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Alice Faye: Lillian Russell
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"On the Avenue" (1937) stars Dick Powell as a Broadway impresario who produces a satirical musical starring Alice Faye as "The Richest Girl in the World." When the woman Faye plays appears at the theater outraged, Powell falls for her, setting in motion all sorts of wacky events. Madeleine Carroll and the Ritz Brothers co-star; among the Irving Berlin tunes is "I've Got Love to Keep Me Warm." Four-disc set ... includes "Lillian Russell," "The Gang's All Here" (1943) and "That Night in Rio." 6 3/4 hrs. total.
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Some of the prettiest paper doll books came out in the 1940s, and this Alice Faye book is no exception. The cover art, expertly drawn by Norman Mingo features three Alice Faye dolls, and the clothing pages by Clara Ernst include costumes from Alice’s roles in "Tin Pan Alley," "Lillian Russell," "Weekend in Havana" and others. Star biography by David Wolfe.
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The 1937 On the Avenue is an Irving Berlin spectacle with a silly streak: Broadway boy Dick Powell locks horns with the richest girl in America (Madeleine Carroll), with Faye on the sidelines as Powell's regular-gal pal. You can see why audiences loved her, and the movie itself is a snappy, sarcastic little gem, featuring some antic routines by the Ritz Brothers and a kooky collection of Berlin tunes (including "I've Got My Love to Keep Me Warm"). Lillian Russell, a 1940 bio of the famous Gay 90s singer, was intended as Faye's crack at a dramatic role. The movie's whitewash of Russell's real story (which, as a 20-minute documentary makes clear, made Russell the Madonna of her era) limits Faye's chances. Henry Fonda plays a long-faithful suitor, with Don Ameche and Edward Arnold (reprising his title role from the film Diamond Jim Brady) ... in her orbit. That Night in Rio casts Faye opposite frequent co-star Ameche again; he plays a double role, as a suave Baron and a brash nightclub impersonator.
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This set is a very good compendium of Alice Faye's prime films from her prime era in the late 1930s and early 1940s. My focus here is on her 1940 epic, LILLIAN RUSSELL, a rather problematic film but not for those who understand that 1.) it's a musical, not a documentary; and 2.) as the author of the film's screenplay stated, "My is purpose is to present Lillian Russell as people remember her, not as she really was." So what's the problem?
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Lillian Russell