Tag: biographical

Take 3: Million Dollar Mermaid Review

On By 18cinemalane4 Comments

From Esther Williams’ filmography, I’ve only seen (and reviewed) three of her pictures; Take Me Out to the Ball Game, Bathing Beauty, and Easy to Wed. When it comes to the aqua musical, one of Esther’s claims to fame, that component was far and few between in those movies. Wanting to see an Esther Williams production where the aqua musical was more center stage (no pun intended), I selected Million Dollar Mermaid to review for the We Love Musicals Week Blogathon! The 1952 presentation was recommended by The Classic Movie Muse. Before researching titles to write about for Hamlette’s (from Hamlette’s Soliloquy) event, I had no idea the movie was a biopic. As I made this discovery, I was reminded how much luck I had finding good biopics last year. On my list of the best movies I saw in 2024, three biopics earned a spot on my list, with two of those films ending up in my top five. Could Million Dollar Mermaid find a place on 2025’s best movies list? Read my review to find out!

Million Dollar Mermaid poster created by Metro-Goldwyn-Mayer (MGM)

Things I liked about the film:

The acting: As I said in this review’s introduction, I’ve seen (and reviewed) three of Esther Williams’ films; Easy to Wed, Take Me Out to the Ball Game, and Bathing Beauty. What these titles have in common is how Esther’s on-screen personality has been consistently friendly and warm. Her performance in Million Dollar Mermaid maintains that consistency in personality! Esther portrays Annette Kellerman, an Australian swimmer who defied the odds and created a successful career. Through the ups and downs of Annette’s life, Esther’s on-screen personality highlighted how Annette saw the glass half full. However, there were times when Annette became frustrated. In one scene, she is understandably upset because she was falsely accused of indecent exposure (due to the style of her swimsuit). At first, Annette tearfully refuses to speak with any newspaper reporter. But after receiving advice from her father and James Sullivan, courage rises in Annette’s voice as she not only agrees to be interviewed, she decides to be interviewed while wearing her swimsuit. With Esther adopting a variety of emotions and expressions throughout her performance, she brought humanity back to Annette’s name!

Speaking of Annette’s father, let’s talk about Walter Pidgeon’s character, Frederick Kellerman! Frederick was one of Annette’s biggest cheerleaders. Though he had his reasons for wanting to protect his daughter, Frederick led by example when it came to following dreams. But Annette’s father had his fair share of struggles. While waiting for Annette and James’ meeting to end, Frederick becomes exhausted. His eyelids continuously rise and fall as he sometimes slumps toward the ground. Visibly concerned, James’ associate, Doc (portrayed by Jesse White) suggests they return home. Scenes like this one showed how Walter brought believability to his role! Similar to Esther’s on-screen personality, Walter made the likability of his character consistent. This was achieved through a strong acting performance!

Victor Mature portrays James Sullivan in Million Dollar Mermaid. When he is first introduced on a boat ride to London, James’ showmanship is on full display. Quick witted and having a way with words, James knew an opportunity when he saw one. Though he had the charisma of a circus ring leader, James also had a caring side to him. In order to promote a new show, Annette agrees to swim through the Thames River. During the swim, James and Doc row alongside Annette. Toward the end of the swim, James notices how tired Annette appears. He’s also aware of an incoming current, which could push Annette back. A sharp tone in his voice, furrowed eyebrows, and an intense look in his eyes perfectly show how concerned James is for Annette’s wellbeing. These emotional elements emphasize James’ sense of urgency for protecting Annette as well. This scene is just one example of how Victor’s acting talents helped create a memorable portrayal of James Sullivan!

The dialogue: One of the challenges Annette had to overcome was polio. As a child, Annette wished she could dance with her peers inside of staying at home practicing the piano. To cheer his daughter up, Frederick says how music should be a source of joy. The way this line was written and spoken seemed so profound, it made me wonder if Frederick’s belief is the reason why some musicals are joyful in nature? Years later, Frederick accepts a job at a music conservatory. But once he and Annette move to London, they discover the conservatory is actually closed. Looking at the glass half full, Annette reminds her father how the conservatory’s gate is only one closed gate. While she was talking about the literal gate, she was also speaking figuratively, seeing it as yet another puzzle to solve. These are just two examples of how well-written the dialogue was in Million Dollar Mermaid!

The aqua musical numbers: I stated in the introduction of my Million Dollar Mermaid review how one of Esther’s claims to fame is the aqua musical. This type of unique musical presentation is another reason why I chose this film for the We Love Musicals Week Blogathon, as I wanted to bring something different to the event’s table. The aqua musical numbers in Million Dollar Mermaid were captivating! The blend of pyrotechnics, color, and aquatic choreography created musical spectacles that were close to perfection. In one number, Esther emerges from the water on a giant pillar covered with sparks. Another number shows Esther performing a ballet routine under water. My favorite number boasted a color scheme of red and yellow. A memorable part of that number was when swimmers jumped into the water from various swings. The aqua musical numbers were certainly one of the strengths of Million Dollar Mermaid!

We Love Musicals Week Blogathon banner created by Hamlette from Hamlette’s Soliloquy

What I didn’t like about the film:

Limited presence of aqua musicals: Like I mentioned in my review’s introduction, I wanted to watch an Esther Williams movie where the aqua musical was more center stage (again, no pun intended). This component received more inclusion in Million Dollar Mermaid than in Esther’s other three movies I’ve seen (and reviewed). However, the overall presence of aqua musicals seemed limited. In the 1952 film, there were three aqua musical numbers. Only one of them was shown in its entirety. It also doesn’t help how the first aqua musical number appears a little over an hour into an hour and fifty-five-minute movie. I recognize the film’s creative team tried their best to find a balance between providing musical spectacle and telling Annette’s story. But as someone who came to Million Dollar Mermaid for the aqua musical, I was, kind of, disappointed.

An open-ended finish: The intended purpose of a biopic is to tell the story of a historical or public figure. In the case of Million Dollar Mermaid, that figure is Annette Kellerman. Toward the end of a typical biopic, that story will either reach the conclusion of that figure’s life or explain what happened to the people involved in the story, through a voice-over or on-screen text. But Million Dollar Mermaid didn’t adopt any of these examples. Within the last ten minutes of the movie, a major conflict takes place. Because there’s not enough time to reach a resolution to this conflict, a resolution is not provided on screen. An explanation if a resolution was reached at all is not provided as well. These creative choices left some questions unanswered.

A confusing interaction: For this part of my review, I will spoil Million Dollar Mermaid. If you have not seen this movie and are planning on watching it, please skip ahead to the part of this review titled “my overall impression”.

James Sullivan becomes Annette’s manager in Million Dollar Mermaid. Over time, Annette and James develop romantic feelings for each other. But their relationship doesn’t last, as Annette ends up marrying a man named Alfred. Toward the end of the film, James visits Annette in the hospital after she experiences an accident on a movie set. He gives her the engagement ring he intended to give her years prior. Annette not only accepts the ring, she and James share a kiss. I was confused by this romantic exchange because Annette and Alfred already got married. I was also surprised Million Dollar Mermaid would include this romantic interaction, as it was released during the Breen Code era, where the reverence toward martial vows is upheld. But, like I said when talking about the film’s open-ended finish, some questions were left unanswered.

Sketch of London image created by Archjoe at freepik.com. <a href=’https://www.freepik.com/free-vector/hand-drawn-houses-of-parliament_1133950.htm’>Designed by Archjoe</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Archjoe – Freepik.com</a>. Image found at freepik.com.

My overall impression:

Biopics are not created equally. Some of them are solid productions, like 1984’s Amadeus. But there have been biopics that left me underwhelmed, such as I Dream of Jeanie from 1952. With Million Dollar Mermaid, I thought it was just fine. The aqua musical numbers were a highlight of this presentation! As I said in my review, the blend of pyrotechnics, color, and aquatic choreography created musical spectacles that were close to perfection. However, I didn’t like how these aqua musical numbers had such a limited presence in the movie. I will admit I had no idea who Annette Kellerman was before watching Million Dollar Mermaid. Through the acting performances, screenwriting, and the story itself, I was introduced to this incredible woman and the world according to her. I do wish the ending hadn’t been so open-ended. Though I guess that’s what Wikipedia is for, finding answers that weren’t provided in the film. Prior to participating in the We Love Musicals Week Blogathon, the last time I reviewed one of Esther Williams’ films was back in 2022. So, re-visiting her filmography was long overdue.

Overall score: 7.1-7.2 out of 10

Have you seen Million Dollar Mermaid? What are your thoughts on aqua musicals? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Shadowlands (1985) Review

On By 18cinemalane9 Comments

Films are a way to visually tell a story. The subjects can range from the fictional to the historical. With movies belonging in the non-fiction genre, that story can introduce viewers to a particular person, event, or time period. This is the case for the 1985 made-for-TV film, Shadowlands! I will admit I knew very little about C.S. Lewis prior to The Two Jacks Blogathon, hosted by Taking Up Room. While I was aware of his contribution to literature, creating the Chronicles of Narnia series, my knowledge of the author was surface-level. By participating in this blogathon and by choosing to review Shadowlands, I hoped to learn more about C.S. Lewis and the literary world he created! Now, it’s time to open the wardrobe door and step into this review!

For some reason, Shadowlands has two titles: Shadowlands and C.S. Lewis Through the Shadowlands. Because the movie doesn’t have an offical poster on IMDB, I chose this poster for my review. Shadowlands (1985) poster created by British Broadcasting Corporation (BBC) and BBC Enterprises.

Things I liked about the film:

The acting: In past reviews, when I talked about a movie’s acting performances, I’ve mentioned the believability of those portrayals. This believability comes from the actors displaying an understanding for their roles, as well as for the talents of their co-stars. As I watched Shadowlands, I could sense the believability from the cast. This element was so strong, it allowed the interactions to come across as realistic. Whenever C.S. Lewis and Joy Gresham shared conversations with one another, it seemed like they shared a mutual connection, being on the same page and even on the same paragraph. The combination of Joss Ackland and Claire Bloom’s talents allowed these performances to compliment each other! There were other interactions that appeared realistic in Shadowlands. When a medical situation takes place in the family, Douglas, portrayed by Rupert Baderman, asks C.S. Lewis about the situation itself. Douglas’ eyes display a longing look, desperate for things to get better. As C.S. Lewis reveals the answer, he has a serious expression on his face. These emotional expressions from both actors brought a sense of honesty to the interaction.

C.S. Lewis’ perspective: Because Shadowlands is based on a part of C.S. Lewis’ life, some of his perspectives are included in the script. The delivery of these perspectives and how they were incorporated into the story was insightful and thought-provoking. In a letter to Joy, C.S. Lewis explains how Narnia is a part of something bigger. From how I interpreted this statement, C.S. Lewis is pointing out how Narnia is a key component of the overarching story. It was interesting to hear Narnia referenced this way, as that world plays such a large role in its series, it seems like the star of the show. Amongst a group of colleagues during Christmastime, C.S. Lewis acknowledges how the birth of Jesus is considered a miracle. But he also points out how Springtime is a miracle, when plants are reborn and the world around the characters comes alive. Looking back on C.S. Lewis’ statement, it can be easy to take Springtime for granted, as it is a natural occurrence that happens on its own.

Historical accuracy: The historical accuracy in a historical/period drama can be found in the visual details. These details can also provide clues for the specific time a story takes place. Several scenes of Shadowlands show a rotary dial phone on a desk or on a table. The phones in the film are black, even though these types of phones can boast any colorful hue. In a scene where one of the characters is in the hospital, the bed is built with a silver metal frame. Even the knobs on a medical machine feature a simplistic design and make a loud, clicking sound. With these observations in mind, it appears that Shadowlands takes place in the 1950s or 1960s.

The Two Jacks Blogathon banner created by Rebecca from Taking Up Room

What I didn’t like about the film:

Sudden jumps in time: Shadowlands has a run-time of an hour and thirty-two minutes. This means progression of time is forced to be condensed for the sake of satisfying the run-time. Within the film’s first thirty minutes, however, the condensation of time was jarring, causing events to happen too quickly. After C.S. Lewis and Joy Gresham first become acquainted with each other, she tells him that she’ll return to England with her sons, in order for them to meet C.S. Lewis. In the very next scene, Joy has returned to England with her children. Several scenes later, Joy makes plans with C.S. Lewis about spending Christmas with him. A scene after that, Christmastime was already arrived.

An overshadowed brother: When I talked about this film’s sudden jumps in time, I mentioned Joy having two sons. These sons, David and Douglas, travel with their mother to England and eventually make England their permanent residence. Throughout the story, Douglas’ perspective is the one that is prioritized, as he is a fan of the Chronicles of Narnia series. The audience even sees how Douglas deals with a tragic situation. David’s thoughts about this tragic situation are referenced, but never showcased. I know there is only so much story to tell in an hour and thirty-two minutes. But I wish David’s perspective hadn’t been ignored.

Things left unexplained: In my review’s introduction, I said I hoped to learn more about C.S. Lewis by watching Shadowlands. While I did learn some things about the famous author, the story assumed the viewer already had basic knowledge about him. One example of this is how some things were left unexplained. There is a scene where C.S. Lewis is lecturing a group of students in a classroom. No explanations were provided for why he was lecturing these students or why he was teaching in the first place. It wasn’t until after I saw the movie that I learned C.S. Lewis was a professor at Oxford.

Sketch of London image created by Archjoe at freepik.com. <a href=’https://www.freepik.com/free-vector/hand-drawn-houses-of-parliament_1133950.htm’>Designed by Archjoe</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Archjoe – Freepik.com</a>. Image found at freepik.com.

My overall impression:

A person or event featured in a movie may be so fascinating, they deserve their own documentary. Some examples are the events that inspired Over the Edge and Evel Knievel. C.S. Lewis is one of these people that deserves a documentary, as he is an interesting literary figure. In fact, I think the story of Shadowlands should have been a documentary instead of a film. Even though I learned some information about the famous author, the movie assumed the audience already knew about him. This was the cause of things within the story not being explained. If the story of Shadowlands had been a documentary, important events could be discussed and prioritized without the program’s run-time being a concern. But reflecting on Shadowlands as a film, there are aspects of the project I can appreciate, such as the acting performances and hearing about C.S. Lewis’ perspective. With all that said, I thought the movie was just ok.

Overall score: 6 out of 10

Have you seen 1985’s Shadowlands? Would you like to see me talk about C.S. Lewis’ stories on my blog? Please tell me in the comment section!

Have fun in Narnia!

Sally Silverscreen

Take 3: Evel Knievel (1971) Review

On By 18cinemalaneLeave a comment

When it comes to movies from the 1970s, I haven’t had the best of luck, this year, finding a film I actually like. While I thought Days of Heaven and The White Buffalo were ok, I wasn’t impressed with The Last Child and Double Nickels. However, I was still determined to search for a movie from the ‘70s I enjoyed. During this search, I stumbled upon the 1971 film, Evel Knievel, a biopic about the stuntman of the same name. Since August’s theme of Genre Grandeur is ‘bikers, bikes, and motorcycles’, I had a great excuse to check this movie out! Choosing the 1971 title for Genre Grandeur also gave me an excuse to learn more about Evel Knievel. Before watching this film, I was familiar with who Evel is and why he was famous. But that basic information was all I knew. Besides broadening my cinematic horizons, I used my entry for Genre Grandeur to learn something new.

Evel Knievel (1971) poster created by The Fanfare Corporation, Fanfare Films, and American Broadcasting Company (ABC)

Things I liked about the film:

The acting: In my review of RKO 281, I talked about Liev Schreiber bringing humanity to his portrayal of Orson Welles, finding the heart of the “genius” and putting some genuine emotion behind it. This was successfully done to highlight Orson as more than just a legend. During his career, Evel Knievel became a celebrity, performing stunts that most people would never dream of attempting. Similar to Liev Schreiber, George Hamilton found the man behind the famous name and presented the human side of him. Toward the beginning of the film, Evel is at a local bar, talking to his friends how “something big” is going to happen in town. From furrowing his eyebrows to showing a good-hearted smirk, Evel talks about this upcoming, unknown event with ease and confidence. Through George’s performance, Evel is shown as more than just the famous stuntman, adding a sense of charm to his portrayal.

Throughout the film, Evel interacts with his wife, Linda. Portrayed by Sue Lyon, Linda and Evel’s encounters were pleasant to watch! This is because George and Sue had nice on-screen chemistry! Evel and Linda kind of reminded me of Abby and Bill from Days of Heaven. In the 1978 movie, it felt like Bill and Abby truly got along with one another, with a shared gentleness understood between them. The 1971 shows Linda and Evel respecting one another and, more often than not, being on the same page.

Despite appearing in the movie for a short period of time, Dub Taylor left a memorable impression as Turquoise Smith! The ring-master of a local rodeo, Turquoise had a larger-than-life personality. But this personality never felt over-the-top, thanks to the way Dub portrayed Turquoise. Even when there was a tragedy at the rodeo, Turquoise maintained professionalism and showmanship. Because of the quality of Dub’s acting talents, these components of the character remained consistent.

The stunt footage: During Evel Knievel, a montage of stunt footage is featured. This footage shows Evel performing various stunts throughout his career, with some stunts more successful than others. The montage is used as a bridge between his early years and “present day”, as the footage emphasizes the dedication and willpower Evel put into his stunts. Since the movie is a bio-pic about a real-life person that existed at one point in time, the montage added contextual depth to the story. It also provides a nice connection between the film and the actual Evel Knievel.

The messages and themes: As I said in this review’s introduction, I chose to write about Evel Knievel because I wanted to learn more about the titular man. However, I was surprised by the messages and themes that came out of this story. While reflecting on his relationship with Linda, Evel recalls a time when he visited Linda at her high school. During this encounter, Evel explains why he doesn’t play basketball. He feels that in basketball, you don’t have much to lose, as all the stakes are lower. He also confesses how he doesn’t want a lettermen sweater, as Evel doesn’t need to prove he’s a hero. With this, he tells Linda, “heroes know who they are”. Letterman sweaters/jackets have been known for being something high schoolers can earn through academic and athletic achievement. But until watching Evel Knievel, I’ve gained a newfound perspective on this subject.

Illustrated image of Arizona desert created by pikisuperstar at freepik.com. Background vector created by pikisuperstar – www.freepik.com

What I didn’t like about the film:

Transitions between past and “present”: The story of Evel Knievel is told through Evel’s recollections of his past as he’s preparing for an upcoming stunt. But the way the film jumped between past and “present” was confusing. During one of Evel’s recollections, he remembers a tragedy that took place toward the beginning of his career. As soon as the tragedy occurs, the story is brought back to the “present”, showing Evel nervous about the upcoming stunt and dealing with an injured leg. It took me a little while to realize the story had transitioned between the past and “present”, as the scene changed so abruptly. Personally, I think the story should have been told through a chronological order.

The past more interesting than the “present”: Like I mentioned in my previous point about the story’s transitions between past and “present”, Evel is preparing for an upcoming stunt in the “present”. But aside from seeing Linda and Evel interact and the aforementioned stunt, I didn’t find the “present” interesting. In fact, I found Evel’s recollections of his past more interesting, as it was an opportunity for me to learn more about Evel Knievel. Even though the stunt in the “present” is shown, it doesn’t take place until the story’s last ten minutes. So, the audience is forced to wait almost the entire movie for that moment.

An omission of a “where are they now” segment: In most biopics, there is a segment toward the end of the movie which explains what happened to the story’s key people after the events of the movie. But this segment was omitted from Evel Knievel. During the “present”, Evel talks about how he wants to perform a stunt in the Grand Canyon. I was hoping there would be a sense of closure about whether this stunt actually took place. Sadly, no explanation about the fruition of this stunt was provided. I don’t know where Evel’s career was at the time of the film’s release. However, I still think a “where are they now” segment should have been included.

Children holding American flags during a sunset image created by rawpixel.com at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/people”>People photo created by rawpixel.com – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

I’ve seen some movies where I felt the subject would have been better served through a documentary, as the subject itself is quite fascinating. This is how I felt while watching Evel Knievel. I was able to learn more about the “king of stuntmen” through his recollections of his past. In fact, I found the past more interesting than the “present”, as I was kind of bored by the weak conflict. Despite the confusing jumps between past and “present”, Evel Knievel provided an introduction to the titular man. As this is one of the reasons why I watched the film, the 1971 title does its job. When it comes to biopics, Evel Knievel doesn’t really reinvent the wheel, with the story being pretty straight-forward. The acting, stunt footage, and messages and themes prevent the movie from becoming unmemorable.

Overall score: 6.1 out of 10

Have you seen or heard of Evel Knievel? Which biopic do you think is well-made? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: I Dream of Jeanie (1952) Review

On By 18cinemalane12 Comments

I’m participating in two blogathons; the Musicals: With A Song And A Dance In My Heart Blogathon and The Biopic Blogathon. Because of this choice, I wanted to review a movie that was “the best of both worlds”. One day, while on Youtube, I came across the 1952 film, I Dream of Jeanie. After learning it was a musical biopic about the composer, Stephen Foster, I knew I had found the perfect entry! Prior to these events, I had never heard of I Dream of Jeanie. In fact, I was not familiar with Stephen Foster either. But I wanted to use my participation as an opportunity to learn more about him. I also wanted to be introduced to films that were newer to me. Did my plan work? Continue reading if you want to find out!

I Dream of Jeanie (1952) poster created by Republic Pictures

Things I liked about the film:

The acting: Bill Shirley is an actor I’m not familiar with. While I have seen Disney’s Sleeping Beauty, I have never seen any of his live-action films. Despite this, I did enjoy watching his acting performance! His mannerisms and line delivery reminded me of Jimmy Stewart. This is because of the tender-hearted nature Bill presented. His singing talents were amazing in this movie! One of his best performances was his solo, “Beautiful Dreamer”. With his deeper vocals and the heart-felt lyrics, there was emotion found in the song. He also sang beautifully with Eileen Christy, who portrayed Jeanie. Toward the beginning of the film, they sang a duet of “Oh! Susanna”. Bill and Eileen displayed good harmony during their performance. Having nice on-screen chemistry also worked in their favor.

While we’re on the subject of Jeanie, let’s talk about Eileen Christy’s performance. Throughout the film, she presented her character with a likable persona. Jeanie was sometimes the film’s “comic relief” as well. When a script adopts a “comic relief” character, that individual can either be goofy or be seen as dumber than the protagonist. With Jeanie, that was never the case. Even though she was silly, her intelligence never faltered. Another actress who gave a good performance is Muriel Lawrence. Portraying Jeanie’s sister, Inez, she provided an embodiment of a “diva”. Her strong will and determination to get her way made Inez one of the film’s more unlikable characters. But as an actress, Muriel had star qualities!  Whenever she appeared on screen, Muriel was able to garner the camera’s attention, even when her character wasn’t the focus of a scene. It also helps that she sang beautifully in this movie.

The musical numbers’ inclusion in the story: In some musicals, a musical number can make the story feel paused. With I Dream of Jeanie, the musical numbers pushed the story forward and made sense within the context of the story. A perfect example is Muriel’s solo, “Lo, Hear the Gentle Lark”. Toward the beginning of the movie, Inez and Stephen talk about an upcoming recital, where Stephen hopes Inez will agree to an engagement. When the event arrives, the performance is used to make Inez shine, showing how she craves attention. During the recital, unpublished songs by Stephen are introduced. The secret of Stephen’s involvement with “Oh! Susanna” is revealed at this event as well. Similar to “Lo, Hear the Gentle Lark”, the inclusion of these aforementioned songs also fit within the story.

A glimpse into the legal side of the music industry: One of the conflicts Stephen experiences is his lack of royalties from “Oh! Susanna’s” success. Whenever the song is performed, Stephen’s name is never mentioned. This surprises everyone in his life, including his brother. Stephen also faces legal threats due to the song’s copyright. This is because he presented the song to multiple publishers. Since I’m not well versed in the legalities of the music world, I found this brief exploration fascinating! That part of the story allowed me to learn something new. It also showed how different copyright laws and royalty agreements were in the 1840s.

The Musicals: With A Song And A Dance In My Heart Blogathon banner created by Neil from Thoughts From The Music(al) Man

What I didn’t like about the film:

Not really biographical: The purpose of a “biopic” is to provide some education to an audience about a particular individual. In the case of I Dream of Jeanie, this movie is meant to tell the story of Stephen Foster. But I ended up not learning much about the composer. While I discovered he wrote ‘Oh! Susanna’, I was expecting to learn more about Stephen. How did he become interested in music? Did he receive any professional training? This film doesn’t answer these questions. Instead, the script focuses more on other characters and events.

The characterization of Stephen Foster: No main individual in any “biopic” is meant to be seen as “perfect”. However, one of the staples of a “biopic” is to present the admirable aspects of a given individual. With I Dream of Jeanie, Stephen Foster, more often than not, came across as a desperate push-over. I don’t blame Bill Shirley for this, as he did a good job with the acting material he received. But I will put blame on the film’s screenwriter, Alan Le May. For the majority of the movie, Stephen loves a woman named Inez. She not only doesn’t like the type of music he makes, she also hates “Oh! Susanna”. In an attempt to win her love, Stephen announces how he’s trying to achieve a “redemption” by only playing classical music. He does this instead of standing up for himself or trying to compromise with Inez. This is, sadly, just one example of Stephen’s characterization.

The character of Edwin P. Christy: Not every character is meant to be likable. Sometimes, a character’s likability is based on personal preference. In my opinion, Edwin P. Christy was annoying. Once again, blame is given to Alan Le May. Edwin was a flamboyant and over-the-top showman. But what made him unlikable for me was how he used every opportunity to put the spotlight on himself. During Inez’s recital, Edwin disrupts the event by loudly playing one of Stephen’s songs at Stephen’s nearby stable. Edwin then crashes the recital and performs some of Stephen’s unpublished music, with no granted permission from Stephen. After some time, Edwin’s antics became unpleasant. It almost felt like Edwin tried to make the story about himself as well.

The Biopic Blogathon banner created by Annette from Hometowns to Hollywood

My overall impression:

In my introduction, I said I wanted to use my participation in these blogathons to learn more about Stephen Foster. Unfortunately, that’s not what happened. Don’t get me wrong, I did learn a few things about him and about some of the legalities of the music world’s early years. But it wasn’t enough to justify an hour and twenty-nine-minute movie. If anything, it almost seems like this film was about anything but Stephen. When characters like Edwin P. Christy try to take the spotlight for themselves, it makes the project look less biographical. As I mentioned in this review, some of the blame falls on the screenwriting. The quality of a project’s script is what makes or breaks it. If the script is weak, there’s only so much the other members of the creative team can do to salvage it. Now, as I wrap up this review, I must take a detour to Wikipedia.

Overall score: 5.6 out of 10

Have you seen any biopics? If so, which one is your favorite? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen