YOU'LL NEVER GET RICH (Columbia, 1941), directed by Sidney Lanfield, could very well be a screwball comedy about an oddball inventor and his many failed get-rich-quick schemes. The title, derived from the lyrics lifted from an old army song, indicates Columbia's attempt in capitalizing on Army comedies that had become the new rage starting with the ever popular BUCK PRIVATES (Universal, 1941) that not only made overnight sensations of the burlesque comics, Bud Abbott and Lou Costello, but popularized some popular song hits introduced by The Andrews Sisters. While YOU'LL NEVER GET RICH starts off amusingly well as a backstage musical, the second half shifts maneuvers towards BUCK PRIVATES material set in an Army camp. Though there's no Bud and Lou with the Andrews Sisters to boost up any musical-comedy morale, there are songs by Cole Porter, an original screenplay by Michael Fessler and Ernest Pagano, and the leading presence of legendary dancer Fred Astaire opposite the up-and-coming Rita Hayworth, a few years before her motion picture achievement as GILDA (1946) and becoming THE LADY FROM SHANGHAI (1948). Most of all, there's humorist Robert Benchley in some good scene-stealing support.
The film opening offers a different approach as apposed to the traditional title credits with Robert Benchley's character, in the back seat of his limousine, telling Jenkins, (Emmett Vogan), his chauffeur, to slow down. As he gazes through the window, the camera captures its opening credits with star and staff names posted on billboards, wooden fences, road signs and on the side of a barn before story proceedings get underway. Martin Cortland (Robert Benchley), the owner of the Courtland Theater, stops off in a jewelry store on Fifth Avenue and 54th Street to buy an anniversary present for his wife and gift for one of the chorines appearing in an upcoming musical show choreographed by Robert Curtis (Fred Astaire). Courtland leaves the store following a purchase of a seven dollar Chinese back scratcher for his wife and an expensive diamond bracelet for Sheila Winthrop (Rita Hayworth). After Sheila refuses Cortland's present, the bracelet is soon discovered by Cortland's ever-suspecting wife, Julia (Frieda Inescort), with Sheila's name engraved on it. To avoid possible divorce proceedings, Cortland tries to convince his wife he bought the bracelet for Robert as a present for Sheila. At the Crystal Roof where the Courtlands are to celebrate their fifteenth wedding anniversary, the couple have Sheila and Robert accompany them at the dinner table where Courtland passes off the bracelet gift to give to Sheila in the presence of his wife. Sheila, caught by surprise, leaves the banquet as Robert attempts to explain. Problems arise when reporter captures the moment and places Robert and Sheila's "engagement" on the front page of the morning newspaper. Upon receiving his draft notice, Robert leaves his troubles behind him for Army life at Camp Weston. Aside from becoming a private under the leadership of a tough sergeant (Donald MacBride), and the company companionship of Kewpie Blair (Guinn Williams) and Twivel Tongue (Cliff Nazarro), his past encounters soon catches up with him, creating further complications ahead.
Other members of the cast consist of John Hubbard (Captain Tom Barton); Osa Massen (Sonya); Marjorie Gateson (Sheila's Aunt Louise); Ann Shoemaker (Mrs. Barton); and Frank Ferguson (Justice of the Peace).
With a fine yet unmemorable score by Cole Porter, the motion picture soundtrack is as follows: "Dance Duet" (performed by Fred Astaire and Rita Hayworth); "Boogie Barricade" (danced by Fred Astaire and ensemble); "Dream Dance" (instrumental); "Shooting the Works for Uncle Sam" (sung and danced by Astaire/ensemble); "Since I Kissed My Baby Goodbye" (performed by The Delta Rhythm Boys/ danced by Astaire) "A Stairable Rag" (danced by Astaire); "So Near, Yet So Far" (sung by Astaire, danced by Astaire and Hayworth); and "The Wedding Cake Walk" (sung by Martha Tilton, danced by Astaire and Hayworth, ensemble). Of the tunes, only "So Near, Yet So Far" has possibilities of a song hit. As surprisingly brief as musical interludes go, the best moments belong to the fine chemistry dance duets from Astaire and Hayworth, which, upon their conclusions, makes one wish for either more or longer segments between them on the dance floor. Astaire's two separate tap dancing solos accompanied by the Delta Rhythm Boys, in the guard house has its moments, but not quite as fantastic as those Astaire solos from either TOP HAT (1935) or SWING TIME (1936).
As Abbott and Costello providing many laughs through their routines in BUCK PRIVATES, Columbia attempted in duplicating that match with Guinn Williams and Cliff Nazarro. Nazarro introduction to the film set at Grand Central Station starts off in hilarious fashion with his double-talk routine. As the story progresses, his constant repeated vaudeville-style gags grow tiresome long before the closing Columbia logo hits the screen. Though Nazarro should be credited for some hilarious moments from another movie for Columbia, BLONDIE GOES TO COLLEGE (1942), his drill routine here is definitely no match for how Abbott and Costello did it in BUCK PRIVATES. In spite of some flaws and typical story, YOU'LL NEVER GET RICH still provides some fine entertainment during its 88 minutes.
No doubt a box-office winner back in 1941, YOU'LL NEVER GET RICH, along with Astaire and Hayworth's second and final collaboration of YOU WERE NEVER LOVELIER (Columbia, 1942), each distributed to home video (dating back to the 1980s) and DVD, can be seen occasionally on either Turner Classic Movies or Get-TV cable channels. So near yet so far. (***1/2)
The film opening offers a different approach as apposed to the traditional title credits with Robert Benchley's character, in the back seat of his limousine, telling Jenkins, (Emmett Vogan), his chauffeur, to slow down. As he gazes through the window, the camera captures its opening credits with star and staff names posted on billboards, wooden fences, road signs and on the side of a barn before story proceedings get underway. Martin Cortland (Robert Benchley), the owner of the Courtland Theater, stops off in a jewelry store on Fifth Avenue and 54th Street to buy an anniversary present for his wife and gift for one of the chorines appearing in an upcoming musical show choreographed by Robert Curtis (Fred Astaire). Courtland leaves the store following a purchase of a seven dollar Chinese back scratcher for his wife and an expensive diamond bracelet for Sheila Winthrop (Rita Hayworth). After Sheila refuses Cortland's present, the bracelet is soon discovered by Cortland's ever-suspecting wife, Julia (Frieda Inescort), with Sheila's name engraved on it. To avoid possible divorce proceedings, Cortland tries to convince his wife he bought the bracelet for Robert as a present for Sheila. At the Crystal Roof where the Courtlands are to celebrate their fifteenth wedding anniversary, the couple have Sheila and Robert accompany them at the dinner table where Courtland passes off the bracelet gift to give to Sheila in the presence of his wife. Sheila, caught by surprise, leaves the banquet as Robert attempts to explain. Problems arise when reporter captures the moment and places Robert and Sheila's "engagement" on the front page of the morning newspaper. Upon receiving his draft notice, Robert leaves his troubles behind him for Army life at Camp Weston. Aside from becoming a private under the leadership of a tough sergeant (Donald MacBride), and the company companionship of Kewpie Blair (Guinn Williams) and Twivel Tongue (Cliff Nazarro), his past encounters soon catches up with him, creating further complications ahead.
Other members of the cast consist of John Hubbard (Captain Tom Barton); Osa Massen (Sonya); Marjorie Gateson (Sheila's Aunt Louise); Ann Shoemaker (Mrs. Barton); and Frank Ferguson (Justice of the Peace).
With a fine yet unmemorable score by Cole Porter, the motion picture soundtrack is as follows: "Dance Duet" (performed by Fred Astaire and Rita Hayworth); "Boogie Barricade" (danced by Fred Astaire and ensemble); "Dream Dance" (instrumental); "Shooting the Works for Uncle Sam" (sung and danced by Astaire/ensemble); "Since I Kissed My Baby Goodbye" (performed by The Delta Rhythm Boys/ danced by Astaire) "A Stairable Rag" (danced by Astaire); "So Near, Yet So Far" (sung by Astaire, danced by Astaire and Hayworth); and "The Wedding Cake Walk" (sung by Martha Tilton, danced by Astaire and Hayworth, ensemble). Of the tunes, only "So Near, Yet So Far" has possibilities of a song hit. As surprisingly brief as musical interludes go, the best moments belong to the fine chemistry dance duets from Astaire and Hayworth, which, upon their conclusions, makes one wish for either more or longer segments between them on the dance floor. Astaire's two separate tap dancing solos accompanied by the Delta Rhythm Boys, in the guard house has its moments, but not quite as fantastic as those Astaire solos from either TOP HAT (1935) or SWING TIME (1936).
As Abbott and Costello providing many laughs through their routines in BUCK PRIVATES, Columbia attempted in duplicating that match with Guinn Williams and Cliff Nazarro. Nazarro introduction to the film set at Grand Central Station starts off in hilarious fashion with his double-talk routine. As the story progresses, his constant repeated vaudeville-style gags grow tiresome long before the closing Columbia logo hits the screen. Though Nazarro should be credited for some hilarious moments from another movie for Columbia, BLONDIE GOES TO COLLEGE (1942), his drill routine here is definitely no match for how Abbott and Costello did it in BUCK PRIVATES. In spite of some flaws and typical story, YOU'LL NEVER GET RICH still provides some fine entertainment during its 88 minutes.
No doubt a box-office winner back in 1941, YOU'LL NEVER GET RICH, along with Astaire and Hayworth's second and final collaboration of YOU WERE NEVER LOVELIER (Columbia, 1942), each distributed to home video (dating back to the 1980s) and DVD, can be seen occasionally on either Turner Classic Movies or Get-TV cable channels. So near yet so far. (***1/2)