Friday, September 13, 2019
Cover Girl (1944)
The plot is your standard off-the-shelf backstage musical plot as used in countess other musicals. It doesn’t matter. This movie has more than enough going for it in every other department.
It’s not that Rusty is selfish or ungrateful to Danny. She’s not that kind of girl. It’s just that opportunity has beckoned and she can’t very well say no to it. And before she knows what’s happening she’s on a roller-coaster road to fame and fortune and she couldn’t get off if she tried.
In 1944 Gene Kelly was not yet a major star but he was ambitious. Not just ambitious for stardom. He and his co-choreographer Stanley Donen wanted to take the movie musical in new directions. Cover Girl is a sort of dry run for their later collaborations. They didn’t yet have enough clout to do exactly what they wanted but this film did give them the chance to put some of their ideas into practice. The famous sequence of Gene Kelly dancing with himself, trying to work through his fears and doubts, is a pointer to the future.
Eve Arden is terrific and very funny as Coudair’s assistant. Phil Silvers is a matter of taste. I don’t mind him and in the 40s the hero in a movie like this had to have a comic sidekick.
This is an odd sort of musical. It’s an old-fashioned backstage musical trying rather tentatively to push the boundaries of the genre. The thin script is the main problem. It undermines the attempts to give the characters more psychological depth than was customary in a mid-40s musical.
Despite some weaknesses this is a must-see for Gene Kelly fans. The innovations he introduced to the genre are all here, albeit in embryo. And it’s a must-see for Rita Hayworth fans who want to see her at her most seductive. Cover Girl is highly recommended.