Sun Valley Serenade (1941)

John Payne plays the pianist/arranger for a big band led by Glenn Miller and managed by Milton Berle. They pick up singer Lynn Bari enabling them to get a big contract in Sun Valley, Idaho, at which point, a past publicity stunt comes back to bite them. They offered to sponsor a war refugee, thinking taking care of a baby would be publicity, and now the refugee arrives... in the form a of fully grown-up Sonja Henie. For Henie, it's love at first sight with Payne, and she vows to break up Payne's relationship with Bari. (And we're supposed to sympathize with her!) There's some good scenery of Sun Valley, at least the best they could do in black-and-white, and some absolutely horrid rear-projection. With Glenn Miller around, you know the music is going to be top-notch; the movie introduced the Oscar-nominated "Chattanooga Choo-Choo". That number also offers a scene for a young Dorothy Dandrige and the Nicholas Brothers.Like is often true in Fox musicals, this one is a split decision The story I give just a 5/10. However, the music, at 10/10, drags the total rating to 7/10 IMHO.

OK, those ain't the lyrics to the Oscar-Nominated song from this early war era Sonia Henie musical, but if Mel Brooks can't spoof it ("Pardon me boys, is this the Transylvania Station?") so could thousands of others who have danced, sang or tapped their feet to this Glenn Miller classic over and over. The movie it comes from isn't very clever, but features some great big band music, a fascinating skiing sequence that looks straight out of a Busby Berkeley musical. The Nicholas Brothers shine in "Chattanooga Choo Choo" dancing violently as a young Dorothy Dandridge sings. Saxaphones blow, trombones blare. If only the plot was as hot as that musical number. The story surrounds band manager John Payne who finds him taking in war refugee Sonia Henie, a young lady whose mission it is to marry him in spite of the catty Lynn Bari, the band's lead singer who makes a claim on him and is determined to keep Henie's Norwegian claws off of him. There isn't nearly enough music to get past this silly plot, with Milton Berle not at his best, forcing gags that are cornier than the opening song in "Oklahoma!". Henie has a more detailed role as usual, but her character's cheeriness covers an unconvincing craftiness. Payne is perhaps even more handsome than MGM's "pretty boy", Robert Taylor, and is overloaded with charm. Bari tries to add some spice to her stereotypical bitchy dame, but fails. The lack of a suitable romantic partner for Payne makes the overall love sequences disappointing.Comic genius Joan Davis is wasted in a brief walk-in, interacting momentarily with Berle, but oh, what laughs she can get with just that. Still, any movie that gives the most popular big band leader swingin' his trombone is worth a look.

This was my first Sonja Henie movie which was reissued in support of House on 92nd St and what a great piece of entertainment that was! Of course we had been saturated with the great WW2 bands courtesy of AFRS/AFN including Miller's and it was great to see them all and those popular tunes against such an attractive background. "I Know Why" still remains my favourite recording with "Chattanooga Choo Choo" and "Moonlight Serenade". However, hard as I tried,I really could not accept the 30 year old strapping blonde & dimpled Sonja as an innocent little refugee and neither did Lynn Bari who was Hollywood's definitive gorgeous bitch. It wasn't her singing voice any more than in the later equally enjoyable "Margie" but it didn't matter & who cared? I never quite took to Joan Davis - she seemed too much like Martha Raye/Cass Dailey/Eve Arden/Zazu Pitts. The back projection for the hill skating sequences was too obvious but I would love to know how they managed to get that immaculate black mirrored effect to the huge rink. Much like those impossible dance floors in some of the Astaire/Rogers spectaculars. The Nicholas Bros were nothing less than sensational & an unknown young Dorothy Dandridge did well in her early brief appearance. Glenn Miller on the other hand may have played a cool slush pump but he was no actor! And there were always the real Modernaires. And all this without a hint of smut or sex. Best line - when Lynn Bari in the night club sequence in a fit of jealousy rounds on Henie and calls her a hillbilly and the latter with an expression of total bewilderment retorts "Hillbilly?" Well,I thought so.Both Joan Davis & Milton Berle made it to early 50s TV - the latter becoming known as "Mr TV" from his prolonged popularity & brashness. He even made it into the early 90s in one of his last guest bits for one of Fran Drescher's hilarious "The Nanny" episodes as a shyster lawyer.

Caught this one on AMC before it went commercial. What a warm, family film. While I have never seen another Sonje Henie movie, I found her to be irresistible. It was also great to see John Payne playing the light comedic leading man. Of course, the music of Glenn Miller would be the highlight of any movie. The version of I Know Why (and So Do You) contained in the film is quite different from the versions you hear on Glenn Miller compilations and in my opinion is much better. (This version is also the one used in the 90's film Memphis Belle). Add great skating sequences, musical interludes, and wonderful locations and you have a fun-filled way to spend an afternoon.