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.
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.