Let's talk about Broadway entertainment at its best. Let's talk about Ethel Merman. Let's talk about Irving Berlin. It's all one and the same. And pretty much all of it is here in this exceptional film version of Berlin's Broadway play "Call Me Madam" (the original play's book was written by Russell Crouse and Howard Lindsay). This is the best performance I've seen so far from Merman on film. It's not a groundbreaking film and it wasn't really a groundbreaking play either, but it is very true to the spirit and tone of the original play (whose original cast record I have listened to hundreds of times) and therefore provides the modern viewer with a window into the last days of the late lamented glory days of American musical comedy.
The play's plot is thin and might seem outdated today because it refers to post-WWII Europe and U.S. loans for rebuilding war-torn countries. In that respect it's always reminded me of the Jack Arnold/Peter Sellars film "The Mouse that Roared". It focuses on the small fictional country of "Lichtenberg" and the chaos that ensues when socialite party-giver Sally Adams (Merman) is sent by Harry Truman (who she often engages in long-distance small-talk with) as an ambassador to that country. She falls hard for what seems to be the only man in the country who doesn't want a U.S. loan for millions of dollars, Cosmo Constantine (George Sanders). Her oily career-diplomat assistant with the hilariously improbable name of Pemberton Maxwell (Billy De Wolfe) however convinces her that Constantine has ulterior motives, so complications ensue. Adams' press attaché Kenneth (Donald O'Connor) is introduced in a very amusing way as he tries to secure a press position with Merman and fails, but then comes to her rescue while she's cornered by reporters and so she announces she's taking him to Lichtenberg. There he too finds romance, in the person of a lovely and talented princess (Vera-Ellen).
All of the characters are appealing and the romantic chemistry is fine, particularly between Merman and Sanders. When Sanders begins singing in a duet with Merman, I was totally astounded. Just one of the many pleasant surprises this film has to offer. O'Connor comes as close as humanly possible to stealing the show from La Merm. His solo number "What Chance Have I With Love?" is almost the equal to his famous turn in "Singin' in the Rain", and he's given much more opportunity to build his character in this film. What could have been a dull "juvenile lead" role is spiced up considerably by the humorous introduction mentioned above (an innovation missing from the play) and by his almost cocky self-assurance, made all the more humorous when love brings him down low. Vera-Ellen doesn't have much screen presence but she does provide some great dance moves, and I thought her scene with O'Connor in the wine cellars was quite romantic.
As many other posters have noted, it's not Irving Berlin's best score. But other than "Annie Get Your Gun" it's definitely the highest quality show he ever wrote in the "integrated" style (songs designed to further the characters and/or story), far surpassing the later "Mr. President" (which starred Robert Ryan and Nannette Fabray but was never filmed to my knowledge). Most of the highly hummable Irving Berlin movies of the 30s and 40s (like "Blue Skies" and "Easter Parade") were compilations of his hit songs from previous Broadway shows going back to the teens. Other than 2 songs (one of which, "International Rag" sung by Merman, goes back to 1913) interpolated into "Madam", the entire score is straight from the Broadway show that it was written for. Considering the fact that much of the score is preserved and this version stars Merman from the original show, "Madam" is a better film in many ways than the more famous "Annie Get Your Gun" done by MGM with Betty Hutton.
Fox did a very good job on this film. It should be treasured by classic Broadway fans and it gives those unfamiliar with musical history a chance to discover one of its greatest gems, the incomparable Merman. We could pine away all afternoon that this show was done instead of "Annie" or "Gypsy", but instead we should count our blessings (we got the sun in the morning and the moon at night and we're all right, folks). The show might be dated politically but it's one of those classic musicals that knew not to take itself too seriously while at the same time respecting the taste and intelligence of its audience.
The play's plot is thin and might seem outdated today because it refers to post-WWII Europe and U.S. loans for rebuilding war-torn countries. In that respect it's always reminded me of the Jack Arnold/Peter Sellars film "The Mouse that Roared". It focuses on the small fictional country of "Lichtenberg" and the chaos that ensues when socialite party-giver Sally Adams (Merman) is sent by Harry Truman (who she often engages in long-distance small-talk with) as an ambassador to that country. She falls hard for what seems to be the only man in the country who doesn't want a U.S. loan for millions of dollars, Cosmo Constantine (George Sanders). Her oily career-diplomat assistant with the hilariously improbable name of Pemberton Maxwell (Billy De Wolfe) however convinces her that Constantine has ulterior motives, so complications ensue. Adams' press attaché Kenneth (Donald O'Connor) is introduced in a very amusing way as he tries to secure a press position with Merman and fails, but then comes to her rescue while she's cornered by reporters and so she announces she's taking him to Lichtenberg. There he too finds romance, in the person of a lovely and talented princess (Vera-Ellen).
All of the characters are appealing and the romantic chemistry is fine, particularly between Merman and Sanders. When Sanders begins singing in a duet with Merman, I was totally astounded. Just one of the many pleasant surprises this film has to offer. O'Connor comes as close as humanly possible to stealing the show from La Merm. His solo number "What Chance Have I With Love?" is almost the equal to his famous turn in "Singin' in the Rain", and he's given much more opportunity to build his character in this film. What could have been a dull "juvenile lead" role is spiced up considerably by the humorous introduction mentioned above (an innovation missing from the play) and by his almost cocky self-assurance, made all the more humorous when love brings him down low. Vera-Ellen doesn't have much screen presence but she does provide some great dance moves, and I thought her scene with O'Connor in the wine cellars was quite romantic.
As many other posters have noted, it's not Irving Berlin's best score. But other than "Annie Get Your Gun" it's definitely the highest quality show he ever wrote in the "integrated" style (songs designed to further the characters and/or story), far surpassing the later "Mr. President" (which starred Robert Ryan and Nannette Fabray but was never filmed to my knowledge). Most of the highly hummable Irving Berlin movies of the 30s and 40s (like "Blue Skies" and "Easter Parade") were compilations of his hit songs from previous Broadway shows going back to the teens. Other than 2 songs (one of which, "International Rag" sung by Merman, goes back to 1913) interpolated into "Madam", the entire score is straight from the Broadway show that it was written for. Considering the fact that much of the score is preserved and this version stars Merman from the original show, "Madam" is a better film in many ways than the more famous "Annie Get Your Gun" done by MGM with Betty Hutton.
Fox did a very good job on this film. It should be treasured by classic Broadway fans and it gives those unfamiliar with musical history a chance to discover one of its greatest gems, the incomparable Merman. We could pine away all afternoon that this show was done instead of "Annie" or "Gypsy", but instead we should count our blessings (we got the sun in the morning and the moon at night and we're all right, folks). The show might be dated politically but it's one of those classic musicals that knew not to take itself too seriously while at the same time respecting the taste and intelligence of its audience.