I know it’s a big claim to make of any film, let alone one made over 70 years ago whose reception can only be described at best as mixed, but I’m throwing down the gauntlet and making it – yes, there is such a thing as a perfect film. And that film is Walter Lang’s There’s No Business Like Show Business.
It escapes me entirely how anyone can fail to love this film. It’s well-acted, lively, emotional and very, very funny, packed with unforgettable musical number after unforgettable musical number – not to mention, even all of the costumes are on point, as small a detail as this may seem. Although I don’t have a list of ‘qualities of a great film’ that I can check it against, there’s very little doubt in my mind that There’s No Business Like Show Business would meet all of the criteria, if I had such a list.
For one thing, the story is delightful. It follows the Donahue family, a group of vaudeville entertainers consisting of parents Molly and Terence, and children Steve, Katy and Tim – who face unemployment when audience tastes turn to film rather than theatre and their once-popular show is dropped by their company. The Donahues eventually find work providing live entertainment at cinemas before the films start, but struggle when oldest son Steve leaves the group to become a priest, and youngest son Tim proves more interested in drinking and courting aspiring actress Victoria Hoffman than performing. Although she rejects his advances Tim remains smitten, and eventually he and Katy join Victoria – now performing as Vicky Parker – in a Broadway show.
Following a car crash, a missing persons report, the U.S. Navy and some particularly outstanding acting from Ethel Merman as Molly, the film ends happily – if emotionally – and I know in all the times I’ve watched it I’ve yet to be left anything but beaming. In regards to the numerous respects in which the film is a masterpiece, particular mention ought to be made here of the outstanding soundtrack, penned entirely by Irving Berlin. Every other number is a classic Berlin hit, from ‘Alexander’s Ragtime Band’ to the titular ‘There’s No Business Like Show Business’, and those that aren’t are nonetheless delightful. They’re helped further by the talents of the formidable ensemble cast that includes Donald O’Connor, Marilyn Monroe, Dan Dailey, Mitzi Gaynor, Johnnie Ray, and of course Ethel Merman.
Of these, the highlight for me has to be Donald O’Connor. Much like his character Tim, O’Connor himself hailed from a vaudeville family, meaning he was skilled as a singer, dancer, actor and comedian from a young age. As a result, he excels as a performer, and his vivacious, athletic nature keeps the film’s energy high and audiences spirits’ higher. Mitzi Gaynor, who plays Katy Donahue, is a similarly vibrant presence, and I can think of few more brilliant castings in all of cinema than the combination of her and O’Connor as siblings. They complement each other perfectly, with Gaynor’s girl-next-door charm and light-speed dance routines making even the weaker songs enjoyable. The only actor whose performance could be described as anything less than stellar is Monroe’s, but even she tries her best to make a weak, unsympathetic role watchable.
In any case, a single criticism is hardly reason to call the film anything less than wonderful – and, in my opinion, perfect. It’s bright, fierce, visually striking and utterly hilarious, packed with joyous dance and musical numbers that viewers will find themselves singing along to for weeks afterwards – when they’re not tearing up remembering the film’s finale. And although I said earlier I didn’t have a list of the attributes that make a good film, it’s occurred to me that there IS such a list, and it’s right there in the lyrics of the titular song – the costumes, the scenery, the makeup, the props – and, needless to say, There’s No Business Like Show Business excels at every one.
