Zum Tanzen geboren (1936)

Zum Tanzen geboren: Directed by Roy Del Ruth. With Eleanor Powell, James Stewart, Virginia Bruce, Una Merkel. On leave, a sailor falls in love with a young lady aspiring to become a Broadway dancer, but their relationship is jeopardized by an established Broadway star, who is also enamored by him.

“BORN TO DANCE (Metro-Goldwyn-Mayer, 1936), directed by Roy Del Ruth, is, according to its title, one starring Eleanor Powell as the one born to dance. Being the third in the series of Navy musicals produced within the year, following SHIPMATES FOREVER (Warners, 1935) with Dick Powell and Ruby Keeler; and FOLLOW THE FLEET (RKO, 1936) with Fred Astaire and Ginger Rogers, the title u0026quot;Born to Danceu0026quot; translates itself as a musical, whether a song and dance or backstage story, being a combination of both, it gives no indication as one with a U.S. Navy background. Regardless, BORN TO DANCE ranks the best of the trio, thanks to a fine score by Cole Porter, witty dialogue, particularly from the secondary characters (Sid Silvers and Una Merkel), as well as the very young James Stewart surprisingly effective singing through his soft-spoken Fred Astaire-ish style of vocalizing.u003cbr/u003eu003cbr/u003eThe second of its annual Eleanor Powell musicals, BORN TO DANCE brings back her co- stars from her initial MGM musical, Broadway MELODY OF 1936, including Sid Silvers, Una Merkel, Frances Langford and Buddy Ebsen, with Virginia Bruce substituting for June Knight as the temperamental actress. As an added plus Frances Langford, who, in Broadway MELODY of 1936, only participated in the song numbers, this time gets to belt out her songs and take part of the plot.u003cbr/u003eu003cbr/u003eFollowing the opening titles with a background of musical notes (yes, this is a musical) and still silhouette dancing images of Eleanor Powell, the story opens with singing sailors submerging from a submarine and going on shore leave in New York City. Ted Parker (James Stewart) meets Nora Paige (Eleanor Powell) at a Lonely Hearts Club, managed by Jenny Saks (Una Merkel), who is married to a Tedu0026#39;s fellow Navy partner, u0026quot;Gunnyu0026quot; (Sid Silvers), whom she hasnu0026#39;t seen in four years, and through him, is the mother of a three-year-old daughter (Juanita Quigley). While Jenny finds Gunny to be a big disappointment to her, and unwilling to tell him that he is a father, Ted finds himself becoming very much interested in Nora, whose ambition is to become a dancer (hense the title). Their romance is soon broken up when Lucy James (Virginia Bruce), a famous musical-comedy star, along with her press agent, James McKay (Alan Dinehart), visits Tedu0026#39;s ship for publicity pictures, and after her Pekinese dog falls over board with Ted jumping in to save it, McKay then makes a romance story out of it. Ted finds his time being occupied being with Lucy, and away from Nora. However, Ted arranges for Nora to get into Lucyu0026#39;s upcoming show as her understudy without either girl being aware as to whom was responsible for this arrangement. As Ted is going through his complications such as believing Nora to be a mother to Jennyu0026#39;s little girl, there is u0026quot;Mushu0026quot; Tracy (Buddy Ebsen) who finds time in becoming the romantic interest of another Lonely Hearts Club employee, u0026quot;Peppyu0026quot; Turner (Frances Langford).u003cbr/u003eu003cbr/u003eSong numbers include: u0026quot;Rolling Homeu0026quot; (sung by the Foursome Quartet, Sid Silvers, Buddy Ebsen and James Stewart); u0026quot;Rap-Tap on Woodu0026quot; (sung and danced by Eleanor Powell); u0026quot;Hey Babe, Hey Babeu0026quot; (sung by James Stewart, Eleanor Powell, Sid Silvers, Una Merkel, Buddy Ebsen and Frances Langford); u0026quot;Here Comes Lucy Jamesu0026quot; (sung by sailors); u0026quot;The Captain Had a Very Bad Night Last Nightu0026quot; (recited by Raymond Walburn); u0026quot;Love Me, Love My Pekineseu0026quot; (sung by Virginia Bruce/ chorus); u0026quot;Easy to Loveu0026quot; (sung by James Stewart u0026amp; Eleanor Powell); u0026quot;Iu0026#39;ve Got You Under My Skinu0026quot; (danced by George u0026amp; Jalna/ sung by Virginia Bruce); u0026quot;Easy to Loveu0026quot; (sung by Frances Langford/ danced by Buddy Ebsen); u0026quot;Love Me, Love My Pekineseu0026quot; (audition dance by Eleanor Powell); u0026quot;Swinging the Jinx Awayu0026quot; (sung by Frances Langford/ with Buddy Ebsen/ danced by Eleanor Powell); and u0026quot;Easy to Loveu0026quot; (sung by cast). u003cbr/u003eu003cbr/u003eThe other members of the cast consists of Raymond Walburn, Barnett Parker, Jonathan Hale and Reginald Gardiner, making his movie debut, in an awkward but amusing cameo as a policeman in Central Park who fantasizes himself as conducting to the score to u0026quot;Easy to Loveu0026quot; with an unseen orchestra (only in New York!).u003cbr/u003eu003cbr/u003eAs with Powellu0026#39;s other u0026quot;Broadway Melodyu0026quot; series, BORN TO DANCE includes moments of singing and dancing on cue, with a full orchestra playing in the background, whether it be at the Lonely Hearts Club, on the Navy vessel or in the middle of Central Park. Comedy also takes its toll in BORN TO DANCE, including Walburn as the confusing captain who canu0026#39;t distinguish the difference between the very tall Mush (Ebsen) and the ultra short Gunny (Silvers), asking them if they are twins, and in giving an assignment for Mush deliver an important message to a Rear Admiral Stubbins at the Brooklyn Navy Yard. Mush, however, keeps forgetting, and when he does remember, canu0026#39;t find Brooklyn and ends up in Yonkers; as well as Helen Troyu0026#39;s classic bit as sharp-tongue Brooklyn-ese switchboard operator. Troy must have been an inspiration for Lily Tomlinu0026#39;s comedic character in later years when appearing as a telephone operator in the late 1960s variety comedy show of LAUGH-IN.u003cbr/u003eu003cbr/u003eBORN TO DANCE is light on plot, memorable on songs and well constructed with dance numbers as choreographed by Dave Gould, highlighted by the lavish but classic 13 minute finale of u0026quot;Swinginu0026#39; the Jinx Awayu0026quot; (portions would be reused again for the finale in Eleanor Powellu0026#39;s latter 1943 musical titled I DOOD IT, newly re-scored to appeal more to the big band era for the time of its release).u003cbr/u003eu003cbr/u003eOther than having its presentations on commercial television some decades ago, the original soundtrack recording to BORN TO DANCE was displayed in record stores in the late 1970s. If there is any Eleanor Powell worth seeing, itu0026#39;s BORN TO DANCE, by all means, thatu0026#39;s what she was, and does it well. Available viewing on Turner Classic Movies. (***1/2)”