weezeralfalfa
The third and final filming of the same basic story by Fox studios over a 16 year span. Originally conceived as two distinct films: one an impersonation farce, based on the play "The Red Cat", and the other a musical romance. Zanuck knew it would be a compelling story of perfect mimicry of a rich philandering man by a stage performer, and sometimes the opposite. I have seen the last 2 versions in full, and a 20 min. compendium of mostly the musical numbers of the first. They all have their distinctive overall personalities, especially in the stage numbers, thus warrant viewing each. The '35 version includes a number of Busby Berkeley-like kaleidoscopic productions involving a large team of chorus girls, as was the 'in thing' during that era, along with Maurice Chevalier's distinctive stage personality(which Kaye briefly imitates in the present film). The '41 version introduced Technicolor, dominated by the 3 musical-drama stars of Don Ameche, Carmen Miranda, and Alice Faye, with new songs by Harry Warren and Mack Gordon. Whereas the other two versions were sited in France, as intended, the second one was awkwardly sited in Rio(actually, a sound stage), in deference to the presence of Carmen, and the 'good neighbor policy' of FDR. In contrast to Gene Tierney's persona in the present film, as simply an elegant gorgeous 'trophy wife', Alice Faye, in Gene's role in that film, sang a romantic tune on several informal occasions. Although both beauties, they were quite different: Gene with her cool natural smiling regal demeanor vs. Alice, with her big languid soul-searching eyes.Corinne Calvert hardly had the popular visibility of her counterpart in the '41 film: Carmen Miranda. She came across as a conventional French chorus girl, who happened to be showman Martin's current girlfriend. She rather reminds me of the later Ann-Margaret, in looks and personality. My impression is that she got more screen time in the non-musical portions than did Carmen, who dominated most of the staged musical productions. Behind the camera, the film was directed by veteran Walter Lang, with veteran Sol Siegel the producer, both with quite few past and future Fox musicals to their credits. Legendary Alfred Newman was the music director, as he was in the '41 version. Danny's wife, Sylvia Fine, composed most of the music, as she apparently had for most of his career.Legendary Jack Cole was chief choreographer, as betrayed by the lavish, imaginative, sometimes exotic, exuberant stage dance routines, which provide a more than credible answer to the lavish Carmine Miranda-led dance routines in the '41 film. Jack devised the unique memorable "Popo the Puppet" production, with Danny speaking childlike, including some trademark mangled nouns(ex.: ephelant, hipponoticus), and including some supporting clown-like puppets. Certainly the highlight of the film for children, and my all time favorite Kaye performance. Jack's penchant for multileveled dance and skit productions is also evident in most of the numbers. Instead of the traditional brief reprisals of the main songs in the finale, as in the '41 version, we have a new appropriate song and exuberant dance production to end the film on. Jack's star pupil, Gwen Verdon, leads the introductory stage show. Jack would go on to be Marilyn Monroe's requested choreographer for most of her high profile films. Danny plays a famous airplane pilot and investor in new plane design manufacture. Ironically, about a decade later, he would become interested in piloting airplanes, bought several, and became a vice president of Learjet!The complicated non-musical portions apparently are considered boring by some, but not by me. Overall, they are certainly more interesting than in the '41 version. You certainly have to pay close attention not to get occasionally lost on whether you are watching Durant or Martin, and whether they are playing themselves or the other. This is complicated by the sometimes uncertainty as to whether the women are being fooled or only pretending to be. In the end, all is forgiven. Durant presumably saves his airplane business, and Martin's attention to Durant's wife made Durant realize that he should cutout his philandering and concentrate on her. Martin and Corinne also make up in the finale. All in all, I think it's a toss up whether this or the '41 version is more entertaining. This one is more dependent upon a single superstar.The current DVD release has excellent documentary extras on Danny and Jack Cole, as well as a partial comparison of the 3 versions.If you like this type of film: fusing comical impersonations by doubles with song and dance, I can also recommend a much more obscure, but fun, film from the '30s, called "Honolulu". Robert Young plays 2 look alike men: a movie idol trying to escape from suffocating celebrity, and a member of a rich Hawaiian family who also wants to escape from his limited life. Eleanor Powell provides some unique exuberant dancing, and a masquerade party heightens the theme of impersonations.
SimonJack
Most actors and performers excel in one field, with maybe a second very good talent. Bing Crosby could croon, and add a little tap or soft shoe. Fred Astaire and Gene Kelly could hoof up a storm, and often add a tune or melody. Frank Sinatra and others could sing, or play dramatic roles in films. Bob Hope and many other comics could toss in a little shuffle and/or tune with their comedy. But, once in awhile, a multi-talent comes along — like Danny Kaye. He could sing and dance, cavort and crack tongue-twisters, play it straight, and just put life and zest into a film. Movie goers since the mid-20th century have seen Kaye perform some or many of his talents in various movies. But, in "On the Riviera," he displays the finest of all his many talents. The plot in this film wasn't new or intriguing for then or now, but it was just the right venue to allow Kaye to show us the best of all his talents. Kaye's performance in a double role (impersonation) is far and away above that by actors in any other film (see Maurice Chevalier in "Folies Bergere de Paris," Yves Montand in "Let's Make Love," and Don Ameche in "That Night in Rio"). His comedic exchanges in this film are crisp as ever, and he shines in all his song and dance numbers, four of which were written and composed by his wife, Sylvia Fine, for this show. One particularly creative routine, "Popo the Puppet," lets Kaye show his exceptional physical versatility and talent as a dancer. One of the great attributes of the talented Danny Kaye was his ability to bring out the best in his co-stars and fellow performers. That shows as well in the performances of all the fine cast in this film. What a great performer and entertainer this man was — and global humanitarian as well. What great fun and enjoyment for those of us who love all these aspects of entertainment. I didn't always recognize the greatness of Kaye's talent. In my younger years, I liked the more manly figures or accomplished voices in films. But as I watch films not seen for decades, and as I look for the best of the music and musicals for my family film library, I see Kaye as the much bigger all around talent — and top entertainer — that he was. If you like great entertainment with song, dance, comedy and romance, you'll love "On the Riviera."
Scooter B
First of all, I must confess that I haven't seen the original Chevalier film on which "On the Riviera" is based. However, Fox recycled the plot before this film for "That Night in Rio" with Don Ameche, Alice Faye, and Carmen Miranda in the Danny Kaye, Gene Tierney, and Corinne Calvet roles. I think "Rio" is far superior to "Riviera." The plot is much better paced, less frantic and frenetic (although that may simply be the difference between Ameche and Kaye as performers). For me, a little Kaye "shtick" goes a long way, and the more he uses it, the less amused I get. In this film, he lays it on with a trowel. Fox dipped into the well once too often. The only saving grace is the lustrous Tierney in luscious color.
