Everything I Have Is Yours / Lili

M-G-M combined the songs from two of its early 50s musicals on this one 10-inch LP - the backstage story of Everything I Have Is Yours, and the naive girl-with-puppets fairytale of Lili.

Marge and Gower Champion were the dancing protagonists in 1952's Everything I Have Is Yours, joined for a rare musical outing by glamorous actor-singer Monica Lewis.

Monica Lewis and the Champions

The score is a mishmash of old items like the title tune and new material from Johnny Green and Saul Chaplin, who contributes a song for Lewis with the unpromising title, "Seventeen Thousand Telephone Poles."

The music for 1953's Lili is more satisfying, with the beloved "Hi Lili, Hi Lo" from Leslie Caron and Mel Ferrer, and a few attractive instrumental cues from Bronislaw Kaper.

As always, the M-G-M Studio Orchestra is a delight to hear, as conducted by Green, David Rose and Hans Sommer. Orchestrations for Everything I Have Is Yours were by Albert Sendrey; for Lili, Bob Franklyn and Skip Martin. The sound is very good. (May 2024: newly remastered in ambient stereo.)

LINK

Call Me Madam

One of Ethel Merman's most famous roles was Ambassador Sally Adams in the 1950 Broadway musical Call Me Madam, and the recordings from that production have been reissued many times. (There are two - one set with Merman on Decca and the RCA version with Dinah Shore, of all people, in Merman's place.)

However, the LP of the subsequent film version has been more neglected, so here is my transfer for those interested.

This is one of Irving Berlin's best scores (and by that I suppose I mean among the ones that I like the best), with a number of fine songs. The showstopper on Broadway was Merman's duet with Russell Nype on "You're Just in Love." Here Nype gives way to the terrific Donald O'Connor.

"You're Just in Love"

Also in the cast and usually in tune is George Sanders, who loved to sing and did so in several films in the 1950s. I made mild fun of Sanders' singing on an earlier occasion, only to be gently rebuked by his partisans. Here he does well in his solo, "Marrying for Love," but his entry in the duet "The Best Thing for You" is low comedy.

As often happens, Decca's pressings both for the 10-inch LP and the corresponding 45 set were grainy, but even so the sound is very good.

Doris Day Plugs 'On Moonlight Bay'

Not long ago, I was looking around for something to transfer in honor of Doris Day's 90th birthday. (I hope it won't be considered caddish for me to mention that some people think she is actually 92.)

Promo 78

It's not so easy to find unusual Day material - everything she ever recorded has been reissued. But finally I remembered a promotional disc for her 1951 album of songs from the film On Moonlight Bay, so here it is, along with the album itself.

On the record, Doris introduces four titles from the LP with opening and closing remarks. The idea is that radio stations would make a 15-minute program out of the songs and her comments. Columbia would have sent the record to deejays along with an opening script (which I don't have).

Day and MacRae make music; Smith makes waves

Day shares the LP with singer-actor Jack Smith. He was in the film as well, but not as the romantic lead. Gordon MacRae had that role, but he was contracted to Capitol records. Smith, later a television game-show host, played a rival suitor favored by Day's father. Smith was a pleasant singer who does better here than he did with Doris in the movie.

Arranger of the LP is the estimable Paul Weston, who also appears on the promotional disc. The sound is excellent.

This is the first time I have presented Day here. It's a pleasure - she is one of my favorite singers and actors.

1951 promotional tie-in

Mexican Hayride

I've been very busy for a long time, but I wanted to slip in a quick post, in this case the 1944 Cole Porter musical Mexican Hayride.

This is not one of Porter's best known scores, nor is the cast the starriest, but the record is entirely agreeable and worthy of your attention.

The star of the show was June Havoc, who was best known for being Gypsy Rose Lee's sister, called Baby June on the vaudeville stage. Havoc (née Hovick) was also apparently known for her legs. Producer Mike Todd commissioned Alberto Vargas to design a gargantuan billboard of Havoc recumbent, which appeared outside the Winter Garden theatre when the musical was in residence. That is co-star Bobby Clark ogling June through his painted-on eyeglasses.

The block-long June Havoc

Somehow Clark got left out when it came time for the Decca cast album, here presented as "selections from" Mexican Hayride "featuring members of the Original New York Production." Beside Havoc, those members were Wilbur Evans and Corinna Mura.

Evans made his name on the operetta stage. On Broadway, he also appeared in Up in Central Park, later By the Beautiful Sea. He can be heard in a few Decca operetta albums.

This was Mura's only Broadway show. She had appeared in Casablanca (singing the Marseillaise) and other movies.

I transferred the songs from the 10-inch LP of 1949, and included scans, as usual, but since I also have the 78 set, I have added scans from that album's inside front and back covers, which present photos from the show and the recording session, respectively. (The latter is below.)

Indiscretion of an American Wife

A while back I posted a Paul Weston LP that collected theme music from Jennifer Jones films, including two excerpts from 1953's "Indiscretion of an American Wife." At that time, I promised to present the soundtrack album from that movie - and here it is.

Cicognini

The music is by Alessandro Cicognini, whose long career spanned 106 films and included a particularly close association with Vittorio de Sica, who directed this effort. I haven't seen "Indiscretion," but I imagine you can figure out the story from the title, the cover, and the cues listed on the cover. The music is suitably passionate and memorable.

My copy of this LP was not in ideal condition, but the sound is reasonably good. Leading the orchestra is Franco Ferrara, a legendary conducting teacher who made very few classical records, although I think he can be heard on a number of soundtrack records beside this one.

Langston Hughes' 'Simply Heavenly'

I thought I might lead off a new series of several off-Broadway original cast recordings with this production of Langston Hughes' Simply Heavenly, from 1957.

This story of Harlemite Jesse Semple ("Simple"), his love life and his friends, played off Broadway for two months, then moved to a Broadway theater for another two months. It later was adapted for television.

Hughes adapted the story from his own novels about Simple. He also contributed the lyrics, with David Martin providing the music.

Portrait of Langston Hughes
by Winold Reiss

Simply Heavenly was by all accounts a charming show. One review of the time said, "Its great merit is that Mr. Hughes contemplates the people he is writing about with a respect that never becomes patronizing or stuffy and always retains its sense of humor." The songs display several varieties of pop music of the time - blues, R&B and even calypso, and gave a integral part to folk-blues artist Brownie McGhee (who had already appeared in two other Broadway shows). Composer Martin was a veteran pianist, arranger and composer. Hughes himself had written several plays along with his poetry and novels, and did the lyrics for Street Scene, with music by Kurt Weill.

Claudia McNeil, Brownie McGhee, John Bouie

The songs here are enjoyable, but take flight only when deep-voiced Claudia McNeil is to the fore. A commanding presence, she was best known for her role in both the stage and film versions of A Raisin in the Sun.

The role of Simple is taken by Melvin Stewart, a fine actor who often appeared on American television in later years. Stewart, however, was just adequate as a singer. This also could be said of his two female foils, Anna English as the "bad girl" and Marilyn Berry as the "good girl." Simple had to choose, and thus the plot.

This very well produced record is a fine tribute to both a notable show and an important writer. As far as I can tell, it has never been reissued.

Anna English, Melvin Stewart, Marilyn Berry

Kathryn Grayson in Grounds for Marriage

Here we go again with one of our obscure soundtrack LPs, once again featuring Kathryn Grayson.

In 1951's Grounds for Marriage, Grayson plays an opera singer, which she reputedly wanted to be in real life. Most all the music on this album is from operas, namely Le Coq d'Or, Carmen and La Bohème. This is all fairly well performed, except for the nasal tenor in "O Soave Fanciulla". But you can hear the arias better performed on many other records, so the package works best as a souvenir of the film.

I haven't seen Grounds for Marriage, but the plot synopsis makes it sound like a contrived farce (so I probably would enjoy it). Van Johnson plays Grayson's ex-husband.

The only non-operatic piece on the program is a Toy Concertino, written by David Raksin for the film. Bronislau Kaper wrote the other soundtrack music, but none of it appears on the LP. The sound is good.

1952 ad (click to enlarge)

Melchior in 'Two Sisters from Boston'

This is the second installment in my miniature tour through Lauritz Melchior's less exalted musical moments, which has been received with breathtaking indifference by readers of this blog. The first was his 1950 recording of highlights from Romberg's The Student Prince (newly remastered here).

For this post, we have a 1946 album presenting songs from Two Sisters from Boston, an M-G-M musical set in the early 20th century in which the sisters were portrayed by Kathryn Grayson and June Allyson. To be more exact, it plunders Liszt and Mendelssohn to concoct noisy cod arias that Melchior attacks with some enthusiasm in his role as an imperious tenor. In the Mendelssohn, he is joined by Nadine Conner, taking the place of Grayson.

Nadine Conner

The film is available in its entirety on YouTube. Of most interest to record fanatics will be a scene that places Melchior at an early acoustic recording session. The recording director keeps having to push the powerful tenor back from the recording horn to avoid overloading the primitive apparatus, while the musicians rush up to the horn so their solos can be heard. This leads to an entirely fanciful scene in which Melchior's dog cocks his head at the sound of "his master's voice" coming from the playback gramophone (see cover above).

The record album also includes Melchior's go at "The House I Live In," which must have surprised Earl Robinson and Abel Meeropol, its writers. The song had become a hit in 1945, following its use in a short film on tolerance starring Frank Sinatra. Melchior's version is coupled with his first attempt at the Serenade from The Student Prince.

RCA's sound is OK. The arias are conducted by Charles Previn; the other songs by Jay Blackton.

(Note: May 2024): this set has now been remastered in ambient stereo. Also, I've added two of co-star Jimmy Durante's songs from the film, "G'wan Home, Your Mudder's Callin'" and "There Are Two Sides to Ev'ry Girl," from a commercial recording on the Majestic label. More information about these songs can be found on my other blog; needless to say, they were not based on Mendelssohn or Liszt.)

LINK

So This Is Paris

Continuing our long-running series of obscure and semi-obscure musicals, here is the soundtrack from the 1955 sailors-on-leave epic So This Is Paris.

Musicals focusing on the antics of American military personnel at their leisure date back at least to the 1944 opening of On the Town on Broadway. I am not even sure this was the first musical that set sailors loose in Paris to pursue love and adventure. So there is nothing new here in that regard.

But we're concerned with the soundtrack and it is pleasant, if (like the story) hardly original. The songs are the handiwork of Phil Moody and Pony Sherrell.

A few words about this relatively unfamiliar team might be helpful. Phil Moody was a British-born composer and Doris (Pony) Sherrell was a lyricist and singer. They met when Moody became the music director for the act that Pony formed with her sister Grace. Phil and Grace married while Pony, who was then married to singer Gene ("My Blue Heaven") Austin, became Phil's musical partner.

In the mid-50s, Moody and Sherrell were assigned to a few low-powered musicals besides this one - including Three Nuts in Search of a Bolt and, in the 60s, The Second Greatest Sex. They also did songs for Paris Follies of 1956 and Fresh from Paris (I am detecting a theme here). Their two songs from those latter films were recorded by Margaret Whiting and can be found here on this blog. (Caveat: I called "All There Is and Then Some" an awful song when I posted that collection.)

Unusually, So This Is Paris starred Tony Curtis in a singing role. Of course I can't be sure that Curtis isn't dubbed; if so, the vocal double isn't that great a singer. Otherwise, we have Gloria De Haven, who can sing (she was a band vocalist), and Gene Nelson, who also can sing, although he was primarily known as a dancer.

The soundtrack was issued as a 10-inch LP and a double EP. The cover of my copy of the EP set is very worn but the records are in good shape, so the sound is pleasing.

Seán Ó Riada and The Playboy of the Western World Soundtrack

This is a follow up to my recent, surprisingly popular post of a 1955 studio recording of John Millington Synge's play The Playboy of the Western World. At that time I said I would present the soundtrack recording of the 1962 film version of the play, if I could find it.

Frightening sculpture of
Ó Riada by alanryanhall

The gods smiled on me, and I was able to locate the LP, so here is my transfer. The recording is notable because it represents one of the first stirrings of the Irish traditional music revival, which was led by composer Seán Ó Riada. Ó Riada had assembled a group called Ceoltóirí Chualann ("musicians of Chualann") for a series of recordings on the Gael-Linn label. One of them was this album of music from the Playboy of the Western World soundtrack. The musicians play traditional tunes as arranged by Ó Riada. The main theme, at least insofar as I can tell from the impenetrable Gaelic liner notes, appears to be "Mo Mhúirnín Bán," which means "My Fair Darling." It is heard throughout the score.

Ceoltóirí Chualann included many of the founding members of the Chieftains, including its founder, Paddy Moloney, who is heard here, I believe, on the uilleann pipes.

That is Siobhán McKenna in the role of Pegeen Mike on the cover. She also appeared in the studio cast. However, the film version of play had Gary Raymond as Christy Mahon, rather than Cyril Cusack.

I want to mention that I am especially indebted to reader Hotspur, who has very graciously uploaded the entire film version of The Playboy of the Western World onto YouTube for us all to enjoy. The links are in the comments, along with the links to the soundtrack recording. I would also like to refer you to the comments section of the first Playboy post. There, Hotspur has provided links to his transfers of the Ralph Richardson "Cyrano de Bergerac" on Caedmon, and "Twelfth Night" with Siobhán McKenna, Vanessa Redgrave and Paul Scofield. For all you spoken word enthusiasts (and there seem to be quite a few of you), don't miss these transfers. Thanks, Hotspur!

The Stingiest Man in Town

I've written before about the original musicals written for American television in the 1950s. Fifty-five years ago tomorrow, "The Alcoa Hour" presented a musical version of A Christmas Carol called The Stingiest Man in Town.

The creative team (Fred Speilman, music, and Janice Torre, book and lyrics) is not well known these days, but they produced quite a good score, memorialized in this 1956 Columbia release.

Damone, Madigan, Rathbone

At their service are an array of singers from both the pop and opera worlds; also Basil Rathbone as Scrooge.

Vic Damone, Johnny Desmond, Patrice Munsel and Betty Madigan offer an array of attractive numbers, although none became holiday standards. The Four Lads are utilized as a sort of Greek fraternity chorus in the guise of carollers commenting on the story.

Rathbone and Martyn Green

Spielman was a German expatriate composer who spent time in Hollywood. His biggest hit (written with Torre) was "Paper Roses," a country song.

Lost for many years, a kinescope of the original production was recently discovered and issued on DVD. The sound on the cast recording is vivid, although Columbia added a wash of reverberation, possibly to cover up dry studio sound.

The LP's back cover notes are fairly confusing, so a relevant cast list may be helpful:

Vic Damone - Young Scrooge
Johnny Desmond - Fred
The Four Lads - Carolers
Martyn Green - Bob Cratchit
Betty Madigan - Martha Cratchit
Patrice Munsel - Belle
Basil Rathbone - Ebenezer Scrooge
Robert Weede - Marley's Ghost
Robert Wright - Spirit of Christmas Present

LINK

Victory at Sea

I am presenting the original 1953 recording of Victory at Sea for no other reason than I wanted to listen to it and decided to record it while doing so.

This was issued on CD about 20 years ago, but I believe that has long been out of print. What generally is available in the stereo remake, which extends to three volumes. This transfer is from a nice copy of the original LP.

Victory at Sea was a 13-hour documentary series that appeared on US television in 1952-53, and then in syndication for many years thereafter. For families like mine, where the father was on active duty in the South Pacific during the Second World War, it was watched intently, and I remember it well - especially the memorable score.

Robert Russell Bennett

And quite a score it was, a true collaboration between composer Richard Rodgers and arranger Robert Russell Bennett, who worked together for many years. Some think that Bennett contributed as much or more to the score than Rodgers did. If we look strictly at quantity, that is undoubtedly true. There are 13 hours of music; Rodgers reputedly contributed only the 12 themes that are heard throughout the score. Of course, they are much the most memorable part of the what is heard; the reason why the music is still heard today. Bennett was a very talented orchestrator; Rodgers was a genius at what he did.

Even geniuses need help every once in a while. If you listen to the main theme from Victory at Sea ("The Song of the High Seas") after one of the themes from the first movement of Ralph Vaughan Williams' A Sea Symphony, premiered in 1910, you will see where Rodgers may have looked for inspiration. He also cribs the main theme from Chausson's Poem de l'amour et de la mer. Plus there are echoes of Elgar and Tchaikovsky in the orchestrations, but these would have been the work of Bennett.

Richard Rodgers

Note (June 2023): Valued commenter JAC writes as follows: "This is a most timely revival of this topic, given the very recent publication of George J. Ferencz's masterful book on the score. In impressive detail, both historical and analytical, he takes us through the making and contents of each episode.

"And he does establish beyond question how overwhelmingly essential Bennett was to the fabric of the score. Rodgers contributed his dozen themes, and they're truly inspired, no question. But there are whole episodes that mostly (or all) Bennett after the opening titles, and those are not all just unobtrusive background either -- there are complete Bennett marches for instance. I guess it's clear that I highly recommend this book."

Rodgers was a practical fellow. While composing the themes for Victory at Sea, he and Oscar Hammerstein also were discussing a new show, which became Me and Juliet. Not one of their big successes, but it does have an highly enjoyable score. The hit number was "No Other Love," a tango that was first heard in Victory at Sea as the "Beneath the Southern Cross" theme.

"No Other Love" 78 picture sleeve

RCA Victor, which had bankrolled Me and Juliet, rushed a Perry Como rendition of "No Other Love" to market to coincide with the musical's May 1953 opening. Como was a Crosbyite, but even the laid-back Bing might have found Perry's version impossibly languid. The download includes the a transfer from the original 78, which came in the picture sleeve at right. (Yes, there were 78 picture sleeves for a time.) The artwork is based on the play's program and is similar to the cover of the original cast LP.

Victory at Sea was recorded July 2, 1953 in Manhattan Center with members of the NBC Symphony, Bennett conducting.

[Note (June 2023): These recordings have now been remastered in ambient stereo. There is slight distortion on the vocal peaks in Perry Como's "No Other Love" single, probably caused by a disc master cut at too high a level. This distortion is present on all three copies I checked.]

Malcolm Arnold's Inn of the Sixth Happiness

I thought I might bring you a few unreissued film scores by the English composer Malcolm Arnold, who died in 2006.

Arnold, who started as an orchestral trumpeter, is perhaps equally well-known for his concert music and his music for the movies. His most famous score is for The Bridge Over the River Kwai.

As Christopher Mowat says in an obituary of Arnold in The Guardian, "his music gave immediate and unconditional enjoyment to performers and listeners alike. It was full of tunes, technically brilliant, extravert, unselfconscious and fun. Occasionally, a darker side to his personality would surface, sometimes in his music or, sadly during several periods, in his mental wellbeing."

Malcolm Arnold

In fact, Arnold was quite a turbulent personality, and some of his later music is desolate. But there is no trace of that in this marvelous score for The Inn of the Sixth Happiness, from 1958. The Swedish Ingrid Bergman stars as a cockney missionary in China, and the main Chinese parts are played by the English Robert Donat and the German Curd Jurgens. The plot involves Bergman leading 50 Chinese orphans to safety in the face of the 1937 Japanese invasion, led by Charles Boyer. (OK, I made that last part up.)

Arnold's music, performed by the Royal Philharmonic led by the composer in this early stereo recording, is varied but entirely delightful. The finest music is during the "Jennie Lawson Passes On" scene, and naturally, that is where my pressing had some issues, which I have patched briefly making use of a separate rip made by a friend of mine. You may notice a few changes in sound during that passage.

More Arnold coming up.

Ezio Pinza and Mr. Imperium

Another installment in our ongoing series looking at Ezio Pinza's career as a movie star following his retirement from the operatic stage. Here we have the quasi-soundtrack from his 1951 starring vehicle Mr. Imperium. (It's a quasi-soundtrack because the songs were remade in the studio for RCA Victor.)

Once again playing to type, Pinza is a playboy prince who becomes romantically entangled with singer Lana Turner (dubbed by Trudy Erwin). Apparently Pinza tried to make life imitate art, but Turner would not succumb to his royal presence.

I have watched some of the film (just enough to get a sense of Pinza's performance), and can report that you will not see such broad acting outside of an Abbott & Costello comedy. If you want to sample the movie yourself, it's available on Internet Archive.

The good news is that some of the songs here are by Harold Arlen and Dorothy Fields, a self-recommending pair, although this is hardly their finest work. On "Andiamo" and the unpromising "My Love and My Mule," Pinza is joined by RCA contractee Fran Warren (billed as "Fran Warren, soprano" for the first and surely the last time). Fran was from the Bronx and probably had never been within a thousand miles of a mule. She was, however, a good singer who even so sounds distinctly thin next to Pinza. By the way, despite what Wikipedia tells you, Lana Turner's songs in the film were dubbed not by Warren but by Trudy Erwin.

Fran Warren

Also to be heard from Pinza  are three songs chosen, no doubt, for their potential as a "Some Enchanted Evening" blockbuster - "Yesterdays," "September Song" and Augustin Lara's superb "You Belong to My Heart" - all highly enjoyable. The singing is magnificent.

Pinza never did become a movie star, but he made the most of his time in the spotlight - in the liquor ad below, he is shown in one of his Mr. Imperium costumes (click to enlarge). This transfer is from a mint 45 box set and has very good sound. Note (May 2024): it has now been remastered in ambient stereo and the sound is better than ever.

LINK

Sweet Smell of Success

In a small tribute to the actor Tony Curtis, who died last week, I thought I might upload the soundtrack to one of his films. For some reason, Curtis appeared in a great number of movies that had notable scores, including Trapeze, The Vikings, Kings Go Forth, Spartacus, Taras Bulba, Paris - When It Sizzles, and others. Here is 1957's Sweet Smell of Success, which featured Curtis in his first "serious" role, and composer Elmer Bernstein in his best swaggering jazz mode.

Life Magazine ad

The ironically titled Sweet Smell was actually a particularly poisonous film noir tale of power and corruption - a genre that flourished in the supposedly placid and conformist 50s.

Whether you think Curtis was effective in such dramas or not, there is no doubt that he had a gift for farce, most notably in Billy Wilder's 1959 classic-in-drag, Some Like It Hot, in which Tony ends up with Marilyn Monroe and Jack Lemmon gets Joe E. Brown.

I think Elmer Bernstein is making his first appearance on this blog, unless my fallible memory and labelling system are both failing me. Bernstein has an enormous reputation among film music aficionados, although among the general public he doesn't have 1/100 of the reputation of his namesake Lenny - no relation. This is a relatively early score, and a particularly strong one.

I should point out that some of the music on the soundtrack was composed by jazz musicians Chico Hamilton and Fred Katz, who appeared in the film as part of Hamilton's quintet. Decca also released an LP of music from the film as performed by this group. The Hamilton quintet does not appear on this album, which features a studio group conducted by Bernstein. The back cover below has more information.

Just for You

Paramount had good results from the teaming of Bing Crosby and Jane Wyman in the 1951 film Here Comes the Groom, so they reunited the two for 1952's Just for You.

Crosby had great rapport with Wyman, displayed in their duet of In the Cool, Cool, Cool of the Evening in the earlier pic. Just for You tried to recreate the magic with Zing a Little Zong - and nearly succeeded. Crosby - famed for his relaxed approach to singing - was becoming increasing stiff as the years went by, but always seemed more at ease in the company of other singers. Wyman is an excellent vocalist - not only can she carry a tune, she has a way of conveying her charming personality through her voice, which is not easy to do. She has three solo songs on this LP - more than Bing. None have been reissued, to my knowledge.

Bing is also heard in two songs with the Andrews Sisters, who are not in the film, and with the little-known but excellent Ben Lessy, who appears on the wonderful vaudeville-style duet On the 10:10 from Ten-Ten-Tennessee.

Crosby solos on the beautiful title tune. I have added another Bing solo as a bonus track - A Flight of Fancy, which was not on the 10-inch LP, but was the flip side of Just for You when it came out as a single.

The songs are by the estimable Harry Warren, who had been doing movie scores for 20 years by this time and would continue to do so for several more years. His lyricist on this occasion was Leo Robin.

The plot of Just for You has curious echoes of Crosby's personal life. Bing plays a widower in the film, which was made shortly before his wife's own death from cancer. The plot concerns Bing's estrangement from his son; Bing himself had difficult relationships with his own sons, notably Gary. And Crosby's son in the film conceives quite a passion for Wyman; Bing's son Dennis later married a showgirl that the elder Crosby had dated.


Mamie and Jane

If the oedipal theme doesn't achieve much tension, it's because the son, as played by Robert Arthur, displayed his attraction to Wyman mainly by being annoying. And Wyman, while a most attractive woman, was not a terribly sexy presence. By this time she had adopted an unbecoming hairdo similar to that of First Lady Mamie Eisenhower. It didn't do much for either of them.

In the film, Crosby was a Broadway producer, Wyman his star attraction, Carolina Hill. (She came from a sister act that also included Virginia, Georgia, Florida and Idaho. OK, I made that up.) Below, Bing rehearses Jane, adopting the pained look that was one of his specialties.

Believe it or not, this film is a favorite of mine!

REMASTERED VERSION