The death of June Allyson this past week is reason enough to revisit one of her most important starring vehicles, this wholesome 1947 MGM college musical from the golly-gee-whiz school of entertainment. Based on a pre-Depression-era stage hit, it's all pretty ridiculous but very sincere with random moments of clever comedy thanks to the formidable team of Betty Comden and Adolph Green with their first screenplay effort. The thin plot involves exuberant co-eds at Tait College and two in particular, conscientious good girl Connie Lane and football hero Tommy Marlowe. The closest thing the film comes to drama is the risk Tommy faces in not being able to play in the big game if he cannot pass his French class, and you can guess who is the only who can tutor him. There is inevitably a snooty gold-digger out to steal Tommy from Connie under the assumption that he is an heir to a pickle fortune. And naturally, there are hijinks galore among the co-eds who have a more vested interest in the big game than their own studies.
The trivial nature of the film is offset primarily by two things. First, there is Allyson, who exudes cornbelt, girl-next-door appeal effortlessly. With her froggy voice and twinkly smile, she shines as Connie despite the fact that she is not inordinately talented as either singer or dancer. As Tommy, Lawford is actually a better dancer than you would expect, but his character is such a flighty dullard that he comes across as rather silly. The second notable factor is a wonderful bouncing ball of a dancer named Joan McCracken, a Broadway performer who plays Connie's comic sidekick Babe Doolittle. Shamefully an obscure footnote now, she is the dynamic center of the energetic if somewhat politically incorrect "Pass the Peace Pipe" production number, a dazzling example of finely coordinated MGM choreography at its best. Another example of that craftsmanship is the final "Varsity Drag" number where dozens of dancers impressively replicate the moves of Allyson and Lawford in synchronized lockstep. This will definitely not suit everyone's taste, even lovers of MGM musicals, but it is a worthy tribute to Allyson's appeal and the kind of musical that would never be made again without some hint of cynicism.
The trivial nature of the film is offset primarily by two things. First, there is Allyson, who exudes cornbelt, girl-next-door appeal effortlessly. With her froggy voice and twinkly smile, she shines as Connie despite the fact that she is not inordinately talented as either singer or dancer. As Tommy, Lawford is actually a better dancer than you would expect, but his character is such a flighty dullard that he comes across as rather silly. The second notable factor is a wonderful bouncing ball of a dancer named Joan McCracken, a Broadway performer who plays Connie's comic sidekick Babe Doolittle. Shamefully an obscure footnote now, she is the dynamic center of the energetic if somewhat politically incorrect "Pass the Peace Pipe" production number, a dazzling example of finely coordinated MGM choreography at its best. Another example of that craftsmanship is the final "Varsity Drag" number where dozens of dancers impressively replicate the moves of Allyson and Lawford in synchronized lockstep. This will definitely not suit everyone's taste, even lovers of MGM musicals, but it is a worthy tribute to Allyson's appeal and the kind of musical that would never be made again without some hint of cynicism.