd Charisse. She’s fantastic as a Louise Brooks-type vamp, but you don’t get the sense you really know her. And that brings me to Cyd Charisse and what she often expresses through her dancing. As an actress, she is indeed somewhat “cool” and “stiff,” enigmatic, aloof and almost unknowable. But when she dances, she comes alive and suddenly, you feel, she is showing the real person inside.

As I said, I’m not sure Gene Kelly brings this out as much, even in Brigadoon (though their dancing is beautiful), but Fred Astaire does, especially in Silk Stockings, which is almost more of a showcase for Charisse than it is Astaire. “All of You” is not just about Fred Astaire wooing through dance, but drawing out the highly controlled Ninotchka and cajoling her into dancing. For her, it is a liberation, a coming alive and expressing herself in the way she is meant to instead of burying it under austere rhetoric and party solidarity. The film also features the lovely dance where Ninotchka has hidden silk stockings, a corset, a hat and other feminine items of dress around her room and it is a moment of self-discovery for her.

On a side note: it’s a testament to what a gracious and unassuming dancer Fred Astaire was – though a perfectionist and 100% committed to his art – that he could adapt himself to whoever his dance partner happened to be (even Burns and Allen or Joan Fontaine).

Another frequent dance partner for Cyd Charisse was Ricardo Montalban. They danced together in five movies, all of which had totally inconsequential plots, but nevertheless contained some real dance delights. Because the dances are not integrated into the plot, they don’t reveal much about the characters, but that doesn’t dint one’s enjoyment because Cyd Charisse and Ricardo Montalban really seem to be enjoying themselves and each other. Montalban was not a dancer, but he possessed a natural athleticism and grace and he and Charisse generate a good amount of spark.

In another film – actually a Margaret O’Brien film, The Unfinished Dance – the entire arc of Cyd Charisse’s character is how she discovers that dancing is her life (and consequently her identity) and she dumps her fiance at the end so she can become fully committed to ballet. In another film – Meet Me in Las Vegas – much of the conflict between her and Dan Dailey is that she cannot give up ballet and he cannot give up his ranch. Ultimately, they compromise. But these are examples of how closely her characters are identified with dance. Without it, she almost doesn’t exist as a character.

cyd-charisse-in-silkesstrumpan-(1957)-large-pictureMy sister did ballet for many years and she has a lot of opinions about what constitutes good dancing. For her, one of the signs of skilled dancing is control. Buster Keaton had perfect control (though not a dancer). His body never did anything he didn’t want it to do and it’s the same with Cyd Charisse. As marvelous as Ginger Rogers and Rita Hayworth are as partners for Fred Astaire, you don’t want to look too closely at their arms, leg kicks or spins (which is a move that always gives the show away –  I took tap for seven years and profoundly sucked at spins).

But control is not “stiff.” There were few dancers more sexy than Cyd Charisse and in her case, perfect body control merely indicated reserves of sexiness, making her dances all the more potent. There never was anyone quite like her. She could do ballet and jazz (how she could do jazz!) and was so sensational, I’d watch an inferior movie, just to see her in one dance.

Be sure to read all the rest of the entries in today’s celebration of dance. Thanks again to Classic Reel Girl for hosting this wonderful event!

Below are some examples of Cyd Charisse. I tried to pick dances that were less known, which is why I omitted the sublime The Band Wagon.

“All of You” is the first dance between Astaire and Charisse in Silk Stockings. They discuss love (she maintains it’s a chemical reaction) and he can’t seem to make any headway until he starts dancing. The dance begins around the 5:30 mark.

And here is the lovely dance where she first puts on silk stockings in Silk Stockings.

From On An Island With You – the plot is barely there, but there are two lovely dances with Montalban and Charisse, as well as a few aquatic dances with Esther Williams.

Another example of a fun dance stuck in the middle of a film (Fiesta) for no other reason than it is fun.

Once again, in It’s Always Fair Weather Cyd Charisse loosens up through dance – though her love interest, Gene Kelly, is not present (how did those two not have a dance together in this film!). When Kelly first meets her, she seems like the ultimate, stereotypical career woman ice-queen and here she reveals herself to be far more accessible and grounded than he supposed.

 
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Posted by on May 25, 2016 in Movies

 

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