by John Greco
The plot is moldy and packed with jingoistic Americanism that mingles in with the sweet sentimentality and attitude of its subject, the songwriter, actor, playwright, dancer and producer, George M. Cohan. (1) It is brought to life by the super talent of the staggering James Cagney and Warner Brothers great house director Michael Curtiz. “Yankee Doodle Dandy” is pure Americana popcorn fluff. The war years saw a rash of nostalgic and historical musicals which included, “Lillian Russell” (1940), “Shine On Harvest Moon” (1944), “A Song to Remember” and “The Dolly Sisters”, (both 1945). Released in 1942, with America now involved in the Second World War, “Yankee Doodle Dandy “was surely a patriotic shot in the arm to the American public. (2) Today, it remains a product of its times, shown on TCM or dropped into your DVD player every 4th of July. In his autobiography James Cagney states this is his personal favorite of all his films.
Cagney rarely danced in films, he previously danced a bit in 1933’s “Footlight Parade,” and in “Taxi” from 1932.” He also did a duet with Bob Hope in his cameo appearance as George M. in “The Seven Little Foys,” so it must have came as a surprise to some moviegoers when one of cinema’s magnificent tough guys, better known for his roles as Tom Powers or Rocky Sullivan, began hoofing on screen at the age of forty two, though with the energy of a twenty five year old.
The film opens with Cohan returning to Broadway, after retiring, to play Franklin Delano Roosevelt in “I’d Rather Be Right,” a new musical about FDR’s Presidency. After the performance he receives a telegram requesting his presences at the White House. Apprehensive, he arrives in Washington late one evening, and is escorted into the Oval Office. FDR sits behind his desk; we can only see him from a side view. The President tells him how he remembers seeing George and his family, billed as The Four Cohans, on stage many, many years ago.
From this point we flashback to the early days of George and his family performing on the Vaudeville stage. The story is narrated by George with him admitting early on he was a very cocky kid (nobody plays cocky better than Cagney). He was born on the 4th of July, and admits he was six years old before realizing the country was not celebrating his birthday! George and his family (Walter Huston and Rosemary DeCamp are his parents with Cagney’s real life sister, Jeanne Cagney portraying his screen sister (3)) become stars after performing in “Peck’s Bad Boy.” We move on to George meeting Mary (Joan Leslie), his future wife (4), as a young and innocent fan. They marry; he is inspired to write her a song (“Mary”). What soon follows is one hit play after another with one, now well known, jingle after another (Give My Regards to Broadway, 45 Minutes from Broadway, Yankee Doodle Boy, Over There and You’re a Grand Old Flag). The film comes full circle as we return to the present time in the White House with FDR still listening (I guess the war was not too high on his agenda that evening) and finally getting to the point of the visit, awarding George, the Medal of Honor. The film concludes with George going down the interior White House steps and suddenly breaking out, into a now famous, little dance on his way down. Outside, he joins soldiers, and civilians, parading down the street singing, “Over There” as they go marching off to war.
“Yankee Doodle Dandy” is standard Hollywood biographical fluff, bio by the book. This is show business celebrating show business. Plausibility was left outside the backstage door. The film seems to jump from one essential sequence to another, leaving out any of the bad times. Cohan, at least according to the film, had a very big ego, and he would have had to, to think the President in a time of War had time to listen to his entire life story in a private session. As with all Hollywood biographies at the time, hints of scandal are nowhere to be found, reality is lost in the wind. The real George M. Cohan, who was terminally ill with cancer died shortly after the film was made. He did get to see and film and approved of it heartily. No surprise, what’s not to like?
What makes this film worth its weight in gold is Cagney’s grand performance. His dance style was a studied attempt to emulate Cohan’s stiff legged technique and is truly is a joy to behold. Cagney wasn’t a smooth dancer like Gene Kelly and did not glide across a room like Fred Astaire, but you cannot take your eyes off him, he’s electric. It’s a happy, joyous performance, as has been deservedly noted over the many years. (5) Lost in Cagney’s dust is the rest of the cast, even the great Walter Huston is reduced into the shadows. One of the few non-Cagney highlights in the film is when Cohan and his partner, Sam Harris (Richard Whorf), attempt to lure Broadway star Faye Templeton, portrayed by Irene Manning, to appear in one of their productions. Her singing of “Mary,” the song Cohan wrote and originally promised would only be sung by his wife, is stunning, a joy to listen too.
The New York premiere was held at the Hollywood Theater on Broadway. Opening night was a war bond benefit which was sold out in advance. The cheapest seat cost $25 and the highest priced ticket was $25,000. In total a donation of $5,750,000 was made toward the U.S. war effort.
Footnotes:
(1) George M. Cohan was a prolific and popular artist, writing more than 40 plays and more than 1000 songs as well as a performer.
(2) According to Rosemary DeCamp in her autobiography, word reached the set the first day of filming that America was at war after the bombing of Pearl Harbor.
(3) Jeanne Cagney got the part of Josie, George’s sister, without any help from brother Jimmy. It was director Michael Curtiz who made the decision to select her purely on talent.
(4) In real life, neither of George M. Cohan’s wives was named Mary. This was pure creative license so Cagney, as Cohan, would be inspired to write a song about his beloved. Cohan’s wives names were the less musical Ethel and Agnes, in that order.
(5) Cagney won the 1942 Best Actor Oscar for his role and the film won three other Oscars along with receiving eight nominations including one for Best Picture. It lost to “Mrs. Miniver.”
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John, I loved reading your write-up of this film and you correctly highlight the astounding performance from Cagney. He absolutely carries the film and is the main reason for watching in my opinion. I really like his singing and dancing here and the performance is amazing. I definitely feel like there is a caliber of musical that highlights individual talent to a fantastic degree. This is one of those types. I would also throw in A Star is Born, Funny Girl etc. in that category. Great stuff John.
Thanks Jon! Cagney, for me, is the reason to watch this film. He is superb, lighting up the screen. I have not seen Funny Girl nor have I seen A Star is Born (I have got to be kidding, right? Sadly, I am not) but I get your point. Thanks again.
John, a most interesting post. You seem a bit cool about this movie aside from Cagney, who does seem the reason for the film’s existence. You’re right about Cagney blowing everyone else off the screen (although come to think of it, his dynamism and charisma always had that effect), and since he’s in just about every scene, that means everyone else in the cast! The role was definitely a departure for him, and he seems to seize the opportunity with obvious relish. I did think you were justified in the weaknesses in the film you identified, though perhaps those attitudes were understandable given the times the film was made in. One of the biggest weaknesses for me was Joan Leslie, who was tremendously popular in the 40s but has always struck me as a rather dull actress. It was hard to accept that someone with such a huge ego as Cohan would be so enamored of someone so bland. Still, I found this one of the more enjoyable studio biopics when I watched it again not long ago. Curtiz sure knew how to tell a good story, and that gift served him well here, where there’s one hell of a lot of story to tell. Cohan’s songs are very catchy and calculated, and Cagney made it easy to believe they could come from this man with his simplistic attitudes, driving ambition, and manic level of energy. But the film did seem to run out of steam near the end, as it rushed to cram so much into the last half hour or so–more like hasty highlights than a developed narrative.
“One of the biggest weaknesses for me was Joan Leslie, who was tremendously popular in the 40s but has always struck me as a rather dull actress. It was hard to accept that someone with such a huge ego as Cohan would be so enamored of someone so bland.”
Totally agree here R.D. Leslie is a rather dull actress, and her inspiring Cohan to write a song about her makes me suspect, though love, as the saying goes, is blind. For me, Curtiz was one of Warners greatest, if not their greatest house director. It is amazing how many wonderful films he made. Cohan did have a knack for creating catchy and calculated songs, I know for me, once I get the tune of “Over There” in my head, it is stuck there.
Whether I think this film falls under the strictest definition of musical is questionable. However, when trying to come up wit 75 titles for my ballot I found myself having to bend my own rules. I chose the biographical THE GREAT ZIEGFELD (I think it comes closer to musical) but I can see why others could go for YANKEE DOODLE DANDY. This film is bouyantly fun and has the distinction of housing a powerhouse turn by the always interesting James Cagney (one of my ten favorite actors ever). However, I kept it off the list as I felt it would open the floodgates and make me lose sight of where lines should be drawn (then, could the greater AMADEUS qualify?). DANDY is still one of the best of its kind and this essay illustrates every good reason why.
Drawing a line on what is or what is not a musical is subjective. Some folks, I remember, did not consider A HARD DAY’S NIGHT a musical, it’s an individual choice and I think Sam was right in setting no boundaries on what to consider leaving it up to the voters. I think it will be even more interesting when the Comedy Countdown arrives. Is THE APARTMENT, a comedy? Some people do not consider it so, others do, but that is a debate for another day. Thanks again Dennis!
@John – Your antipathy toward the film comes through, but I think you were quite fair in assessing its big strength – Cagney – while not harping on its weaknesses. As I gave the film a very high ranking, I obviously feel that in terms of what a musical in its purest form as entertainment can do, this one does. I especially like Cagney and Richard Whorf in the scene where their partnership is formed – pure fiction but very funny, made moreso by S.Z. Sakall begging to be their producer.
@R.D. and Dennis – The reason for this film’s existence is Cohan, tied with Ziegfeld as the greatest showman of the early 20th century. The reason for calling this a musical, even though it is also a biopic, is because it was made specifically to provide the song, dance, and comedy people seek out in musicals. There are a huge number of backstage musicals for the reason that most film producers sought a traditional way to tell a story involving music and dancing. Where you see experimentation, like Love Me Tonight, it largely comes from European directors.
Thanks Marilyn, Without going into my relationship with my father, which was mostly great, except when it came to the Vietnam War, as the source of my apathy toward this film let’s say I have an aversion for empty headed slogans, which this film is loaded with, and how these jingles lead us, the country, into paths better left unexplored. True, the film was made right after the bombing of Pearl Harbor and our entry into WW II, so the patriotic furor is understandable. Anyway, Cagney’s performance is infectious and admittedly Cohan’s songs are catchy. As I mentioned to R.D., a song like OVER THERE, once you hear it, is just stuck in your head. I do think S.Z. “Cuddles” Sakall enhances any film he is in.
John – I’m about as antiwar as they get, so I understand what you’re saying. Nonetheless, jingles don’t make a war or sustain it – the myth of the war to end war is what got the public on the side of WWI – in other words, a perversion of the yearning for peace, not patriotism.
As for Sakall, couldn’t agree more. I didn’t know he was called “Cuddles,” but it certainly applies!
“Yankee Doodle Dandy” is standard Hollywood biographical fluff, bio by the book. This is show business celebrating show business. Plausibility was left outside the backstage door. The film seems to jump from one essential sequence to another, leaving out any of the bad times.”
I quite agree John. Nothing bad happens to Cagney’s character, and teh superpatriotic underpinnings are dated. As you and everyone else has said here, Cagney is utterly magnificent, and he delivers one of the truly great performances of all-time, imparting incomparable infectious energy, drive and electrifying stage presence in his spectacular dance numbers. The film of course played it safe and was standard to it’s detriment, but Cagney is so incredible that he singlehandedly overcomes the sugar-coating of the story. As always you’ve delivered the goods in a super-engaging essay.
Thanks Sam, yep Cagney makes the film as he does with just about every film he is in.
It all comes down to one thing about this film for me. The story is fluff, the production values are the superlative type associated with the big Warner prods of the time. The writing is competetent if underwhelming. The editing is your standard type for a song and dance film of the time. Hoewever, the reason this one elevates over the high water mark is, singularly, the breathtaking performance by Jimmy Cagney. Nothing he did prior to this film could have prepared audiences back then for what he unleashed here. Here, and really only here, is the gleeful Cagney that was desperately trying to bust out for over a decade since his star making turn in the unforgettable PUBLIC ENEMY. Since that watershed performance you could actually see hints of the song and dance man busting to get out but, like the pro he was, he bottled up his “other” side until this one allowed it to spill out. But what a spill! This film firmed up his place as one of the ten greatest American film actors in history.
Dennis–
I’d even go further with Cagney. You say he’s in the top 10, which is undeniable. I would say he makes a strong run at the #1 position with the likes of Brando, Grant, Stewart, Olivier, Laughton, Bogart etc.
As for “what is” and “what isn’t” a musical, yeah, I guess Sam was right to do it this way as the addition of films like this be included helped to pump up the enthusiasm of the voters and the bloggers for some of their favorites. For me, though, I DO NOT consider this film a musical as I don’t consider A HARD DAYS NIGHT a musical. For me, a musical sees the “music” become part of the dialogue. The music becomes an integral element in defining moments of the characters, showing us there inner thoughts and longings through song. Music must also be an element in furthering the plot, like words in a written story that take us from on point to another. This is why I didn’t have DANDY on my ballot, or A HARD DAYS NIGHT. This too is what kept films like AMADEUS from making ballots. But, again, opening up the parameters allowed favorites to sneek in. WEST SIDE STORY is a strict musical. SINGIN IN THE RAIN is too. DANDY is an entertaining film WITH music in it, but in no way a musical. I like it anyway.
Dennis: As we settled on early on, everyone has their own criteria for deciding what falls under the musical umbrella, and your specifications are admittedly as good as anyone else’s.
While I understand MARILYNS view on this subject of “what is” and “what isn’t”, I still have to disagree. Whereas the experimentation she speaks of was really coming out of Europe at the time, I find it interesting that their influence was so great that Mayer starts using the same guide-lines shortly after. Then, there is the argument that, without a strict definition wouldn’t a superior biography “with” music like AMADEUS be more inclined to be included. I didn’t see AMADEUS on any of the ballots yet its structure, aesthetically, is one and the same as YANKEE DOODLE DANDY. Why is DANDY considered a musical and AMADEUS (a superior film in evey way shape and form) not? Without having an understanding of the form arguments like this can trip the land mine.
I don’t think anyone will ever really resolve the question of what is or isn’t a movie musical. What we would accept as a musical on stage somehow gets interpreted differently in film. If “Little Johnny Jones” is a musical for the theatre, why is it not a musical for film? Because there is another story being told in YDD which only includes LJJ as a detail? Yet the musical numbers were adapted for film; therefore, to my mind, the film decided to be a musical itself, using existing material in a new way and crafting a different story around it. I have my problems with A Hard Day’s Night more because it is more a soundtrack film than a musical, yet it certainly does have the spirit of musical in it. This is the slippery slope of musicals on film – the form has changed with the times, and we “definers” haven’t caught up.
OK, MARILYN, then by that explaination AMADEUS IS a musical… I demand I get to change my ballot. I wanna recount!
Nope. No dancing. 🙂
I agree with you, John, that Cagney’s amazing performance is what really makes this movie – this is one of the first films I saw him in, and it is one where his charisma really comes across. I like the evocation of vaudeville in the early scenes, tracing Cohan’s childhood, but will admit I am occasionally tempted to skip these and get straight to Cagney. Fred Astaire was offered the role first and turned it down – somehow I can’t really imagine him playing it!
I’ll agree with you that the film is sentimental and sometimes jingoistic, but I love it all the same, mainly for Cagney. Must disagree with you and R.D. on Joan Leslie – I like her in this, finding her warm rather than dull, and it is amazing to think that she was only 17. She was only 16 when she made ‘Sergeant York’ opposite Gary Cooper, and I think she is really good in that. Fine piece, John!
You can really excuse the patriotism, considering when the film was made. The painting of Cohen as a flawless guy is a bit more difficult. But Cagney is so remarkable, that the film serves as a showcase for his larger than life performance.
Excellent review from John Greco.
Frank I exactly agree on all your points. Thanks for the kind words.
There’s a definite note of cynicism in your take on “Yankee Doodle Dandy,” John. I understand. It IS a biopic, and that genre, especially during the ‘golden age,’ is infamous for fact-altering and “fluff.” But, as you make abundantly clear, it is one of Cagney’s iconic performances. Cagney could play tough AND he could play congenial (and more) – and he could dance. Hmmmm – can’t think of anyone else who could do all of that! Not Bogart, not Astaire nor Kelly…
A few months ago I read a biography of Spencer Tracy – possibly the last written until the one just published. It recounted that Tracy had worked with/for George M. Cohan – and apparently one day Cohan walked into the theater while Tracy was rehearsing and exclaimed something like, “Tracy, you’re the best &*%$# actor I’ve ever seen.” I would never have imagined Spencer Tracy and George M. Cohan knew each other let alone worked together – several times…
Thanks for stopping by Eve and yes, it’s Cagney, Cagney, Cagney in this film. His performance rises above the sentimentality and other limitations of the script. Thanks for the Tracy/Cohan connection of which I was unaware.