Musicals always raise the spirits, don't they?

I mean musicals that don’t dramatize the slow creep of the Nazi party across Weimar era Germany. Or musicals that don't involve bloody racial conflicts on Manhattan’s West Side. Or musicals that don't torment blind single mothers on death row… Let's restate: Musicals are sometimes cheerful. I need a cheerful one right now.

See, it's been a tough week. Things haven’t been going well for me technologically speaking –this DVD player I use keeps freezing on me and refusing to play DVDs. What gives? It did this when I tried to review The Car, too -- and don't even mention "time management" to me. I’m apologizin’ straight away that this post is very short and open-ended (make sure to check out my musical pard'ners at other blogs below). Deadlines surround me. I had but three hours of sleep last night and back to the office I went.

Doris Day kicks off this month's featured movie singing with her fellow travellers on a horse driven carriage way back in the 1870-something. Flash forward 138 years and it's corporate America that's singing "whip crack away" to me. They ain't as cheerful about it as Ms. Doris Day.

Beautiful sky! A wonderful day!
Whip crack-away!, Whip crack-away!, Whip crack-away!

So thank god for musicals and their bright colors, catchy songs and high spirited dancing. I need them. From its first frames Calamity Jane conspires to put a smile on my face. It’s not content to just throw up a huge colorful title. This 1953 musical adds a chorus of swelling voices to sing that very title to me --just in case I'm illiterate like those Deadwood settlers. They sing her name like they're speeding over a hill in their own carriage. It's got a big rise and fall. Yes, phantom chorus, sing to me! Drug me up with that musical cheer. I'll join in as soon as we get to a number I recognize.

Alas, my DVD player isn't playing and I'm denied again. [Editor's note: This is the last scheduled posting that shall be ruined by said problem. I just need a free day to find a solution and I haven't had one in a couple of weeks.] The real reason I wanted to kick off this series with Calamity Jane was that I was dying to see it again. How foregrounded are the fascinating homo undercurrents I remember thinking about once I saw The Celluloid Closet in 1995. I'll have to read the other posts in this mini-celebration to find out. Doris Day was never a Judy Garland but Calamity Jane's most famous song "Secret Love" was understandably a major gay anthem back in its day, descriptive of and embraced by the GLBT community before there was really such a thing as being "out".

Now I shout it from the highest hills
I even told the golden daffodil.
At last my heart's an open door.
And my secret love's no secret anymore

Imagine how thrilling, how moving this fantasy wish fulfillment in a song must have been in the 1950s when the reality was almost always the closet?

Just a brief cursory "scene selection" tour through this Technicolor Deadwood has convinced me that what the world really needs is a gay remake or perhaps a meta drag version for the new millenium. The latter would be vaguely Victor/Victoria-esque only in this case it'd be a thinkier spin "a man pretending to be a woman who everyone thinks of as a man" rather than the fully comedic 82 version

"A woman pretending to be a man pretending to be a woman?!? Preposterous! No one will believe it."
"Exactly. That's why it will work!"

And whether this imaginary "Jane" is a 50s tomboy or an effeminate man playing a tomboy "she's" got an interesting thing for "Wild Bill", don'cha know. When we first see Bill Hickok, Calamity veritably shimmies at him despite her objections to immodest ladies of entertainment and sings enthusiastically about "his gun with 27 notches"

Jane after checking out Bill's gun: "I'm glad to say he's a
very good friend of mine." (hee)

I love their relationship. I never watched HBO's Deadwood but catching glimpses of Howard Keel and Doris Day's mostly platonic (brotherly?) romance in this musical makes me curious to see how other artists have treated this mythic pairing. Like Bonnie & Clyde, Wild Bill Hickok and Calamity Jane have been mythologized for a long time. No one who can separate the fact from the fiction is still alive. What was going on there? It's ripe for multiple interpretations. Did they really have a child together as Jane later claimed? It's a complicated affair. The true details of this love (reciprocal or otherwise) are secret.

The golden daffodils aren't talking.

For more on Calamity Jane, say...

"Howdy Pardners!"
Movies Kick Ass gender roles & revisionist westerns in Calamity Jane & Johnny Guitar
Spartickes "That ain't all she ain't!"
StinkyLulu delivers a cheeky funny audiovisual meditation
Criticlasm "You make no sense at all, but you’re a rollicking good old time."
Stinky Bits unedited ramblings on the butch/femme lesbian romance within the film


Next time... Those few brave souls who participated in the first installment will be voting on the movie to be featured on September 6th. The options are: Fred & Ginger in Swing Time (1936), the non-stop dancing of The Red Shoes (1948), Gene Kelly's On the Town (1949), Bollywood classic Mother India (1957), Off Broadway transfer Little Shop of Horrors (1986) or Christian Bale hoofin' it through Newsies (1992). We'll announce the winner in a few days.