Words and Music (1948)

Before Rodgers and Hammerstein, there was Rodgers and Hart. In 1943, the year Oklahoma! premiered on Broadway, Lorenz Hart died of acute alcoholism and pneumonia. In 1948, MGM released Words and Music, a slightly fictionalized telling of the Rodgers and Hart partnership that combines stellar vocal and dance performances with a story of two very different artists who went in two very different directions.

Richard’s first meeting with Lorenz, or “Larry,” as he’s called, is a bit mystifying from Richard’s point of view. While Richard’s playing the piano, thinking he’s auditioning to work with Larry, Larry’s reading Vanity Fair, talking on the phone, lighting a cigar, cracking walnuts with his bare hands, and seemingly doing everything but listening.

Then out of the blue, he’ll comment on a chord progression or ask about the bridge. And just in case things aren’t confusing enough, Larry leaves before Richard is even done. At least he’s polite about it.

Richard thinks that’s the end of it, but then Larry meets with him again and sings the lyrics he’s written to Richard’s piece, and lo and behold, magic happens. The song, “Manhattan” is born.

Gee, songwriting looks so easy in the movies, doesn’t it?

From there Richard and Larry play the waiting game, two musicians in search of a producer. Two years go by. Richard’s ready to quit and sell children’s clothing. When their shot comes, it’s all uphill from there. Or downhill, in Larry’s case. Richard gets married and starts a family, but Larry is rejected by the woman he loves and tries to make up for it with partying.

It’s hard to underestimate the prevalence of Rodgers and Hart. Their music is everywhere, a little rougher around the edges and a little sassier than what we saw later from Mr. Rodgers, but it’s another facet of his musicianship that’s well-worth investigating.

This part of his catalogue is also very New York City-oriented. Besides “Manhattan,” we’ve got “Slaughter on Tenth Avenue.” We’ve got “The Lady Is A Tramp,” which talks about going to the theater and the opera and hating California because it’s too cold and damp. Of course, it’s all done with a wink and a nod, but the love is there, too.

The music in the film is always presented very elegantly, and they hit a lot of the high points of the Rodgers and Hart catalogue. I think my favorite is “Slaughter on Tenth Avenue,” which features Gene Kelly and Vera-Ellen—it’s an exhuberant dance and pure Richard Rodgers. “Thou Swell,” which was sung by June Allyson, is also fun. There really isn’t a bad number anywhere.

Granted, there were changes made to the story and the plot is pretty bare. Lorenz Hart was famous for going on alcoholic binges and disappearing for days at a time, but the Production Code precluded showing that too explicitly. Same thing with Hart’s homosexuality. Another point that’s left out is Hart’s mental and emotional deterioration after his mother died. The movie doesn’t even mention it; we just don’t see Mrs. Hart anymore. And we don’t see why Rodgers and Hart quit working together; in real life, Rodgers got tired of Hart’s unpredictability and self-destructive ways and by 1942 wanted out.

As far as Hart’s foibles were concerned, evidently Mickey Rooney was simply told to act crazy, which he does, but Hart also has plenty of shining moments, such as when he performs “I Wish I Were In Love Again” with Judy Garland. Who knows if this really happened, but it’s a fun song. It was also the last time Mickey and Judy would share credits until Judy went into TV.

Getting back to Words and Music, the problem with downplaying Hart’s flaws is that it doesn’t really explain why Hart goes downhill at the end. They don’t give any reason; he just kind of expires.

The other problem is that the film skims over the Rodgers and Hart catalogue a little too neatly. People today might be surprised as to how many well-known songs were written by Rodgers and Hart (around five hundred) and how many of their shows are still produced today, but this film doesn’t really communicate the gravity of that. Or why Rodgers auditioning for Hart was so significant in the first place.

Other than that, Words and Music is a fun, classic film with a lot of great musical numbers done in the fabulous MGM style that gives us at least a taste of the work of two respected American songwriters.

---

Words and Music is available on home media. Not rated.

My grade: A-

Principal Cast: Mickey Rooney, Tom Drake, June Allyson, Perry Como, Judy Garland, Lena Horne, Gene Kelly, Ann Sothern, Cyd Charisse, Betty Garrett, Janet Leigh, Marshall Thompson, Mel Torme, Vera-Ellen, Jeanette Nolan, Richard Quine, Clinton Sundberg, Dee Turnell.

Directed by Norman Taurog.

Written by Fred F. Finkelhoffe, Guy Bolton, and Jean Holloway.