James Cagney got tired of film studios wanting him to make gangster films and typecasting him, so he went to Grand National Pictures and made this film with a Independent film maker. In this picture Caqney plays the role as Terry Rooney a band leader who has a great show in Manhattan with a great singer, Rita Wyatt, (Evelyn Daw) and there is plenty of comedy and great dancing routines throughout the show. Terry is very well liked as well as his singer Rita. Hollywood becomes interested in Terry and Bennett Regan, (Gene Lockhart) is a Hollywood director who wants to give Terry a contact to make a picture. Terry finds it hard to break into the Hollywood scheme of things and gets down in the dumps about his performances. Little does Terry realize that the producers and directors all like Terry and feel he is doing a great job, but Bennett Regan does not want to tell him that in order to keep him from getting a big head on his shoulders. Great Cagney film with outstanding dance routines.
32 Reviews
Something to Sing About is a low-voltage musical with a high-voltage star.
Terrell-413 September 2006
Warning: Spoilers
James Cagney wanted to do more than play gangsters, and he loved dancing. Warner Brothers was having none of it so Cagney successfully got out of his contract and signed to do two films with Grand National Pictures. Something to Sing About was the first. The movie's a great look at a singing, dancing Jimmy Cagney. That it's only a so-so film is almost beside the point.
The story is amusing most of the time. It gives us several musical numbers, including two full-blown productions with Cagney. It's also takes a lot of gentle pokes at the movie business. Terry Rooney (Cagney) is a Broadway nightclub song and dance man. He's happy and ambitious. He's got his band and he has his cute, adoring fiancée, Rita (Evelyn Daws). When he's offered a chance to star in a movie, he grabs it and heads west. But the studio boss realizes Terry is a potential big star, so instructs everyone not to praise him. He doesn't want Terry to get a big head. Terry, finally fed up, finishes the movie and heads back to Rita. They marry and take a long cruise on a freighter for a honeymoon. But wait. Terry's movie is a smash. The public want more of Terry Rooney. When he and Rita return, the studio boss, Bennett O. "B.O." Regan (Gene Lockhart), and the studio's press head, Hank Meyers (William Frawley), convince Terry to sign a seven-year contract. All Terry has to do is keep secret his marriage. Rita, loving Terry, agrees and becomes his secretary. He starts a second movie as a star, but there are misunderstandings, more Hollywood press shenanigans, a co-star who wants more attention, more Hollywood columnists who want scoops about phony romances. Finally, Rita has had enough and returns to New York and the band. Terry, seeing how all the Hollywood razzmatazz is separating himself from Rita, follows her...and they reunite in a production number on the stage of the nightclub before a sell-out crowd.
The best things about this movie are Cagney, his song and dance numbers and the fairly gentle but pointed pokes at Hollywood movie making. Cagney gets two big numbers and they're a lot of fun. One opens the movie with his nightclub act, singing, dancing up and down stairs and obviously enjoying himself immensely. The second is on the freighter. He joins crew members for an evening's entertainment of tap dancing, tumbling and cross- dressing.
How do you describe Cagney's dancing? It's unique. He goes at it with great energy, stiff- legged, straight backed and with his rear out. He combines tap, some ballet moves and old- fashioned hoofing. And he's fast. Gene Lockhart does a great job as "B.O.," the studio boss, pompous and petulant, a man who sees yes-men as essential to success. Evelyn Daws plays Rita. Daws was a young singer with a trained soprano; she was a discovery of the director, Victor Schertzinger. She sounds like Jeanette MacDonald's little sister and can hit high notes that'll cause nose bleeds. Daws made one movie after this and was never heard from again. After Cagney, Philip Ahn is one of the most interesting characters in the movie. He plays Ito, Cagney's gentleman's gentleman, with ludicrous pidgin-English...until we learn he speaks better than most everyone else in the movie.
For fans of Cagney, the movie is probably a must.
The story is amusing most of the time. It gives us several musical numbers, including two full-blown productions with Cagney. It's also takes a lot of gentle pokes at the movie business. Terry Rooney (Cagney) is a Broadway nightclub song and dance man. He's happy and ambitious. He's got his band and he has his cute, adoring fiancée, Rita (Evelyn Daws). When he's offered a chance to star in a movie, he grabs it and heads west. But the studio boss realizes Terry is a potential big star, so instructs everyone not to praise him. He doesn't want Terry to get a big head. Terry, finally fed up, finishes the movie and heads back to Rita. They marry and take a long cruise on a freighter for a honeymoon. But wait. Terry's movie is a smash. The public want more of Terry Rooney. When he and Rita return, the studio boss, Bennett O. "B.O." Regan (Gene Lockhart), and the studio's press head, Hank Meyers (William Frawley), convince Terry to sign a seven-year contract. All Terry has to do is keep secret his marriage. Rita, loving Terry, agrees and becomes his secretary. He starts a second movie as a star, but there are misunderstandings, more Hollywood press shenanigans, a co-star who wants more attention, more Hollywood columnists who want scoops about phony romances. Finally, Rita has had enough and returns to New York and the band. Terry, seeing how all the Hollywood razzmatazz is separating himself from Rita, follows her...and they reunite in a production number on the stage of the nightclub before a sell-out crowd.
The best things about this movie are Cagney, his song and dance numbers and the fairly gentle but pointed pokes at Hollywood movie making. Cagney gets two big numbers and they're a lot of fun. One opens the movie with his nightclub act, singing, dancing up and down stairs and obviously enjoying himself immensely. The second is on the freighter. He joins crew members for an evening's entertainment of tap dancing, tumbling and cross- dressing.
How do you describe Cagney's dancing? It's unique. He goes at it with great energy, stiff- legged, straight backed and with his rear out. He combines tap, some ballet moves and old- fashioned hoofing. And he's fast. Gene Lockhart does a great job as "B.O.," the studio boss, pompous and petulant, a man who sees yes-men as essential to success. Evelyn Daws plays Rita. Daws was a young singer with a trained soprano; she was a discovery of the director, Victor Schertzinger. She sounds like Jeanette MacDonald's little sister and can hit high notes that'll cause nose bleeds. Daws made one movie after this and was never heard from again. After Cagney, Philip Ahn is one of the most interesting characters in the movie. He plays Ito, Cagney's gentleman's gentleman, with ludicrous pidgin-English...until we learn he speaks better than most everyone else in the movie.
For fans of Cagney, the movie is probably a must.
but not for the accountant
ptb-820 March 2004
This very well produced film from Grand National was it's downfall.
Costing $900k in 1937 to produce (3 times more than 42nd Street or a quarter of Gone With The Wind) it never recovered its costs and sank the studio. A mini major wannabe of its day, it grew from the reshuffle in 1934 that saw Monogram, Liberty, Mascot and Majestic studios all become Republic. Tiffany studios had gone dark about 1932 and Grand National reopened that lot in 1935 amid the talent and exec merry go round of forming and shedding.
A Warners squabble saw Cagney suspended so he walked to Grand National who much have thought they had won the talent lottery. To create industry credibility in their production values for any Cagney film, they had to spend big, and GREAT GUY in 1936 worked. But in 1937 their swing musical based loosely on their own studio tales (and lot) cost far too much and the loss by 1938 shortened their schedule and they went dark. Most jumped ship to re-formed Monogram Pictures and series films like the Shadow and Renfrew Of the Mounted Police had a new life there. Grand National had big hopes and plans and it is a huge shame they did not continue. It is a fascinating true story of ambition and crash and should be a film in itself. SOMETHING has been available in Australia on tape and DVD for years and is widely available here..like a lot of weird and small RKO titles. Lucky us and lucky you if you can find them. Grand national was a good outfit. The opening and closing nightclub scenes in this film are really smart and quite elaborate. There's even a BIG-like keyboard dance solo. And that Logo! Wow!
Costing $900k in 1937 to produce (3 times more than 42nd Street or a quarter of Gone With The Wind) it never recovered its costs and sank the studio. A mini major wannabe of its day, it grew from the reshuffle in 1934 that saw Monogram, Liberty, Mascot and Majestic studios all become Republic. Tiffany studios had gone dark about 1932 and Grand National reopened that lot in 1935 amid the talent and exec merry go round of forming and shedding.
A Warners squabble saw Cagney suspended so he walked to Grand National who much have thought they had won the talent lottery. To create industry credibility in their production values for any Cagney film, they had to spend big, and GREAT GUY in 1936 worked. But in 1937 their swing musical based loosely on their own studio tales (and lot) cost far too much and the loss by 1938 shortened their schedule and they went dark. Most jumped ship to re-formed Monogram Pictures and series films like the Shadow and Renfrew Of the Mounted Police had a new life there. Grand National had big hopes and plans and it is a huge shame they did not continue. It is a fascinating true story of ambition and crash and should be a film in itself. SOMETHING has been available in Australia on tape and DVD for years and is widely available here..like a lot of weird and small RKO titles. Lucky us and lucky you if you can find them. Grand national was a good outfit. The opening and closing nightclub scenes in this film are really smart and quite elaborate. There's even a BIG-like keyboard dance solo. And that Logo! Wow!
if you like 30's musicals, you'll like this one
claudecat12 March 2003
This little-known film is surprisingly entertaining, with lots of pre-"Singin' in the Rain" pokes at Hollywood's star machine, good songs, and a few lively dance numbers, especially the one onboard ship. James Cagney is great as usual, and the supporting cast has some fine bits of their own, especially Gene Lockhart as arrogant but ineffectual studio head "B.O." Regan. William Frawley from "I Love Lucy" gets to show a different side as a tough and efficient publicist. Unusually, the film makes a small plea for treating minorities as full-fledged people (what a concept!), though how well it succeeds in that will be up to the individual viewer. The movie also proclaims that there's nothing wrong with women band leaders--an idea still unusual today. The production design will please 30's fans: the studio's offices are a small wonder of art deco intimidation, and even the regular movie theaters have signs with beautiful typography. Odd item to watch for: the shipboard cat boxing match--they wear gloves, so no one gets hurt, but some will find it cruel. But the film overall is a fine addition to musicals of the period.
Pleasant Musical Highlighted By Cagney's Dancing
earlytalkie25 August 2013
This is the film that supposedly sank fledgling Grand National Films after an only three-year existence. Supposedly costing $900,000, the failure of this film sealed the studio's fate. While this is an enjoyable film with pleasant songs and attractive players, I find it hard to believe that cost assessment. The settings are attractive, but not lavish, and aside from James Cagney, there are really no box-office champs here that would require a hefty salary. Evelyn Daw was charming and a very good singer in this, and she supposedly made just one other film before yawing into oblivion. She deserved a better chance at success. There are some familiar faces among the supporting cast such as William Frawley and Gene Lockhart. Phillip Ahn has a surprisingly non-stereotypical role as Cagney's man-Friday, and Mona Barrie is good as a temperamental co-star for Cagney. The print on my DVD is clear and in pretty good shape. A good example of cinema from the mid-to-late '30s.
Hollywood or Bust
lugonian1 February 2008
SOMETHING TO SING ABOUT (Grand National, 1937), directed by Victor Schertzinger, stars movie tough guy James Cagney in his second screen musical. Though not in the Busby Berkeley tradition as FOOTLIGHT PARADE (1933) where Cagney sang and dance for the first time, nor academy award potential as his legendary performance of YANKEE DOODLE DANDY (1942), it does offer Cagney a slight departure from his usual style. He's not a wiseacre nor is he slapping dames around. Although still handy with his fists when in need of them, there's a gentle side to his nature, especially his loyalty to the girl he loves. As a band-leader, Cagney gets to do some fancy footwork, yet, much of the musical interludes go to newcomer Evelyn Daw. Resembling French actress Simone Simon (CAT PEOPLE,1942) and a diva singing voice of Jeanne Madden (STAGE STRUCK,1936), Daw's film career was as short-lived as Grand National Studios itself. Slightly better than Cagney's Grand National debut, GREAT GUY (1936) due to its higher budget and reasonable plot, SOMETHING TO SING ABOUT also marked his second and farewell with the studio.
Following the pattern of a Hollywood story, though not as famous as David O. Selznick's A STAR IS BORN (1937), the plot revolves around Terry Rooney (James Cagney), a New York band-leader, with Rita "Canary" Wyatt (Evelyn Daw), the girl he loves, as his lead singer. He leaves them behind when called to Hollywood to be tested for the upcoming motion picture, "Any Old Love." Arriving by train and met by Hank Myers (William Frawley), his publicity man, and Bennett O. Regan (Gene Lockhart), president of Galor Studios, Terry finds himself going through the motions by being taught to speak correctly by the dialog coach (Marek Windheim) costume changes by the wardrobe man (Johnny Arthur); going through extremes on how to look by the make-up man (Dwight Frye); and the way how he should act by his director (Richard Tucker). During a scene, Terry loses his temper and tears up the set. With all this captured on film, it is used for the sneak preview that turns Terry into an overnight star. Unaware of how good he is, Terry, who has sent for Rita, marries her, and goes on his honeymoon to the South Seas. Upon his return, Terry (real name Thaddius McGillicuty), discovers he's a sensation and is offered a long term studio contract. He's unable to accept due to a clause that forbids him to marry. At Rita's request, he decides to abide by the studio rules, with Rita acting as his confidential secretary. Their marriage soon falls apart when Terry's name becomes romantically linked with Russian actress Stephanie Hajos (Mona Barrie).
Other members of the cast worth mentioning include Kathleen Lockhart as Emmy Robbins, a gossip columnist; James Newill, Candy Candido and Harry Barris as members of the band; William B. Davidson as Mr. Richards, the night club manager; and Philip Ahn as Ito, Terry's servant and friend who realistically shows the two ways Japanese speak, articulately, and the Hollywood stereotype of Japanese lingo ("Yes, honorable mastah"). This is something rare in movies from this era, bringing out into the open that Orientals converse just like everyone else.
Although the story is routinely done, the songs, written by Victor Schertzinger, come off as unmemorable, though a couple of dance numbers help out during the dull stretches. The song include: "Something to Sing About" (sung by Evelyn Daw during opening titles); "Here Comes the Bride" (danced by James Cagney); "Right or Wrong." (sung by Daw); "Any Old Love" (sung by Cagney); untitled dance number (performed by Cagney and male dancers); "Out of the Blue" (sung by Daw) and "Something to Sing About/"Out of the Blue" (reprise). Aside from Cagney's dancing, the title song comes off best, and is used considerably in underscoring through much of the story, along with "Out of the Blue." "Right or Wrong" the film's weaker song, is vocalized by Daw on a long distance telephone call to Hollywood with Terry (Cagney) listening on the other end.
When SOMETHING TO SING ABOUT resurfaced on commercial television in the 1970s, it played under another title, THE BAFFLING HOOFER, actually from a 1940s reissue print 15 minutes shorter than the original 93 minute length. A decade later, it turned up under its original title, and being a movie that fell victim to public domain, was distributed on video cassette through various companies. For years, video copies of SOMETHING TO SING ABOUT were inferior either audio or visually. Its cable broadcasts such as on the Nick-at-Nite Movie on Nickelodeon during the 1980s, and American Movie Classics (1989-1990) were vast improvements. SOMETHING TO SING ABOUT has later been restored with much better copies presented on Turner Classic Movies, where it premiered August 2, 2005, and finally DVD.
In closing, without the presence and charisma of James Cagney, SOMETHING TO SING ABOUT might have remained in some dark archive, along with other Grand National releases (1936-1939). Generally, the movie itself is okay, but not nearly as fun as LADY KILLER (1933), Cagney's earlier venture into Movieland. As with other films with a similar theme, it goes through the motions with behind the scenes of movie making and how fame and fortune may or may not be for the main character in question. This movie may not be something to sing about, but actually something to consider since it's a chance to see Cagney in rare form, starring in a musical and an independent production outside his home base of Warners. A fine supporting cast of veteran actors (Frawley and Lockhart) helps. (***)
Following the pattern of a Hollywood story, though not as famous as David O. Selznick's A STAR IS BORN (1937), the plot revolves around Terry Rooney (James Cagney), a New York band-leader, with Rita "Canary" Wyatt (Evelyn Daw), the girl he loves, as his lead singer. He leaves them behind when called to Hollywood to be tested for the upcoming motion picture, "Any Old Love." Arriving by train and met by Hank Myers (William Frawley), his publicity man, and Bennett O. Regan (Gene Lockhart), president of Galor Studios, Terry finds himself going through the motions by being taught to speak correctly by the dialog coach (Marek Windheim) costume changes by the wardrobe man (Johnny Arthur); going through extremes on how to look by the make-up man (Dwight Frye); and the way how he should act by his director (Richard Tucker). During a scene, Terry loses his temper and tears up the set. With all this captured on film, it is used for the sneak preview that turns Terry into an overnight star. Unaware of how good he is, Terry, who has sent for Rita, marries her, and goes on his honeymoon to the South Seas. Upon his return, Terry (real name Thaddius McGillicuty), discovers he's a sensation and is offered a long term studio contract. He's unable to accept due to a clause that forbids him to marry. At Rita's request, he decides to abide by the studio rules, with Rita acting as his confidential secretary. Their marriage soon falls apart when Terry's name becomes romantically linked with Russian actress Stephanie Hajos (Mona Barrie).
Other members of the cast worth mentioning include Kathleen Lockhart as Emmy Robbins, a gossip columnist; James Newill, Candy Candido and Harry Barris as members of the band; William B. Davidson as Mr. Richards, the night club manager; and Philip Ahn as Ito, Terry's servant and friend who realistically shows the two ways Japanese speak, articulately, and the Hollywood stereotype of Japanese lingo ("Yes, honorable mastah"). This is something rare in movies from this era, bringing out into the open that Orientals converse just like everyone else.
Although the story is routinely done, the songs, written by Victor Schertzinger, come off as unmemorable, though a couple of dance numbers help out during the dull stretches. The song include: "Something to Sing About" (sung by Evelyn Daw during opening titles); "Here Comes the Bride" (danced by James Cagney); "Right or Wrong." (sung by Daw); "Any Old Love" (sung by Cagney); untitled dance number (performed by Cagney and male dancers); "Out of the Blue" (sung by Daw) and "Something to Sing About/"Out of the Blue" (reprise). Aside from Cagney's dancing, the title song comes off best, and is used considerably in underscoring through much of the story, along with "Out of the Blue." "Right or Wrong" the film's weaker song, is vocalized by Daw on a long distance telephone call to Hollywood with Terry (Cagney) listening on the other end.
When SOMETHING TO SING ABOUT resurfaced on commercial television in the 1970s, it played under another title, THE BAFFLING HOOFER, actually from a 1940s reissue print 15 minutes shorter than the original 93 minute length. A decade later, it turned up under its original title, and being a movie that fell victim to public domain, was distributed on video cassette through various companies. For years, video copies of SOMETHING TO SING ABOUT were inferior either audio or visually. Its cable broadcasts such as on the Nick-at-Nite Movie on Nickelodeon during the 1980s, and American Movie Classics (1989-1990) were vast improvements. SOMETHING TO SING ABOUT has later been restored with much better copies presented on Turner Classic Movies, where it premiered August 2, 2005, and finally DVD.
In closing, without the presence and charisma of James Cagney, SOMETHING TO SING ABOUT might have remained in some dark archive, along with other Grand National releases (1936-1939). Generally, the movie itself is okay, but not nearly as fun as LADY KILLER (1933), Cagney's earlier venture into Movieland. As with other films with a similar theme, it goes through the motions with behind the scenes of movie making and how fame and fortune may or may not be for the main character in question. This movie may not be something to sing about, but actually something to consider since it's a chance to see Cagney in rare form, starring in a musical and an independent production outside his home base of Warners. A fine supporting cast of veteran actors (Frawley and Lockhart) helps. (***)
very fun movie
funkyfry5 March 2008
Warning: Spoilers
I didn't know what to expect from this movie at all; I never really heard of it or saw it anywhere and I bought it on a $1 DVD. I think it's a very enjoyable late 30s film, really hampered only by the sometimes painful singing of Evelyn Daw. I didn't know Cagney had made a musical this early in his career, five years before "Yankee Doodle Dandy." In fact this one came out before "Angels with Dirty Faces" so I think it's fair to say he wasn't a very big star yet and his tough guy persona hadn't been cemented yet. He looks great doing his tap dance numbers early in the film. It's a shame they didn't have him do more dancing as the film progressed instead of concentrating quite so much on the situational comedy.
Cagney plays a "hoofer" who goes by the stage name of Terry Rooney. He goes to Hollywood to make a film and the producers very foolishly try to convince him that he's bad so that he won't demand a lot of money. The foolish part is that they don't sign him until after the movie is released, so then they have to track him down and try to sign him without his knowing about it. By then he's married his sweetheart Rita (Daw) and the studio wants to keep the marriage a secret.
I've never really heard of songwriter/director Victor Shertzinger; looking at his credits I see he wrote the famous song "I Remember You" from the great Alan Ladd/Veronica Lake film "The Glass Key" and was kind of a big shot at Paramount in the 30s. None of the music in this particular film is very memorable unfortunately. It's not bad music, the main problem is that they let Daw go into a very high range that the music just doesn't justify. More Cagney dancing and less Daw singing would have made this a more satisfying musical film. But the comedy is very good, I was laughing out loud at a couple of the scenes. Cagney is a very funny guy and he seems more free in this movie without the burden of the "tough guy" that he later needed to either live up to or run away from. There's a wonderful scene with Cagney showing his wife how he made all these different faces when he was acting. There's also a funny scene where Cagney beats up a couple stuntmen and then trashes the entire set of the movie. Every James Cagney fan should see this movie because it's a bit like seeing what his career might have been like if he had stayed more in the musical comedy realm. No, it's not a masterpiece like "Yankee Doodle Dandy", but it never tries to be. It's just a very light piece of classic entertainment that goes down very smoothly.
Cagney plays a "hoofer" who goes by the stage name of Terry Rooney. He goes to Hollywood to make a film and the producers very foolishly try to convince him that he's bad so that he won't demand a lot of money. The foolish part is that they don't sign him until after the movie is released, so then they have to track him down and try to sign him without his knowing about it. By then he's married his sweetheart Rita (Daw) and the studio wants to keep the marriage a secret.
I've never really heard of songwriter/director Victor Shertzinger; looking at his credits I see he wrote the famous song "I Remember You" from the great Alan Ladd/Veronica Lake film "The Glass Key" and was kind of a big shot at Paramount in the 30s. None of the music in this particular film is very memorable unfortunately. It's not bad music, the main problem is that they let Daw go into a very high range that the music just doesn't justify. More Cagney dancing and less Daw singing would have made this a more satisfying musical film. But the comedy is very good, I was laughing out loud at a couple of the scenes. Cagney is a very funny guy and he seems more free in this movie without the burden of the "tough guy" that he later needed to either live up to or run away from. There's a wonderful scene with Cagney showing his wife how he made all these different faces when he was acting. There's also a funny scene where Cagney beats up a couple stuntmen and then trashes the entire set of the movie. Every James Cagney fan should see this movie because it's a bit like seeing what his career might have been like if he had stayed more in the musical comedy realm. No, it's not a masterpiece like "Yankee Doodle Dandy", but it never tries to be. It's just a very light piece of classic entertainment that goes down very smoothly.
something to sing about is something to cheer about
froberts7323 April 2011
Okay we've been told all the stuff about Cagney arguing with WB and dancing over to Grand National, and we know this is the umpteenth remake of earlier Warner flicks.
The movie is low-low budget, but it is fun to watch so youse guys watch it. The main reason is its star who, too seldom, was given the opportunity to display his very unique dance prowess. Unfortunately, he was given too little time to dance in this pic, but when he did, it was 100% captivating.
Another treat was Evelyn Daw. One of the critics fairly compared her to Jeanette McDonald, and I agree. Beautiful voice, cute, good personality. (I boycott Jeanette movies. In "The Great Waltz" Miliza Korjus put her in the shade. Ms. M told Mr. MGM she would walk if they starred her anymore. She was a moneymaker, so Louis B did as he was told).
A couple other "Something To Sing About" pluses were Bill Frawley and Gene Lockhart as studio bigwigs with Lockhart as the biggest wig.
Anyway, if you want so spend some pleasant time, well, this sometimes frantic movie, will be fun. Just watching Cagney, whether he dances, fights, or struts like a peacock, is always a fat bonus.
The movie is low-low budget, but it is fun to watch so youse guys watch it. The main reason is its star who, too seldom, was given the opportunity to display his very unique dance prowess. Unfortunately, he was given too little time to dance in this pic, but when he did, it was 100% captivating.
Another treat was Evelyn Daw. One of the critics fairly compared her to Jeanette McDonald, and I agree. Beautiful voice, cute, good personality. (I boycott Jeanette movies. In "The Great Waltz" Miliza Korjus put her in the shade. Ms. M told Mr. MGM she would walk if they starred her anymore. She was a moneymaker, so Louis B did as he was told).
A couple other "Something To Sing About" pluses were Bill Frawley and Gene Lockhart as studio bigwigs with Lockhart as the biggest wig.
Anyway, if you want so spend some pleasant time, well, this sometimes frantic movie, will be fun. Just watching Cagney, whether he dances, fights, or struts like a peacock, is always a fat bonus.
Pretty entertaining--too bad it was chock full of tedious songs!
planktonrules24 January 2008
The main plot of this film is fairly entertaining and it hooked me--even though the material seemed awfully familiar. Band leader Jimmy Cagney goes to Hollywood to do a screen test and he becomes a star. The film is filled with interesting behind the scenes intrigue and studio business and is in some ways reminiscent of a light-weight version of A STAR IS BORN and other "behind the scenes" movies. In addition, how the studio head (Gene Lockhart) and publicity agent (William Frawley) schemed is pretty funny and diverting. These two men plus Cagney did a lovely job despite having rather limp support from the rest of the cast.
Unfortunately, despite the nice but familiar plot, the film was also chock full of tedious songs. While Cagney's dance numbers weren't bad (what he lacked in grace he made up for in energy), his co-star (Evelyn Daw) sang in a style that was like an amalgam of opera and big band music--something that I disliked intensely. Had she only sang one or two numbers, this might not have been so bad, but she seemed to sing and sing and sing--when all the audience really wanted was more of Cagney and his nice, easy-going personality.
Worth seeing for Cagney fans, but definitely one of his lesser films.
Unfortunately, despite the nice but familiar plot, the film was also chock full of tedious songs. While Cagney's dance numbers weren't bad (what he lacked in grace he made up for in energy), his co-star (Evelyn Daw) sang in a style that was like an amalgam of opera and big band music--something that I disliked intensely. Had she only sang one or two numbers, this might not have been so bad, but she seemed to sing and sing and sing--when all the audience really wanted was more of Cagney and his nice, easy-going personality.
Worth seeing for Cagney fans, but definitely one of his lesser films.
Early Song-and-Dance-Man Cagney
LeonardKniffel7 April 2020
Remembered best for his convincing early roles as a tough guy, James Cagney dances here as if on air, and that is the main attraction of this film. Evelyn Daw, who retired from movies early in her career, does most of the singing. Cagney's prowess as a song-and-dance man later came to full fruition in "Yankee Doodle Dandy," in which he portrayed the legendary George M. Cohan. Here he plays a cocky bandleader who gets swept off to Hollywood to become a movie star, but he is determined not to let the movie moguls control his life. What makes this movie worth watching is Cagney's fancy footwork as he trips the light fantastic as if on springs. Cagney's own rise to stardom the film loosely parallels. Note the scene in which he dances on a large keyboard way before Tom Hanks did it in "Big."
Why Couldn't James Cagney get good musical properties?
bkoganbing20 June 2005
Something to Sing About was produced at Grand National Studios where James Cagney was working while under a contract dispute with the brothers Warner. He did two films for this B studio, neither of which rank high in the Cagney credits.
One of the great losses to cinema is the fact that Jimmy Cagney did so few films that utilized his terrific dancing abilities. The two that come to mind immediately are Yankee Doodle Dandy and Footlight Parade. Two lesser films are The West Point Story and Never Steal Anything Small. Cagney himself said he never used to watch anything but his musicals in retirement. So why did he make so few of them?
Well this one was all wrong. The plot of Something to Sing About concerns a hoofer who fronts for a band who's discovered and given a movie contract. There are the usual complications of a conniving studio boss and a conniving press agent played respectively and well by Gene Lockhart and William Frawley. His contract calls for a no- marriage clause, so Cagney and band girl singer lady Evelyn Daw marry in secret. Then we get the complication of a publicity driven studio romance with screen leading lady Mona Barrie. I think you can figure where this is going.
The most disappointing thing about Something to Sing About is the lack of dance numbers for Cagney. He dances briefly at the beginning and the end of the film and nothing in the middle. Evelyn Daw had a nice singing voice and the charisma of a ham sandwich. She got the musical numbers such as they were. I'm sure the movie-going public was paying their tickets to see Cagney dance.
Also in addition to giving him some dance numbers a female dance partner would have been nice. He danced well with Ruby Keeler in Footlight Parade and with Virginia Mayo and Doris Day in The West Point Story. Weren't Ginger Rogers, Eleanor Powell or Ruby Keeler available?
No memorable songs came out of this. And Daw's voice is waisted as well. She has a Jeanette MacDonald soprano voice which was so out of place with a swing band.
No wonder Cagney went running back to Warner Brothers. But they should have given him some decent musicals.
One of the great losses to cinema is the fact that Jimmy Cagney did so few films that utilized his terrific dancing abilities. The two that come to mind immediately are Yankee Doodle Dandy and Footlight Parade. Two lesser films are The West Point Story and Never Steal Anything Small. Cagney himself said he never used to watch anything but his musicals in retirement. So why did he make so few of them?
Well this one was all wrong. The plot of Something to Sing About concerns a hoofer who fronts for a band who's discovered and given a movie contract. There are the usual complications of a conniving studio boss and a conniving press agent played respectively and well by Gene Lockhart and William Frawley. His contract calls for a no- marriage clause, so Cagney and band girl singer lady Evelyn Daw marry in secret. Then we get the complication of a publicity driven studio romance with screen leading lady Mona Barrie. I think you can figure where this is going.
The most disappointing thing about Something to Sing About is the lack of dance numbers for Cagney. He dances briefly at the beginning and the end of the film and nothing in the middle. Evelyn Daw had a nice singing voice and the charisma of a ham sandwich. She got the musical numbers such as they were. I'm sure the movie-going public was paying their tickets to see Cagney dance.
Also in addition to giving him some dance numbers a female dance partner would have been nice. He danced well with Ruby Keeler in Footlight Parade and with Virginia Mayo and Doris Day in The West Point Story. Weren't Ginger Rogers, Eleanor Powell or Ruby Keeler available?
No memorable songs came out of this. And Daw's voice is waisted as well. She has a Jeanette MacDonald soprano voice which was so out of place with a swing band.
No wonder Cagney went running back to Warner Brothers. But they should have given him some decent musicals.
Cagney at his naturalistic best
klg193 August 2005
The plot of this film is fairly ordinary--bandleader/hoofer goes to Hollywood and becomes a star, studio wants to play up his credentials as a lover so they put the kibosh on announcing his marriage and cook up an on-set romance for the papers, the strain threatens his marriage. If it were with any other cast, that might have been the end of it. But with Cagney in the starring role, the movie just pops. The man had star quality positively oozing out of him, which had been evident from his earliest bit roles, in films like "A Handful of Clouds."
This was Cagney's second and last film with Grand National studios, where he'd taken refuge during a contract dispute with Warner Brothers. The first film had cast him in standard dramatic fare, but this one reunited him with his NY dance coach, Harland Dixon, who staged the dances for the film. Cagney's dancing is even more spirited than in "Yankee Doodle Dandy"--at one point, where other dancers might kick their heels, he kicks his knees! According to a NY Times article cited in the AFI Catalog, Cagney practiced his steps with Fred Astaire before filming.
What's most striking to me, though, in this film is Cagney's incomparably naturalistic acting. One scene in particular, where Cagney phones his fiancée back in New York while sitting in the dark in his Hollywood apartment, and listens to her sing a new song, is as moving and realistic as anything I've seen.
Many scenes will evoke more famous moments from later films--Cagney dancing on piano keys, like Tom Hanks and Robert Loggia in "Big," or Cagney working on his pear-shaped tones, like Gene Kelly in "Singin' in the Rain." Cagney gives them all his unique brand of liveliness. There is also an almost anachronistic recognition of the degradation Hollywood visited on minorities, in the person of Philip Ahn, who plays Cagney's manservant, Ito.
Evelyn Daw, as Cagney's fiancée, was a discovery of the director, Schertzinger, and this was her first film. She's got a cute little smile, but her voice is absolutely wrong for the sort of band Cagney is supposed to be leading. She does well enough, though, and holds her own with William Frawley as Cagney's sympathetic press agent and Gene Lockhart as the studio boss. The only real sour note is sounded by Mona Barrie, as the Hungarian star set up as Cagney's love interest by the studio press machine. She's neither attractive nor talented, and one has to wonder why she was supposed to be such a big star.
This movie is out on DVD, unlike all too many of Cagney's early efforts, and it's worth checking out for a side of Cagney seen entirely too seldom.
This was Cagney's second and last film with Grand National studios, where he'd taken refuge during a contract dispute with Warner Brothers. The first film had cast him in standard dramatic fare, but this one reunited him with his NY dance coach, Harland Dixon, who staged the dances for the film. Cagney's dancing is even more spirited than in "Yankee Doodle Dandy"--at one point, where other dancers might kick their heels, he kicks his knees! According to a NY Times article cited in the AFI Catalog, Cagney practiced his steps with Fred Astaire before filming.
What's most striking to me, though, in this film is Cagney's incomparably naturalistic acting. One scene in particular, where Cagney phones his fiancée back in New York while sitting in the dark in his Hollywood apartment, and listens to her sing a new song, is as moving and realistic as anything I've seen.
Many scenes will evoke more famous moments from later films--Cagney dancing on piano keys, like Tom Hanks and Robert Loggia in "Big," or Cagney working on his pear-shaped tones, like Gene Kelly in "Singin' in the Rain." Cagney gives them all his unique brand of liveliness. There is also an almost anachronistic recognition of the degradation Hollywood visited on minorities, in the person of Philip Ahn, who plays Cagney's manservant, Ito.
Evelyn Daw, as Cagney's fiancée, was a discovery of the director, Schertzinger, and this was her first film. She's got a cute little smile, but her voice is absolutely wrong for the sort of band Cagney is supposed to be leading. She does well enough, though, and holds her own with William Frawley as Cagney's sympathetic press agent and Gene Lockhart as the studio boss. The only real sour note is sounded by Mona Barrie, as the Hungarian star set up as Cagney's love interest by the studio press machine. She's neither attractive nor talented, and one has to wonder why she was supposed to be such a big star.
This movie is out on DVD, unlike all too many of Cagney's early efforts, and it's worth checking out for a side of Cagney seen entirely too seldom.
An early Cagney musical away from Warner Bros...
Doylenf8 May 2007
JAMES CAGNEY was having contract problems at Warner Bros. when he went out on his own and did this little musical for Grand National, which--unfortunately--flopped at the box-office. It's the kind of musical with a Hollywood background that pokes fun at the film colony and its star-making machinery (a la SINGIN' IN THE RAIN), and gives Cagney a chance to shine as a hoofer.
Cagney is Ted Rooney, a bandleader who bids farewell to his band and his fiancé (EVELYN LAW) to take temporary leave for a film when Hollywood beckons. WILLIAM FRAWLEY is the publicity agent who meets him at the station with a bevy of Hollywood cuties to snap photographs of his arrival. GENE LOCKHART is the overbearing studio mogol who calls his make-up men to give their opinion of how to prepare him for photography. A vocal coach with a heavy accent is brought in to teach Cagney how to speak. And so it goes. It never misses a chance to spoof the Hollywood star-making machinery and phoniness.
When Rooney's picture is a smash hit, the studio can't find him. He's fled Hollywood to join his sweetheart and they embark on a cruise ship where Cagney is part of the oddly amusing entertainment. You know it won't be long before Hollywood catches up with him in time for a happy ending.
It's strictly fluff but Cagney gives a solid comedy/musical performance, coasting along nicely in his role despite some shaky support from Evelyn Law, a young lady who appears to be an inexperienced actress with a singing voice not suitable for the swing band music that Cagney indulges in. She's a big drawback in a film that needs a good partner for Cagney in the love interest department.
Summing up: Trivial, predictable musical comedy which should at least interest Cagney fans but it's easy to see why it failed to please at the box-office.
Cagney is Ted Rooney, a bandleader who bids farewell to his band and his fiancé (EVELYN LAW) to take temporary leave for a film when Hollywood beckons. WILLIAM FRAWLEY is the publicity agent who meets him at the station with a bevy of Hollywood cuties to snap photographs of his arrival. GENE LOCKHART is the overbearing studio mogol who calls his make-up men to give their opinion of how to prepare him for photography. A vocal coach with a heavy accent is brought in to teach Cagney how to speak. And so it goes. It never misses a chance to spoof the Hollywood star-making machinery and phoniness.
When Rooney's picture is a smash hit, the studio can't find him. He's fled Hollywood to join his sweetheart and they embark on a cruise ship where Cagney is part of the oddly amusing entertainment. You know it won't be long before Hollywood catches up with him in time for a happy ending.
It's strictly fluff but Cagney gives a solid comedy/musical performance, coasting along nicely in his role despite some shaky support from Evelyn Law, a young lady who appears to be an inexperienced actress with a singing voice not suitable for the swing band music that Cagney indulges in. She's a big drawback in a film that needs a good partner for Cagney in the love interest department.
Summing up: Trivial, predictable musical comedy which should at least interest Cagney fans but it's easy to see why it failed to please at the box-office.
Not Horrible
arfdawg-16 February 2017
The Plot. Popular New York band leader Terry Rooney (Cagney) is offered a lucrative film contract out in Hollywood.
Rooney and his soon-to-be wife pack up and head for California. Upon arriving, they meet Mr. Regan, the head of the studio, who believes that Rooney's true lack of desire for stardom is arrogance on the band leader's part. When his first film is huge success and a hit for the studio, Regan tries to hide the truth from Rooney.
Feeling a need to get away from Hollywood, Rooney takes his wife on a South Seas honeymoon cruise, only to return to the real truth of his fame.
This was made on the tail end of the 30s before Hollywood started to unravel.
It's well done. Lot's of 'mo humor that wouldn't never be allowed today.
Too bad this film wasn't made pre-code so there could be some bra- less babes dancing around.
The film starts to drag after a while and needs a pick me up.
Rooney and his soon-to-be wife pack up and head for California. Upon arriving, they meet Mr. Regan, the head of the studio, who believes that Rooney's true lack of desire for stardom is arrogance on the band leader's part. When his first film is huge success and a hit for the studio, Regan tries to hide the truth from Rooney.
Feeling a need to get away from Hollywood, Rooney takes his wife on a South Seas honeymoon cruise, only to return to the real truth of his fame.
This was made on the tail end of the 30s before Hollywood started to unravel.
It's well done. Lot's of 'mo humor that wouldn't never be allowed today.
Too bad this film wasn't made pre-code so there could be some bra- less babes dancing around.
The film starts to drag after a while and needs a pick me up.
******* Nice Picture
GManfred28 November 2018
Contrary to many reviews there is much to like in "Something To Sing About", a minor Cagney movie produced by Grand National Productions (Cagney was in the midst of a dispute with Warner Bros. at the time). There are equal measures of comedy, music and romance blended together to create what must have been one of 1937's most underrated films. Cagney sings, dances and, counter to type, has some tender love scenes with Evelyn Daw, who is pretty and petite and has a lovely singing voice.
Nutshell; song and dance man Cagney gets an offer from Hollywood. He succeeds, and is bound to secrecy regarding his marriage to Daw, the 'band canary' in the same band. Complications arise as a result, with some alternately funny and tender scenes. On hand are William Frawley as the studio's publicity man, Gene Lockhart the studio head and Mona Barrie the studio prima donna. Victor Schertzinger directed and wrote the songs, the best of which are the title song and "Out Of The Blue". Unfortunately, all the songs are long-forgotten.
"Something To Sing About" is one of those forgotten gems which show up on TCM from time to time. Do yourself a favor and catch it next time it's on.
7/10 - Website no longer prints my star rating.
Nutshell; song and dance man Cagney gets an offer from Hollywood. He succeeds, and is bound to secrecy regarding his marriage to Daw, the 'band canary' in the same band. Complications arise as a result, with some alternately funny and tender scenes. On hand are William Frawley as the studio's publicity man, Gene Lockhart the studio head and Mona Barrie the studio prima donna. Victor Schertzinger directed and wrote the songs, the best of which are the title song and "Out Of The Blue". Unfortunately, all the songs are long-forgotten.
"Something To Sing About" is one of those forgotten gems which show up on TCM from time to time. Do yourself a favor and catch it next time it's on.
7/10 - Website no longer prints my star rating.
Pleasant; But, Nothing To Brag About!
redryan6415 May 2014
Warning: Spoilers
IN FULFILLING HIS obligations with small Hollywood Studio, Mr. James Cagney opted for a return to his ancestral, musical roots. Portraying a now successful Band Leader & Radio personality, Terry Rooney (nee Thadeus McGillicuddy).
THE OPENING SCENE toys with the audience by having others dub in both falsetto and a deep, gruff voices done over Cagney's lip-singing the film's title song, "Something To Sing About." The gag is soon revealed to be just what it is; as this is announced to be Terry's last radio program. He is moving on to the green pastures of Hollywood.
AFTER INTRODUCING OTHER members of the cast, the locale changes from NYC to Sunny Tinseltown. And it is here that the bulk of the story remains, such as it is.
THE MAIN TOPIC is and remains throughout; that being the experiences of an outsider-newcomer's experiences in this new, totally different world of Movieland. We follow the band leader through Studio Front Offices, Acting Lessons, Dancing, Wardrobe Department and Make up.
ALL OF THIS business is interspersed with pleasant, but forgettable musical numbers.
AS WITH SO many other small pictures, SOMETHING TO SING ABOUT boasts of a great cast membership. With Evelyn Daw as the romantic interest, they were supported by such capable hands as: William Frawley, Gene Lockart, Phillip Ahn, Dwight Frye* and Johnny Arthur.**
IF YOU LOOK around the local video or chain store, you will find a highly inexpensive VHS or DVD copy of this movie, which along with Mr. Cagney's other Grand National production, GREAT GUY both long in Public Domain.
AS SMALL AND insignificant as this movie is, it proved to be a powerhouse of sorts at the box office; being the one to finally sink the studio, forcing Grand National to close its doors forever.
NOTE * Yes, yes! It's the same guy who portrayed so many grotesque and horrifying characters in those classic Universal horror pictures of the 1930's. (In FRANKENSTEIN, Dracula, BRIDE OF FRANKENSTEIN, et al.)
NOTE ** Johnny Arthur was formerly a Hal Roach Contract Player (portraying, among others, Spanky McFarland's Father), who would later create the role of Imperial Japanese Agent and Emperor Hirohito look-alike, Mura Sakima in THE MASKED MARVEL Serial (Republic, 1943).
THE OPENING SCENE toys with the audience by having others dub in both falsetto and a deep, gruff voices done over Cagney's lip-singing the film's title song, "Something To Sing About." The gag is soon revealed to be just what it is; as this is announced to be Terry's last radio program. He is moving on to the green pastures of Hollywood.
AFTER INTRODUCING OTHER members of the cast, the locale changes from NYC to Sunny Tinseltown. And it is here that the bulk of the story remains, such as it is.
THE MAIN TOPIC is and remains throughout; that being the experiences of an outsider-newcomer's experiences in this new, totally different world of Movieland. We follow the band leader through Studio Front Offices, Acting Lessons, Dancing, Wardrobe Department and Make up.
ALL OF THIS business is interspersed with pleasant, but forgettable musical numbers.
AS WITH SO many other small pictures, SOMETHING TO SING ABOUT boasts of a great cast membership. With Evelyn Daw as the romantic interest, they were supported by such capable hands as: William Frawley, Gene Lockart, Phillip Ahn, Dwight Frye* and Johnny Arthur.**
IF YOU LOOK around the local video or chain store, you will find a highly inexpensive VHS or DVD copy of this movie, which along with Mr. Cagney's other Grand National production, GREAT GUY both long in Public Domain.
AS SMALL AND insignificant as this movie is, it proved to be a powerhouse of sorts at the box office; being the one to finally sink the studio, forcing Grand National to close its doors forever.
NOTE * Yes, yes! It's the same guy who portrayed so many grotesque and horrifying characters in those classic Universal horror pictures of the 1930's. (In FRANKENSTEIN, Dracula, BRIDE OF FRANKENSTEIN, et al.)
NOTE ** Johnny Arthur was formerly a Hal Roach Contract Player (portraying, among others, Spanky McFarland's Father), who would later create the role of Imperial Japanese Agent and Emperor Hirohito look-alike, Mura Sakima in THE MASKED MARVEL Serial (Republic, 1943).
James Cagney Dances Up a Studio Storm
wes-connors26 September 2010
Dancing "Big Apple" band leader James Cagney (as Terry Rooney) heads for Hollywood to make his "Galore Pictures" debut. After his down-to-earth attitude is mistaken for arrogance, Mr. Cagney leaves tinsel-town thinking he's a failed actor, and marries singing sweetheart Evelyn Daw (as Rita Wyatt). Meanwhile, Cagney's debut makes him the country's newest movie star. Publicist William Frawley (as Hank Meyers) and studio chief Gene Lockhart (as B.O. Regan) hope to cash in, but with the now married Cagney as a more appealing single man.
Mr. Frawley demonstrates some "Fred Mertz" mannerisms, and Mr. Lockhart apes a certain studio mogul.
On "leave" from Warner Bros., and with multi-"talent to burn," Cagney more than proves his worth. Jack Warner wisely made him "an offer he couldn't refuse," and Cagney re-signed before another studio - MGM, the references to Gable, Montgomery, and Taylor would suggest - got too interested. His hoofer role reached its fruition with Cagney's magnificent "Yankee Doodle Dandy" (1942). "Something to Sing About" is a tuneful title; of the songs written by director Victor Schertzinger, "Right or Wrong" was the biggest minor hit, for swing singer Mildred Bailey.
****** Something to Sing About (9/30/37) Victor Schertzinger ~ James Cagney, Evelyn Daw, William Frawley, Gene Lockhart
Mr. Frawley demonstrates some "Fred Mertz" mannerisms, and Mr. Lockhart apes a certain studio mogul.
On "leave" from Warner Bros., and with multi-"talent to burn," Cagney more than proves his worth. Jack Warner wisely made him "an offer he couldn't refuse," and Cagney re-signed before another studio - MGM, the references to Gable, Montgomery, and Taylor would suggest - got too interested. His hoofer role reached its fruition with Cagney's magnificent "Yankee Doodle Dandy" (1942). "Something to Sing About" is a tuneful title; of the songs written by director Victor Schertzinger, "Right or Wrong" was the biggest minor hit, for swing singer Mildred Bailey.
****** Something to Sing About (9/30/37) Victor Schertzinger ~ James Cagney, Evelyn Daw, William Frawley, Gene Lockhart
"Please, don't do as I say, say as I do!"
classicsoncall18 September 2018
Warning: Spoilers
Whenever I see Cagney in a film like this I'm reminded of just how versatile an actor he was. He could do it all - act, sing and dance, and with virtually limitless energy as demonstrated by that high kicking, spirited number he performed in this film. It goes without saying he's one of my favorite actors, and one of the few I've tried to catch in every picture he ever made.
It was by this time in his career that Cagney was feeling pretty good about himself and confident as a performer. I got a kick out of his character Terry Rooney (by way of Thaddeus McGillicuddy) offering a challenge to Clark Gable in a profile contest. It was at that point that Terry found out he was about to head out to Hollywood to make the jump from band leader and hoofer to the big screen. Upon arrival, great pains were taken to point out that his hair, clothes and diction were all wrong for the big time, but the brash newcomer decided he was going to do things his way. Which included getting married to girlfriend Rita Wyatt (Evelyn Daw), much to the consternation of Galor Studio boss Regan (Gene Lockhart) and talent agent Hank Meyers (William Frawley). It's all kept under wraps for a while, until the movie rags link Terry with a co-star from his next movie.
Back in the Thirties I guess a celebrity could still get away with some degree of anonymity by taking a honeymoon cruise before hitting the big time. By the time the 'McGillicuddy's' make it back home, Terry will have to fend off rumors of an engagement to another woman. Well, there's something that hasn't changed with the passage of time. That Hollywood merry-go-round keeps getting a constant workout.
It was by this time in his career that Cagney was feeling pretty good about himself and confident as a performer. I got a kick out of his character Terry Rooney (by way of Thaddeus McGillicuddy) offering a challenge to Clark Gable in a profile contest. It was at that point that Terry found out he was about to head out to Hollywood to make the jump from band leader and hoofer to the big screen. Upon arrival, great pains were taken to point out that his hair, clothes and diction were all wrong for the big time, but the brash newcomer decided he was going to do things his way. Which included getting married to girlfriend Rita Wyatt (Evelyn Daw), much to the consternation of Galor Studio boss Regan (Gene Lockhart) and talent agent Hank Meyers (William Frawley). It's all kept under wraps for a while, until the movie rags link Terry with a co-star from his next movie.
Back in the Thirties I guess a celebrity could still get away with some degree of anonymity by taking a honeymoon cruise before hitting the big time. By the time the 'McGillicuddy's' make it back home, Terry will have to fend off rumors of an engagement to another woman. Well, there's something that hasn't changed with the passage of time. That Hollywood merry-go-round keeps getting a constant workout.
"I've heard all I want to hear about Robert Taylor."
utgard1417 October 2016
Cagney sings and swings in this enjoyable musical comedy about a bandleader who goes to Hollywood and winds up brawling with stuntmen. It's lightweight fluff done on an obviously low budget, one of two movies James Cagney did for Poverty Row studio Grand National. It has a nice turn from Jimmy, who gets to show off his dancing skills in the movie's best scenes. Lovely Evelyn Daw plays his singing fiancée and has some adorable dimples. The rest of the cast is fine, including William Frawley and Gene Lockhart. Some of the behind-the-scenes movie bits are fun but the songs are nothing to write home about and the musical numbers aren't as flashy or impressive as what was going on at the bigger studios at the time. Still, as I mentioned before, Cagney is a great dancer so it's worth seeing the picture just to watch him hoof it.
Basically 'Lady Killer' As Musical
TheFearmakers27 December 2021
The better of the two and the last picture Cagney did with the independent Grand National Pictures after GREAT GUY before returning to Warner Bros where he got to play by his own rules is SOMETHING TO SING ABOUT, showcasing Cagney's dynamic ability as a song and dance man with his own East Coast big band swing show...
This is one of the earliest makings of a movie-within-a-movie to poke fun at the phony shenanigans centering on the hypocrisy and downside of Hollywood...
A shallow place Cagney's character wants nothing to do with the further he progresses on set in a star-making role as a smooth, romantic, crooning leading man...
And for Universal Horror Fans it's great seeing Dwight Frye, in his second Cagney picture (after DOORWAY TO HELL): Frye played Renfield in DRACULA, stealing the movie from Bela Lugosi himself, and Dr. Frankenstein's loony, hunchback assistant (who isn't named Igor) in FRANKENSTEIN and here a "suspiciously feminine" makeup artist - something you probably wouldn't see so upfront and obvious during the Hays Code. But the real standout is Philip Ahn, a kind of Chinese stereotypical assistant who eventually shows he knows more than he lets on...
The plot shadows an earlier Cagney programmer from Warner titled LADY KILLER where he plays a con man/thief on the lam, winding up an Extra on a studio lot and then becomes an overnight star on the big screen... Only here he has practically no fun at all, leading to a dragged-out finale about this dream job turned nightmare nearly ruining his marriage...
In a film without a genuine antagonist, I LOVE LUCY landlord neighbor William Frawley (who'd later appear in Cagney's Noir KISS TOMORROW GOODBYE) is a sneaky agent who plays up to the media that his client is having a possible affair with the movie's movie starlet, who can't hold a candle to singing actress Evelyn Daw...
That marriage, according to his contract and to appease female fans, has to be kept secret. And like any lighthearted romantic comedy, the initial breezy setup is the most fun while the task of fulfilling a buried plot detours slowly into a dead end. Still though, as a whole, the movie works just fine.
This is one of the earliest makings of a movie-within-a-movie to poke fun at the phony shenanigans centering on the hypocrisy and downside of Hollywood...
A shallow place Cagney's character wants nothing to do with the further he progresses on set in a star-making role as a smooth, romantic, crooning leading man...
And for Universal Horror Fans it's great seeing Dwight Frye, in his second Cagney picture (after DOORWAY TO HELL): Frye played Renfield in DRACULA, stealing the movie from Bela Lugosi himself, and Dr. Frankenstein's loony, hunchback assistant (who isn't named Igor) in FRANKENSTEIN and here a "suspiciously feminine" makeup artist - something you probably wouldn't see so upfront and obvious during the Hays Code. But the real standout is Philip Ahn, a kind of Chinese stereotypical assistant who eventually shows he knows more than he lets on...
The plot shadows an earlier Cagney programmer from Warner titled LADY KILLER where he plays a con man/thief on the lam, winding up an Extra on a studio lot and then becomes an overnight star on the big screen... Only here he has practically no fun at all, leading to a dragged-out finale about this dream job turned nightmare nearly ruining his marriage...
In a film without a genuine antagonist, I LOVE LUCY landlord neighbor William Frawley (who'd later appear in Cagney's Noir KISS TOMORROW GOODBYE) is a sneaky agent who plays up to the media that his client is having a possible affair with the movie's movie starlet, who can't hold a candle to singing actress Evelyn Daw...
That marriage, according to his contract and to appease female fans, has to be kept secret. And like any lighthearted romantic comedy, the initial breezy setup is the most fun while the task of fulfilling a buried plot detours slowly into a dead end. Still though, as a whole, the movie works just fine.
Something to Sing & Talk About ***1/2
edwagreen27 July 2009
Hollywood was really turning the cameras on itself when it made this 1937 movie. This is a very good take-off on why so many Hollywood marriages fell apart-mainly the studio system. So many stars of the past blamed Hollywood for their marriages falling apart. Right off the bat, I can think of Judy Garland and David Rose.
Cagney proved what a great hoofer he was 5 years before his Oscar win in "Yankee Doodle Dandy."
This wonderful Hollywood plot concerns itself with Cagney making it big in Hollywood and then running away and marrying his sweetheart, well played by Evelyn Daw. Too bad we never heard much from her.
William Frawley, the future Fred Mertz, of I Love Lucy Fame, steals the picture as a publicity agent hell-bent on getting Cagney stature no matter what the cost.
There is that accidental item that could cause a fatal rift between the married couple but Hollywood knew how to settle that so well in a final staging of a song and dance number.
Cagney proved what a great hoofer he was 5 years before his Oscar win in "Yankee Doodle Dandy."
This wonderful Hollywood plot concerns itself with Cagney making it big in Hollywood and then running away and marrying his sweetheart, well played by Evelyn Daw. Too bad we never heard much from her.
William Frawley, the future Fred Mertz, of I Love Lucy Fame, steals the picture as a publicity agent hell-bent on getting Cagney stature no matter what the cost.
There is that accidental item that could cause a fatal rift between the married couple but Hollywood knew how to settle that so well in a final staging of a song and dance number.
It's just a fantasy. It's not the real thing.
mark.waltz2 February 2023
Warning: Spoilers
I love it when the movies go out of their way to show how phony the industry is, detailing the ridiculous publicity stunts of the agents and the pretentiousness of studio executives, and how the real person given the opportunity to become a Hollywood star discovers the truth and strikes back at it. This glamorous musical (made by Grand National, one of their few A pictures), is a lot better than I remembered it to be, mainly thanks to a witty script, a top notch James Cagney and find support by several members of the supporting cast, mainly William Frawley as the publicity guy and Gene Lockhart as Cagney's director. He's a singer and dancer who gets a movie contract after being discovered, leaves the nightclub scene and heads to California, only to but heads with those who try to change his whole image.
Frawley gets the best lines in trying to manipulate Cagney's whole career, and Lockhart is hysterically funny in his pretentious characterization. Johnny Arthur, as the flamboyant hair dresser, and Kathleen Lockhart as a Hedda/Louella type columnist also get memorable moments. However, the most surprising casting is Philip Ahn as the Japanese valet who talks with the stereotypical accent, and all of a sudden reveals a shocking truth to Cagney, very witty and delightfully truthful as he ridicules the stereotypes of minorities trying to make a break in the movies during the golden age. Leading lady Evelyn Daw has a similar voice to Jeanette MacDonald, playing Cagney's genuine love interest, while Mona Barrie is the leading lady of the movie he's in, utilized by Frawley as part of some fake publicity. They are just fine, but are overshadowed by the actors I mentioned previously.
Some people might get tired of hearing the title song being sung over and over again, reminding me of other movie musicals of the time where they kept repeating it. The other songs aren't as good, but they are pleasantly sung, and Cagney gets a chance to dance quite a bit, the first time since "Footlight Parade". He shows that he's much more capable an actor than just playing a gangster, and his dispute with Warner Brothers would lead to him getting some more versatile films, most notably "Boy Meets Girl" and "The Strawberry Blonde" and of course "Yankee Doodle Dandy". Grand National, best known for cheap westerns and crime dramas, had a real artistic triumph with this even though it didn't score much at the box office. It reminded me of the Warner Brothers musical "Hollywood Hotel" with its fine energy and amusing characterizations. Glad to be convinced that this deserve the higher rating than what I originally gave it, something I rarely do.
Frawley gets the best lines in trying to manipulate Cagney's whole career, and Lockhart is hysterically funny in his pretentious characterization. Johnny Arthur, as the flamboyant hair dresser, and Kathleen Lockhart as a Hedda/Louella type columnist also get memorable moments. However, the most surprising casting is Philip Ahn as the Japanese valet who talks with the stereotypical accent, and all of a sudden reveals a shocking truth to Cagney, very witty and delightfully truthful as he ridicules the stereotypes of minorities trying to make a break in the movies during the golden age. Leading lady Evelyn Daw has a similar voice to Jeanette MacDonald, playing Cagney's genuine love interest, while Mona Barrie is the leading lady of the movie he's in, utilized by Frawley as part of some fake publicity. They are just fine, but are overshadowed by the actors I mentioned previously.
Some people might get tired of hearing the title song being sung over and over again, reminding me of other movie musicals of the time where they kept repeating it. The other songs aren't as good, but they are pleasantly sung, and Cagney gets a chance to dance quite a bit, the first time since "Footlight Parade". He shows that he's much more capable an actor than just playing a gangster, and his dispute with Warner Brothers would lead to him getting some more versatile films, most notably "Boy Meets Girl" and "The Strawberry Blonde" and of course "Yankee Doodle Dandy". Grand National, best known for cheap westerns and crime dramas, had a real artistic triumph with this even though it didn't score much at the box office. It reminded me of the Warner Brothers musical "Hollywood Hotel" with its fine energy and amusing characterizations. Glad to be convinced that this deserve the higher rating than what I originally gave it, something I rarely do.
What a superb dancer Cagney was!
loza-14 May 2005
Warning: Spoilers
The plot of this film is very simple: a provincial band leader goes to Hollywood, in spite of his success, he returns to his old band. But we do not watch this film for its intricate subplots. It's song and dance time, which was director Victor Schertzinger's forte.
In one of Cagney's dance sequences, there is stepping on a keyboard which reminds me of the Penny Marshall directed toy department scene in "Big." Some excellent performances here. Cagney of course. William Frawley is excellent too. I remember him as Bub in the TV series "My Three Sons". Schertzinger directed Damita in a couple of films, so he has Mona Barrie play a Damita-type leading lady with a foreign accent, Damita's vocal flourishes and arm-throwing. It's an utter disaster. Otherwise Schertzinger's direction is much improved compared with his earlier RKO work.
In one of Cagney's dance sequences, there is stepping on a keyboard which reminds me of the Penny Marshall directed toy department scene in "Big." Some excellent performances here. Cagney of course. William Frawley is excellent too. I remember him as Bub in the TV series "My Three Sons". Schertzinger directed Damita in a couple of films, so he has Mona Barrie play a Damita-type leading lady with a foreign accent, Damita's vocal flourishes and arm-throwing. It's an utter disaster. Otherwise Schertzinger's direction is much improved compared with his earlier RKO work.
To The Victor ...
writers_reign3 June 2010
Warning: Spoilers
On paper - it was made by Grand National, a Poverty Row outfit, the female lead made only two movies before calling it a day - this doesn't have too much going for it, unless you throw in Jimmy Cagney as leading man and hyphenate Victor Schertzinger as director/composer. It was made in 1937 which makes it roughly contemporaneous with both Stand-In and A Star Is Born, two other films that took swipes at Hollywood. Cagney is reasonably effective as a band-leader in the East who is tapped by Hollywood and goes to the coast to make a movie. Evelyn Daw, who made only one other picture the following year, is the singer with the band albeit not too convincing as she was an opera singer rather than a band vocalist. Nevertheless Cagney marries her and then finds out that a clause in his contract prevents him from marrying. YEAH, that old chestnut. It is, on the whole, reasonably entertaining and Schertzinger's score is pleasant if not exactly the stuff that Standards are made of.
On its surface, this may SEEM like a mundane hoofer flick . . .
tadpole-596-91825627 February 2020
Warning: Spoilers
. . . but upon closer examination SOMETHING TO SING ABOUT appears to offer more than initially meets the ear. Now that all of its dirt and dust has been cleared away, with scratches and rips patched (thanks to the 2002 restoration of SOMETHING TO SING ABOUT), a devious figure has emerged from the inscrutable background shadows of the grainy film stock to become perhaps the most important character of this entire movie. "Ito" creeps around on the periphery of the screen as a spider-like double agent, alternating between several dialects of American to employ the lingo best serving his diabolical aims at the moment. As SOMETHING TO SING ABOUT wraps up, Ito threatens to slink back to Japan with a treasure trove of inside dope concerning the USA's Movers and Shakers during an era when it's important to remember that "Jimmy Cagney" was an intimate of President Roosevelt. Clearly, Ito has something Top Secret up his sleeve, and it's not a Fitbit! Thanks to a legion of spies like him, Japan pulled off its infamous Pearl Harbor Sneak Attack shortly after SOMETHING TO SING ABOUT played in America's theaters! As they said at the time, loose Hollywood lips sink ships!
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