I was fortunate to see this film on the big screen at Lincoln Center and I recommend you do the same if you're able to. Made during World War II, it's a rousing tribute to the armed forces, and it still entertains to this day. The film is really divided into two distinct parts. The first is the romance between Private Eddie Marsh (Gene Kelly) and Kathryn (played by Kathryn Grayson), who is the daughter of Eddie's commanding officer. The second is a musical revue performed in front of the troops, featuring all the big MGM musical and comedy stars of the day.
Marsh comes from a family of aerialists, the Flying Corbinos. One of the many highlights in the film are the great circus shots featuring the 'Corbinos' as they perform death defying flying trapeze stunts. I suspect that the 'Corbinos' were a group created just for the movie since I can't find any reference to them outside of their association with the film itself.
While the overall plot is a bit hokey, it's unusual for its day, in that Grayson's character, 'Kathryn', is a product of divorced parents. When she hooks up with her Dad, Colonel Bill Jones (expertly played by John Boles), she's seeing him for the first time after living with her mother for many years. The film's subplot, involves Kathryn attempting to bring her estranged parents back together and at film's end, it looks like she's succeeded.
As for the romance between Eddie and Kathryn, it's pretty standard stuff. Kathryn is attracted to Eddie because he's the only soldier who doesn't fawn over her. He's too busy wrapped up with a chip on his shoulder, bemoaning the fact that the Army doesn't use his talents as an aerialist and believes he'd be better off in the Air Force. After Kathryn makes it clear that Eddie's the one for her, he sneaks into the Colonel's home so he can be with his beloved and ends up being called to the Colonel's office for a dressing down. Instead of ending up in the brig, the Colonel lets him off with a slap on the wrist (extra chores)—after the two switch roles, with Eddie pretending he's the Colonel and the Colonel adopting the role of the beleaguered private. Eventually Eddie must learn a lesson about being a good team player (after leaving his post) and this time really ends up in the brig (something must have been lost on the cutting room floor, since Eddie's transgression, when he leaves his post, is only depicted in its aftermath—we never see where he goes after he disappears).
If the rather tame plot doesn't hook you in, there's more than enough entertainment provided featuring the fantastic coloratura soprano voice of Kathryn Grayson and Gene Kelly's phenomenal dancing (his bit with the broom is classic Gene Kelly!). There's also the added bonus of the film debut of film conductor/pianist, José Iturbi, who does some sensational piano playing and conducting. Watch when he accompanies Judy Garland in the second half, breaking into some boogie woogie after she exhorts him to get into the 'groove'.
The Eddie-Kathryn story is interrupted in the film's second half with the introduction of MGM's cavalcade of stars. I got a real kick out of seeing how young some of the stars looked back then including Mickey Rooney, Red Skelton and Lucille Ball. Rooney is the master of ceremonies introducing all the acts and does some neat impersonations himself of a very amusing interaction between Clark Gable and Lionel Barrymore. Some of the performers, who were extremely big in their day, are now forgotten to a modern audience. We get a fascinating glimpse of two in particular: Kay Kyser and his Orchestra, the 'funnyman' band leader and Virginia O'Brien, known to 1940s audiences for her deadpan expression while singing various big band hits of the day.
Of the stars I was familiar with, of course Judy Garland steals the show with her numbers with Iturbi. And then there's Red Skelton who I used to watch as a kid on TV. He's enjoyably goofy doing one of his slapstick routines. Also of note is Frank Morgan (The Wizard of Oz) who plays a lecherous physician, 'examining' various starlets who come by to see him in his physician's office (one of those starlets is a very young Lucille Ball). Eleanor Powell is also particularly impressive doing a tap routine and the very cute child actress, Margaret O'Brien, shows up, who was almost as popular in the 1940s as Shirley Temple was back in the 30s. Also look for a pre-'It's a Wonderful Life' Donna Reed in a short cameo. Finally, I was heartened to see some black performers featured in the film despite the fact that the armed forces were segregated during World War II. Lena Horne's rendition of 'Honeysuckle Rose' is thrilling along with accompaniment by extremely accomplished black big band performers.
'Thousands Cheer' wraps up with Grayson leading the United Nations Chorus singing a song called 'United Nations', a powerful (but not very tuneful) piece, predating the establishment of the United Nations itself in 1945.
'Thousands Cheer' served its purpose of cheering up the troops and the general public during World War II. While the basic plot can be described as 'fluff', the level of talent here is unprecedented and you will not only find it very highly entertaining but a fascinating glimpse at a bygone era.
Marsh comes from a family of aerialists, the Flying Corbinos. One of the many highlights in the film are the great circus shots featuring the 'Corbinos' as they perform death defying flying trapeze stunts. I suspect that the 'Corbinos' were a group created just for the movie since I can't find any reference to them outside of their association with the film itself.
While the overall plot is a bit hokey, it's unusual for its day, in that Grayson's character, 'Kathryn', is a product of divorced parents. When she hooks up with her Dad, Colonel Bill Jones (expertly played by John Boles), she's seeing him for the first time after living with her mother for many years. The film's subplot, involves Kathryn attempting to bring her estranged parents back together and at film's end, it looks like she's succeeded.
As for the romance between Eddie and Kathryn, it's pretty standard stuff. Kathryn is attracted to Eddie because he's the only soldier who doesn't fawn over her. He's too busy wrapped up with a chip on his shoulder, bemoaning the fact that the Army doesn't use his talents as an aerialist and believes he'd be better off in the Air Force. After Kathryn makes it clear that Eddie's the one for her, he sneaks into the Colonel's home so he can be with his beloved and ends up being called to the Colonel's office for a dressing down. Instead of ending up in the brig, the Colonel lets him off with a slap on the wrist (extra chores)—after the two switch roles, with Eddie pretending he's the Colonel and the Colonel adopting the role of the beleaguered private. Eventually Eddie must learn a lesson about being a good team player (after leaving his post) and this time really ends up in the brig (something must have been lost on the cutting room floor, since Eddie's transgression, when he leaves his post, is only depicted in its aftermath—we never see where he goes after he disappears).
If the rather tame plot doesn't hook you in, there's more than enough entertainment provided featuring the fantastic coloratura soprano voice of Kathryn Grayson and Gene Kelly's phenomenal dancing (his bit with the broom is classic Gene Kelly!). There's also the added bonus of the film debut of film conductor/pianist, José Iturbi, who does some sensational piano playing and conducting. Watch when he accompanies Judy Garland in the second half, breaking into some boogie woogie after she exhorts him to get into the 'groove'.
The Eddie-Kathryn story is interrupted in the film's second half with the introduction of MGM's cavalcade of stars. I got a real kick out of seeing how young some of the stars looked back then including Mickey Rooney, Red Skelton and Lucille Ball. Rooney is the master of ceremonies introducing all the acts and does some neat impersonations himself of a very amusing interaction between Clark Gable and Lionel Barrymore. Some of the performers, who were extremely big in their day, are now forgotten to a modern audience. We get a fascinating glimpse of two in particular: Kay Kyser and his Orchestra, the 'funnyman' band leader and Virginia O'Brien, known to 1940s audiences for her deadpan expression while singing various big band hits of the day.
Of the stars I was familiar with, of course Judy Garland steals the show with her numbers with Iturbi. And then there's Red Skelton who I used to watch as a kid on TV. He's enjoyably goofy doing one of his slapstick routines. Also of note is Frank Morgan (The Wizard of Oz) who plays a lecherous physician, 'examining' various starlets who come by to see him in his physician's office (one of those starlets is a very young Lucille Ball). Eleanor Powell is also particularly impressive doing a tap routine and the very cute child actress, Margaret O'Brien, shows up, who was almost as popular in the 1940s as Shirley Temple was back in the 30s. Also look for a pre-'It's a Wonderful Life' Donna Reed in a short cameo. Finally, I was heartened to see some black performers featured in the film despite the fact that the armed forces were segregated during World War II. Lena Horne's rendition of 'Honeysuckle Rose' is thrilling along with accompaniment by extremely accomplished black big band performers.
'Thousands Cheer' wraps up with Grayson leading the United Nations Chorus singing a song called 'United Nations', a powerful (but not very tuneful) piece, predating the establishment of the United Nations itself in 1945.
'Thousands Cheer' served its purpose of cheering up the troops and the general public during World War II. While the basic plot can be described as 'fluff', the level of talent here is unprecedented and you will not only find it very highly entertaining but a fascinating glimpse at a bygone era.