JohnHowardReid As The Academy of Motion Picture Arts and Sciences wisely categorized, The Strawberry Blonde is actually a musical. True, it could also be aptly described as a romantic comedy or even as a comedy-drama. But with its feast of period songs, I see it primarily as a musical in which both the period nostalgia and even the songs themselves are gently spoofed. Walsh's bright, crisp direction deftly employs a dazzling variety of camera angles and fluid camera movements. These, combined with sharp film editing, effectively disguise the screenplay's otherwise rather obvious stage origins. Walsh also had the supreme advantage of an extremely generous budget which ran to large, lavishly appointed sets that could never be duplicated even in the roomiest Broadway theater. As the volatile, rather bitter dentist, James Cagney seems perfectly cast, while George Tobias (in the Roscoe Karns role) makes an ideal stooge in the opening scenes where so much depends on instant information dialogue. Between them, Cagney and Tobias lay this essential groundwork not only with care, precision and subtlety, but with an unobtrusive professionalism that adds up to sheer entertainment. On the other hand, although Rita Hayworth plays the title role, she makes a rather late entrance. Even Jack Carson, perfectly cast as the obnoxious Hugo "whom we all know and love", precedes her. Fortunately, the ground has now been well prepared. When she finally appears, Rita certainly lives up to her reputation. She's simply great. Our only beef is that we would like to have seen her role extended even further. As the critic for the weekly trade paper, Variety astutely commented: "Rita Hayworth blossoms like a rose. Clothed in stunning period costumes and gorgeously photographed, she gives her role a vivid quality and her personality a showcasing which will enormously increase her importance." My only beef is that the first two-thirds of The Strawberry Blonde where the script's accent lies firmly in the realms of musical comedy, offers superior entertainment to the last third where the action takes a more dramatic turn. Director Raoul Walsh seems unable to decide in what mood to play the final scenes, whereas his confident approach of nostalgic caricature and farce seemed such a perfect choice for Acts One and Two.

jjnxn-1 A lovely film with perfect performances from all four leads. Cagney is at his braggart best in the early going changing and maturing in a real, believable way. Olivia saucy and a bit bold but with a tenderness underneath, one of her best early performances. They share an immensely moving scene in the later part of the film, some of the best acting either ever did. Jack Carson with his oily glad handing charm is a marvelous fit for the mercenary, boorish, contemptible and rather stupid Hugo. But the one who benefited most from this film was Rita Hayworth. She had been slowly working her way up the ladder to this point but taking over the role when Ann Sheridan got into a dispute with her Warner bosses she took it between her teeth and ran with it all the way to A list stardom. Beautiful and flighty and every mans fantasy she is sublime in her single minded pursuit of wealth and position. Witty and wry and looking sensational in the period clothing she also skillfully shows her character's gradual change from coquettish young filly to dissatisfied, hardened shrew. Walsh sets a sprightly tone to the film and moves it forward at an assured pace helped greatly by several members of the Warner stock company especially Alan Hale and George Tobias. Not as well known as it should be this is classic cinema from Hollywood's Golden age.

reader4 This movie can't decide what it's trying to be. Or perhaps it's trying to be everything, sort of like a Bollywood (Mumbai) epic.It starts out as a nostalgic period piece, and a musical at that, set in the Gay Nineties, or perhaps just after the turn of the 20th century. I thought at first that I had recorded it in error. Those who aren't old enough to remember "Sing Along With Mitch," much less "follow the bouncing ball," will probably not recognize most of the old standards that are performed here.What we mostly see during this section, besides brass bands and barbershop quartets, is Jimmy Cagney engaging in fisticuffs with just about everyone he comes in contact with, because "that's just the sort of hairpin" he is. It is interesting to see a young George Reeves with a moustache.Then, abandoning the songs, the movie turns into a comedy of the first water, a great deal better than I expected. If it had continued in this vein, I would have rated it at least a 7 and kept it. The dialog is clever and witty, with many unexpected lines, and Olivia de Havilland particularly shines as a Suffragette who's more talk than action when it comes to the pinch.After the comedy portion, it becomes a fairly mundane love story for a while, with Cagney and Carson both chasing Hayworth and the loser ending up with de Havilland as the consolation prize.Then suddenly the movie turns into a tear jerker! After this betrayal, I almost didn't finish it out.But wait, we're not finished with our chameleon act yet! The final quarter of the movie is a didactic morality fable, with speeches and justice for all.The acting is top notch throughout. De Havilland is head and shoulders above the others, but Cagney and Carson do a great job as well. Rita Hayworth crackles, several years before she even thought of putting the blame on Mame. George Tobias, who is probably most famous for portraying Abner Kravitz on "Bewitched," must have been at the peak of his career, as he gets fourth billing.If you like pat, sappy Broadway musicals that are a bit on the heavyhanded side, you will like this film all the way through. Otherwise, if you were expecting a comedy, you will probably feel betrayed, as I did.

Boba_Fett1138 Who would had ever known that Raoul Walsh was also capable of making, fun, sweet, charming movies such as this one.It's a real irresistible movie, with a solid great and also quite original love-story, supported and uplifted even more by its great cast. It's the sort of story that sort of has it all; romance, drama and comedy. What I like about the movie is that it has all of the generic required elements but yet is non-formulaic. For instance the lead doesn't get the girl he wanted most and the leading lady has her own very free mind and will, especially for those days of course. The movie has several dramatic themes in it, as well as a sort of message in the end but above all the movie is a really fun one to watch. It has some great subtle comedy and I'm sure you'll discover new little subtle comedy elements in the movie each time you'll see it.James Cagney doesn't seem like the most likely choice for the leading role in a romantic movie. He was often type-casted as tough guys and he of course most certainly also did not had the right looks to play in a movie such as this one. But perhaps of that very same reason his character works out so well in the movie. It makes the story all the more believable and cuter, knowing that the main character isn't the prettiest or cutest boy on the block. On top of that, James Cagney was of course also a great actor, that could time well, which helps him in the more comical moments in the movie. The movie also has an impressive female cast with both Olivia de Havilland and Rita Hayworth. Two of THE leading ladies of the '40's. But also Alan Hale, Jack Carson and George Reeves where no unknowns.By todays standards the sets and background of the movie are all cheap and of course fake looking but this always has been sort of part of the charm of '40's movies. The musical score by Heinz Roemheld was surprisingly great (also Oscar nominated). I wish it was more present in the movie.A really recommendable movie.8/10http://bobafett1138.blogspot.com/