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| name = The Strawberry Blonde
| name = The Strawberry Blonde
| image = Strawberry Blonde (1941 film poster).jpg
| image = Strawberry Blonde (1941 film poster).jpg

| border = yes
| alt =
| alt =
| caption = Theatrical release poster
| caption = Theatrical release poster
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| cinematography = [[James Wong Howe]]
| cinematography = [[James Wong Howe]]
| editing = [[William Holmes (film editor)|William Holmes]]
| editing = [[William Holmes (film editor)|William Holmes]]
| studio = Warner Bros.
| studio = [[Warner Bros.]]
| distributor = [[Warner Bros.]]
| distributor = Warner Bros.
| released = {{Film date|1941|02|21}}
| released = {{Film date|1941|02|21}}
| runtime = 97 minutes
| runtime = 97 minutes
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[[File:MainTitleStrawbBlonde1941Trailer.jpg|thumb]]
[[File:MainTitleStrawbBlonde1941Trailer.jpg|thumb]]


'''''The Strawberry Blonde''''' is a 1941 American [[romantic comedy|romantic comedy film]] directed by [[Raoul Walsh]], starring [[James Cagney]] and [[Olivia de Havilland]], and featuring [[Rita Hayworth]], [[Alan Hale, Sr.|Alan Hale]], [[Jack Carson]], and [[George Tobias]]. Set in New York City around 1900, it features songs of that era such as "[[The Band Played On]]", "[[Won't You Come Home Bill Bailey|Bill Bailey]]", "[[Meet Me in St. Louis, Louis|Meet Me in St. Louis, Louie]]", "[[Wait Till The Sun Shines Nellie]]", and "Love Me and the World Is Mine". It was nominated for an [[Academy Awards|Academy Award]] in 1941 for [[Academy Award for Best Original Score|Best Scoring of a Musical Picture]]. The title is most often listed beginning with the word '''''The''''' (as it appears in the opening credits), but the film's posters and promotional materials called it simply '''''Strawberry Blonde'''''.
'''''The Strawberry Blonde''''' is a 1941 American [[romantic comedy|romantic comedy film]] directed by [[Raoul Walsh]], starring [[James Cagney]] and [[Olivia de Havilland]], and featuring [[Rita Hayworth]], [[Alan Hale, Sr.|Alan Hale]], [[Jack Carson]], and [[George Tobias]]. Set in New York City around 1900, it features songs of that era such as "[[The Band Played On]]", "[[Won't You Come Home Bill Bailey|Bill Bailey]]", "[[Meet Me in St. Louis, Louis|Meet Me in St. Louis, Louie]]", "[[Wait Till The Sun Shines Nellie]]", and "[[Love Me and the World Is Mine (song)|Love Me and the World Is Mine]]". It was nominated for an [[Academy Awards|Academy Award]] in 1941 for [[Academy Award for Best Original Score|Best Scoring of a Musical Picture]]. The title is most often listed beginning with the word '''''The''''' (as it appears in the opening credits), but the film's posters and promotional materials called it simply '''''Strawberry Blonde'''''.
⚫
The film was a more lighthearted remake of the 1933 non-musical movie ''[[One Sunday Afternoon]]'', directed by Stephen Roberts and starring [[Gary Cooper]]. Unlike that earlier picture, it was a hit. In 1948, Walsh directed a third version of the story, also called ''[[One Sunday Afternoon (1948 film)|One Sunday Afternoon]]'', featuring early 20th-century songs combined with original musical numbers.
⚫
The film was a more lighthearted remake of the 1933 non-musical movie ''[[One Sunday Afternoon (1933 film)|One Sunday Afternoon]]'', directed by Stephen Roberts and starring [[Gary Cooper]]. Unlike that earlier picture, it was a hit. In 1948, Walsh directed a third version of the story, also called ''[[One Sunday Afternoon (1948 film)|One Sunday Afternoon]]'', featuring early 20th-century songs combined with original musical numbers.

==Plot==
==Plot==
The movie runs as a long flashback in the 1890's in New York City and opening with Biff Grimes ([[James Cagney|James Cagney)]] as an unsuccessful dentist on a Sunday without work. Hugo Barnstead ([[Jack Carson]]) , an old partner, nemesis and rival makes a desperate appointment to see him. As Biff considers killing Hugo when he gives him nitrous oxide, the flashback begins.
The movie runs as a long flashback in the 1890's in New York City and opening with Biff Grimes ([[James Cagney]]) as an unsuccessful dentist on a Sunday without work. Hugo Barnstead ([[Jack Carson]]), an old partner, nemesis and rival makes a desperate appointment to see him. As Biff considers killing Hugo when he gives him [[nitrous oxide]], the flashback begins.


Biff falls in love with strawberry-blonde society girl Virginia Brush ([[Rita Hayworth|Rita Hayworth)]]. However, Biff's more enterprising "pal", Hugo, wins Virginia's affections. Biff ends up marrying Virginia's less-glamorous best friend, Amy Lind ([[Olivia de Havilland|Olivia de Havilland)]], who Biff eventually realizes was the right one for him all along.{{multiple image
Biff falls in love with strawberry-blonde society girl Virginia Brush ([[Rita Hayworth]]). However, Biff's more enterprising "pal", Hugo, wins Virginia's affections. Biff ends up marrying Virginia's less-glamorous best friend, Amy Lind ([[Olivia de Havilland]]), who Biff eventually realizes was the right one for him all along.{{multiple image
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* [[Lucile Fairbanks]] as Harold's girlfriend
* [[Lucile Fairbanks]] as Harold's girlfriend
* [[Edward McNamara]] as Big Joe
* [[Edward McNamara]] as Big Joe
* [[Helen Lynd]] as Josephine
* [[Helen Lynd (actress)|Helen Lynd]] as Josephine
* [[Herbert Heywood (actor)|Herbert Heywood]] as Toby
* [[Herbert Heywood (actor)|Herbert Heywood]] as Toby
* [[Russell Hicks]] as Treadway (uncredited)
* [[Russell Hicks]] as Treadway (uncredited)
* [[Frank Mayo (actor)|Frank Mayo]] as Policeman (uncredited)
* [[Frank Mayo (actor)|Frank Mayo]] as Policeman (uncredited)
* [[Jack Mower]] as Streetcleaner (uncredited)
* [[Jack Mower]] as Streetcleaner (uncredited)
* [[Nan Wynn]] as Rita Hayworth's singing voice (uncredited)<ref>Hagen, Wagner, Tompkins "Movie Dubbers", http://www.barbaralea.com/Dubbers/dubberslist.html</ref>
* [[Nan Wynn]] as Rita Hayworth's singing voice (uncredited)<ref>Hagen, Wagner, Tompkins "Movie Dubbers", http://www.barbaralea.com/Dubbers/dubberslist.html</ref>


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Both the director of ''Strawberry Blonde'', Raoul Walsh, and its star James Cagney came to the project looking for a change of pace.<ref>Moss, Marilyn Ann (2011). ''Raoul Walsh: The True Adventures of Hollywood's Legendary Director''. Lexington, Kentucky: The University Press of Kentucky. {{ISBN|978-0-8131-3393-5}}. p. 198</ref> Walsh had just completed the dark [[Humphrey Bogart]]/[[Ida Lupino]] vehicle ''[[High Sierra (film)|High Sierra]]'', shot largely on location, and the good notices the film received had Walsh "as fired up as [[Jack L. Warner|Jack Warner]] to keep the ball rolling on projects in development and production."<ref name=moss198>Moss, p. 198</ref> The transition between the outdoorsy film noir and the light and sentimental studio-centered ''Strawberry Blonde'' "proved no problem" for Walsh.<ref name=moss198/>
Both the director of ''Strawberry Blonde'', Raoul Walsh, and its star James Cagney came to the project looking for a change of pace.<ref>Moss, Marilyn Ann (2011). ''Raoul Walsh: The True Adventures of Hollywood's Legendary Director''. Lexington, Kentucky: The University Press of Kentucky. {{ISBN|978-0-8131-3393-5}}. p. 198</ref> Walsh had just completed the dark [[Humphrey Bogart]]/[[Ida Lupino]] vehicle ''[[High Sierra (film)|High Sierra]]'', shot largely on location, and the good notices the film received had Walsh "as fired up as [[Jack L. Warner|Jack Warner]] to keep the ball rolling on projects in development and production."<ref name=moss198>Moss, p. 198</ref> The transition between the outdoorsy film noir and the light and sentimental studio-centered ''Strawberry Blonde'' "proved no problem" for Walsh.<ref name=moss198/>


Cagney had earned his stripes with Warner Bros. in the early 1930s playing tough guys, but he also had shown his talents at lighter, musical material in films like ''[[Footlight Parade]]'' (1933)<ref>Warren, Doug, and James Cagney (1986). ''Cagney: The Authorized Biography''. New York: St. Martin's Press. {{ISBN|0-312-90207-7}}. p. 101</ref> He left the studio in mid-decade, then returned in 1938 with a contract that gave him more control in choosing roles and brought his younger brother William Cagney onboard as assistant producer and informal buffer between himself and studio executives.<ref name=warr124>Warren, p. 124</ref> But Cagney soon found himself getting slotted right back into tough guy parts and by 1940, he "wanted a nostalgic part—any part—to take him away from the gangsters he was now loathe [sic] to play."<ref name=moss200>Moss, p. 200</ref>
Cagney usually played tough guys at Warner Bros. in the early 1930s, but he had shown his talents at lighter, musical material in films like ''[[Footlight Parade]]'' (1933)<ref>Warren, Doug, and James Cagney (1986). ''Cagney: The Authorized Biography''. New York: St. Martin's Press. {{ISBN|0-312-90207-7}}. p. 101</ref> He left the studio in mid-decade, then returned in 1938 with a contract that gave him more control in choosing roles and brought his younger brother William Cagney as assistant producer and informal buffer between himself and studio executives.<ref name=warr124>Warren, p. 124</ref> However, Cagney soon found himself getting slotted into tough guy parts. and by 1940, he "wanted a nostalgic part—any part—to take him away from the gangsters he was now loathe [sic] to play."<ref name=moss200>Moss, p. 200</ref>


A property on the lot that might fill that bill was ''One Sunday Afternoon''. It had started out early in 1933 as a successful Broadway play by James Hagan<ref>[[Leslie Halliwell|Halliwell, Leslie]] with John Walker, ed. (1994). ''Halliwell's Film Guide.'' New York: HarperPerennial. {{ISBN|0-06-273241-2}}. p. 894</ref> and had been [[One Sunday Afternoon|adapted later that year]] by [[Paramount Pictures|Paramount]] as a vehicle for [[Gary Cooper]]. But it was "the only real flop of Cooper's stellar and carefully orchestrated career"<ref name=moss199>Moss, p. 199</ref>—and the only Cooper picture ever to lose money. James Cagney had qualms about it because it would be a remake,<ref name=moss200>Moss, p. 200</ref> and Jack Warner knew it needed "complete retooling."<ref name=moss199/> But it was a "pet project" of William Cagney, who saw it as a "gift to [the brothers'] mother, Carrie Cagney, who would live only a few more years"<ref name=moss199/> and Warner recognized the inside track ''that'' would give him with his often recalcitrant star. Warner screened the 1933 film and wrote a memo to his production head [[Hal B. Wallis]] telling him to watch it also: "It will be hard to stay through the entire running of the picture, but do this so you will know what not to do."<ref name=moss199/>
A property on the lot that might fill that bill was ''One Sunday Afternoon''. It had started early in 1933 as a successful Broadway play by James Hagan<ref>[[Leslie Halliwell|Halliwell, Leslie]] with John Walker, ed. (1994). ''Halliwell's Film Guide.'' New York: HarperPerennial. {{ISBN|0-06-273241-2}}. p. 894</ref> and had been [[One Sunday Afternoon (1933 film)|adapted later that year]] by [[Paramount Pictures|Paramount]] as a vehicle for [[Gary Cooper]]. It was "the only real flop of Cooper's stellar and carefully orchestrated career"<ref name=moss199>Moss, p. 199</ref>—and the only Cooper picture ever to lose money. James Cagney had qualms about it because it would be a remake,<ref name=moss200>Moss, p. 200</ref> and Jack Warner knew it needed "complete retooling."<ref name=moss199/> It was a "pet project" of William Cagney, who saw it as a "gift to [the brothers'] mother, Carrie Cagney, who would live only a few more years",<ref name=moss199/> and Warner recognized the inside track this leverage would give him with his often recalcitrant star. Warner screened the 1933 film and wrote a memo to his production head [[Hal B. Wallis]] telling him to watch it also: "It will be hard to stay through the entire running of the picture, but do this so you will know what not to do."<ref name=moss199/>


Wallis knew the trick was to tailor the script as a vehicle for Cagney, who had yet to commit, either to the project or even to his brother. Wallis had a first draft screenplay done by [[Stephen Morehouse Avery]] that satisfied no one;<ref>[[Patrick McGilligan (biographer)|McGilligan, Patrick]] (1986). ''Backstory: Interviews with Screenwriters of Hollywood's Golden Age.'' Berkeley and Los Angeles: University of California Press. {{ISBN|0-520-05666-3}}. p. 180</ref> he called in the Epstein brothers, [[Julius J. Epstein|Julius]] and [[Philip G. Epstein|Phillip]], for another vision—one that might hook Cagney into the project. The brothers and William all concurred that the first thing to do was move things from the play's midwest setting to New York City, "since they all knew it so much better."<ref name=moss200>Moss, p. 200</ref> Said Julius: "We thought the reason [the Cooper film] lost money was it was too bucolic. It took place in a little country town. We said 'Change it to the big city. Put it in New York.'"<ref name=mcg180>McGilligan, p. 180</ref> The Epstein version quickly took shape, aided by the objective of making it a Cagney picture. "When we went on the rewrite," Julius said, "we knew it was for Cagney. That was a help."<ref name=mcg180/>
Wallis knew the trick was to tailor the script as a vehicle for Cagney, who had yet to commit either to the project or even to his brother. Wallis had a first draft of a screenplay done by [[Stephen Morehouse Avery]] that satisfied no one;<ref>[[Patrick McGilligan (biographer)|McGilligan, Patrick]] (1986). ''Backstory: Interviews with Screenwriters of Hollywood's Golden Age.'' Berkeley and Los Angeles: University of California Press. {{ISBN|0-520-05666-3}}. p. 180</ref> he called in the Epstein brothers, [[Julius J. Epstein|Julius]] and [[Philip G. Epstein|Phillip]], for another vision—one that might hook Cagney into the project. The brothers and William all concurred that the first thing to do was move things from the play's midwest setting to New York City because "they all knew it so much better."<ref name=moss200>Moss, p. 200</ref> Said Julius: "We thought the reason [the Cooper film] lost money was it was too bucolic. It took place in a little country town. We said 'Change it to the big city. Put it in New York.'"<ref name=mcg180>McGilligan, p. 180</ref> The Epstein version quickly took shape, aided by the objective of making it a Cagney picture. "When we went on the rewrite," Julius said, "we knew it was for Cagney. That was a help."<ref name=mcg180/>


Yet still Cagney was reluctant. Wallis was getting impatient; he considered the emerging [[John Garfield]] for the role of Biff Grimes. By July 1940, concern about the impasse stretched all the way to New York, where [[Harry Warner]] cabled brother Jack that he was willing to give Cagney 10% of the gross.<ref name=moss200/> Then Cagney began to budge. One issue was that he didn't want to play scenes with the much-taller [[Jack Carson]]; he would prefer the shorter [[Brian Donlevy]], or the shorter-still [[Lloyd Nolan]]. The problem was, Nolan commanded $2,000 a week while Carson got just $750.<ref name=moss200/> Despite Cagney's misgivings, Carson was cast as Hugo Barnstead.
Cagney still was reluctant. Wallis was getting impatient; he considered the emerging [[John Garfield]] for the role of Biff Grimes. By July 1940, concern about the impasse stretched all the way to New York, where [[Harry Warner]] cabled brother Jack that he was willing to give Cagney 10% of the gross,<ref name=moss200/> and then Cagney began to budge. One issue was that he didn't want to play scenes with the much-taller [[Jack Carson]]; he would prefer the shorter [[Brian Donlevy]] or the shorter-still [[Lloyd Nolan]]. The difference was that Nolan commanded $2,000 per week and that Carson got $750 per week.<ref name=moss200/> Despite Cagney's misgivings, Carson was cast as Hugo Barnstead.


More problematic was the casting of the Virginia Brush role, which was originally created for [[Ann Sheridan]], the studio's "Oomph Girl".<ref>[[Ephraim Katz|Katz, Ephraim]], Fred Klein and Ronald Dean Nolen (2005). ''The Film Encyclopedia.'' New York: Harper Collins. {{ISBN|0-06-074214-3}}. p. 1284</ref> But Sheridan was in one of her contract disputes with the studio and refused to do the film. Jack Warner asked Walsh to talk Sheridan into it, but she still refused.<ref name=moss200/> Wallis tested actress [[Brenda Marshall]] for the part, but Walsh spoke up about "a girl" he had seen in several [[Columbia Pictures|Columbia]] pictures: young Rita Hayworth. "He thought she was perfect for the part, and after she was signed without a hitch, from then on he always referred to Hayworth as his 'find' (despite [the splash she had made in] ''[[Only Angels Have Wings]]'' released in 1939)."<ref name=moss200/>
More problematic was the casting of the Virginia Brush role, which was originally created for [[Ann Sheridan]], the studio's "Oomph Girl".<ref>[[Ephraim Katz|Katz, Ephraim]], Fred Klein and Ronald Dean Nolen (2005). ''The Film Encyclopedia.'' New York: Harper Collins. {{ISBN|0-06-074214-3}}. p. 1284</ref> Sheridan was in one of her contract disputes with the studio and refused to do the film. Jack Warner asked Walsh to talk Sheridan into it, but she still refused.<ref name=moss200/> Wallis tested actress [[Brenda Marshall]] for the part, but Walsh spoke up about "a girl" he had seen in several [[Columbia Pictures|Columbia]] pictures: young Rita Hayworth. "He thought she was perfect for the part, and after she was signed without a hitch, from then on he always referred to Hayworth as his 'find' (despite [the splash she had made in] ''[[Only Angels Have Wings]]'' released in 1939)."<ref name=moss200/>


Hayworth received $450 a week for the film and began work immediately with makeup man [[Perc Westmore]] to find the look for the title character in what would soon be retitled ''Strawberry Blonde''. After shooting test footage and many stills of his makeup experiments, Westmore memoed Wallis: "Her head is so large and she has so much hair that it will practically be impossible to put a wig on her. Whatever color you decide on, she will be happy to have it made that color. Then at the end of the picture, we will dye it back to its natural color."<ref name=moss201>Moss, p. 201</ref> This film marked the first time Hayworth was seen as a redhead and the only time that audiences heard her real singing voice.<ref name=moss201/>
Hayworth received $450 per week for the film and began work immediately with makeup man [[Perc Westmore]] to find the look for the title character in what would soon be retitled ''Strawberry Blonde''. After shooting test footage and many stills of his makeup experiments, Westmore memoed Wallis: "Her head is so large and she has so much hair that it will practically be impossible to put a wig on her. Whatever color you decide on, she will be happy to have it made that color. Then at the end of the picture, we will dye it back to its natural color."<ref name=moss201>Moss, p. 201</ref> This film marked the first time Hayworth was seen as a redhead and the only time that audiences heard her real singing voice.<ref name=moss201/>


The shooting of ''Strawberry Blonde'' began on October 21, 1940. Wallis and Walsh quickly came to loggerheads. The producer thought his director was coming in too close on the actors, that the close-ups decreased the nostalgia by obscuring the period backgrounds. Wallis's October 29, 1940 memo chided "You have so much opportunity on this picture for atmosphere and composition... and I hate like hell to see them go by without full advantage being taken of what we have."<ref name=moss201/> (Several months later, with [[Michael Curtiz]] on ''[[Yankee Doodle Dandy]]'', Wallis's complaints would be just the opposite: "Mike, get the story from the actors' faces, instead of going all over the place.")<ref name=moss202>Moss, p. 202</ref> Walsh in reality had "memorized the entire script and had worked out every camera angle and move—a visual map of just how he would shoot."<ref name=moss202/> As the footage continued to flow in, the memos slowed, then stopped.
The shooting of ''Strawberry Blonde'' began on October 21, 1940. Wallis and Walsh quickly came to problems. The producer thought his director was coming in too close on the actors, that the close-ups decreased the nostalgia by obscuring the period backgrounds. Wallis's October 29, 1940 memo chided "You have so much opportunity on this picture for atmosphere and composition...and I hate like hell to see them go by without full advantage being taken of what we have."<ref name=moss201/> (Several months later, with [[Michael Curtiz]] on ''[[Yankee Doodle Dandy]]'', Wallis's complaints would be just the opposite: "Mike, get the story from the actors' faces, instead of going all over the place.")<ref name=moss202>Moss, p. 202</ref> Walsh in reality had "memorized the entire script and had worked out every camera angle and move—a visual map of just how he would shoot."<ref name=moss202/> As the footage continued to flow, the memos slowed, then stopped.


Olivia de&nbsp;Havilland had no idea of the friction between the two, no problem with the closeups, and she debunked Walsh's reputation as a tough guy. "I loved working with Raoul. He seemed to understand perfectly the characters we were playing, and to understand, too, the 'actor' approach to them. It was a happy, harmonious set, a happy picture to make."<ref name=moss202/> The screenwriters too found Walsh a good boss. Julius Epstein said he "was great. He was very businesslike. He didn't change a word on ''The Strawberry Blonde''. Some writers complained about Walsh. My experience with him was very good."<ref name=mcg180/>
Olivia de&nbsp;Havilland had no idea of the friction between the two, no problem with the closeups, and she debunked Walsh's reputation as a tough guy. "I loved working with Raoul. He seemed to understand perfectly the characters we were playing, and to understand, too, the 'actor' approach to them. It was a happy, harmonious set, a happy picture to make."<ref name=moss202/> The screenwriters too found Walsh a good boss. Julius Epstein said he "was great. He was very businesslike. He didn't change a word on ''The Strawberry Blonde''. Some writers complained about Walsh. My experience with him was very good."<ref name=mcg180/>


When Warner Bros. released ''Strawberry Blonde'' on February 21, 1941, "the studio knew it had a hit on its hands."<ref name=moss203>Moss, p. 203</ref> Walsh considered it his most successful picture to date, and from then on would call it his favorite film.<ref name=moss203/>
When Warner Bros. released ''Strawberry Blonde'' on February 21, 1941, "the studio knew it had a hit on its hands."<ref name=moss203>Moss, p. 203</ref> Walsh considered it his most successful picture to date, and he called it his favorite film.<ref name=moss203/>


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Critic [[Bosley Crowther]] praised ''Strawberry Blonde'' in a ''[[The New York Times|New York Times]]'' February 1941 review, calling it "lusty, affectionate, and altogether winning."<ref name="Crowther41">{{cite news|last=Crowther|first=Bosley|authorlink=Bosley Crowther|url=https://www.nytimes.com/1941/02/22/archives/the-screen-james-cagney-in-a-nostalgic-comedy-of-the-1890s.html|title=James Cagney in a Nostalgic Comedy of the 1890s, ''Strawberry Blonde,'' at the Strand|work=The New York Times|date=February 22, 1941|access-date=April 15, 2019}}</ref> Part of its "amiable, infectious quality", he wrote, came from its cast: "James Cagney, true to form, is excellent as the pugnacious and proud little guy who 'don't take nothing from nobody' cause that's the kind of hairpin he is. Olivia de&nbsp;Havilland is sweet and sympathetic as the girl he marries and Rita Hayworth makes a classic 'flirt' of the one who got away." Part of it also came from the screenplay by [[Casablanca (film)|''Casablanca'']] writers [[Julius J. Epstein|Julius J.]] and [[Philip G. Epstein]]: they took "the little play, ''One Sunday Afternoon''... and fashioned from it a gas-lit comedy, laced with sentimental romance, about a fellow who thinks he's been played for a chump, but, in the end, discovers that he's the winner." Crowther also liked the supporting performances of [[George Tobias]] and [[Jack Carson]].<ref name="Crowther41" />
Critic [[Bosley Crowther]] praised ''Strawberry Blonde'' in a ''New York Times'' February 1941 review, calling it "lusty, affectionate, and altogether winning."<ref name="Crowther41">{{cite news|last=Crowther|first=Bosley|authorlink=Bosley Crowther|url=https://www.nytimes.com/1941/02/22/archives/the-screen-james-cagney-in-a-nostalgic-comedy-of-the-1890s.html|title=James Cagney in a Nostalgic Comedy of the 1890s, ''Strawberry Blonde,'' at the Strand|work=The New York Times|date=February 22, 1941|access-date=April 15, 2019}}</ref> Part of its "amiable, infectious quality", he wrote, came from its cast: "James Cagney, true to form, is excellent as the pugnacious and proud little guy who 'don't take nothing from nobody' cause that's the kind of hairpin he is. Olivia de&nbsp;Havilland is sweet and sympathetic as the girl he marries and Rita Hayworth makes a classic 'flirt' of the one who got away." Part of it also came from the screenplay by [[Casablanca (film)|''Casablanca'']] writers [[Julius J. Epstein|Julius J.]] and [[Philip G. Epstein]]: they took "the little play, ''One Sunday Afternoon''... and fashioned from it a gas-lit comedy, laced with sentimental romance, about a fellow who thinks he's been played for a chump, but, in the end, discovers that he's the winner." Crowther also liked the supporting performances of [[George Tobias]] and [[Jack Carson]].<ref name="Crowther41" /> On Rotten Tomatoes, the film has an aggregate score of 100% based on 9 critic reviews, with an average rating of 7.8/10.<ref>{{Cite web |title=The Strawberry Blonde |url=https://www.rottentomatoes.com/m/strawberry_blonde |access-date=November 13, 2022 |website=Rotten Tomatoes |publisher=[[Fandango Media]]}}</ref>


The entertainment trade publication ''[[Variety (magazine)|Variety]]'' liked it as well: "Cagney and de&nbsp;Havilland provide topnotch performances that do much to keep up interest in the proceedings. Rita Hayworth is an eyeful as the title character, while Jack Carson is excellent as the politically ambitious antagonist of the dentist."<ref>''[[Variety (magazine)|Variety]]'', February 12, 1941</ref>
The entertainment trade publication ''Variety'' liked it as well: "Cagney and de&nbsp;Havilland provide topnotch performances that do much to keep up interest in the proceedings. Rita Hayworth is an eyeful as the title character, while Jack Carson is excellent as the politically ambitious antagonist of the dentist."<ref>''[[Variety (magazine)|Variety]]'', February 12, 1941</ref>


In ''Halliwell's Film Guide'' (1994), reviewer [[Leslie Halliwell]] describes the production as a "pleasant period comedy drama" and recognizes its three stars and cinematographer [[James Wong Howe]] for their outstanding contributions.<ref name=hal1140>Halliwell, p. 1140</ref>
In ''Halliwell's Film Guide'' (1994), reviewer [[Leslie Halliwell]] describes the production as a "pleasant period comedy drama" and recognizes its three stars and cinematographer [[James Wong Howe]] for their outstanding contributions.<ref name=hal1140>Halliwell, p. 1140</ref>


In 1998, [[Jonathan Rosenbaum]] of the ''[[Chicago Reader]]'' included the film in his unranked list of the best American films not included on the [[AFI's 100 Years...100 Movies|AFI Top 100]].<ref>{{cite web |last=Rosenbaum |first=Jonathan |author-link=Jonathan Rosenbaum |date=June 25, 1998 |title=List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies |url=https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |newspaper=[[Chicago Reader]] |archive-url=https://web.archive.org/web/20200413120818/https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |archive-date=April 13, 2020 |url-status=live}}</ref>
In 1998, Jonathan Rosenbaum of the ''Chicago Reader'' included the film in his unranked list of the best American films not included on the [[AFI's 100 Years...100 Movies|AFI Top 100]].<ref>{{cite web |last=Rosenbaum |first=Jonathan |author-link=Jonathan Rosenbaum |date=June 25, 1998 |title=List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies |url=https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |newspaper=[[Chicago Reader]] |archive-url=https://web.archive.org/web/20200413120818/https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |archive-date=April 13, 2020 |url-status=live}}</ref>


==Soundtrack==
==Soundtrack==
* ''[[The Band Played On]]''
* "[[The Band Played On]]"
** Music by Chas. B. Ward
** Music by Chas. B. Ward
** Lyrics by [[John Palmer (composer)|John F. Palmer]]
** Lyrics by [[John Palmer (composer)|John F. Palmer]]
* ''[[Won't You Come Home Bill Bailey]]''
* "[[Won't You Come Home Bill Bailey]]"
** Music and Lyrics by [[Hughie Cannon]]
** Music and Lyrics by [[Hughie Cannon]]
* ''[[Meet Me in St. Louis, Louis]]''
* "[[Meet Me in St. Louis, Louis]]"
** Music by [[Kerry Mills]]
** Music by [[Kerry Mills]]
** Lyrics by [[Andrew B. Sterling]]
** Lyrics by [[Andrew B. Sterling]]
* ''In the Evening by the Moonlight''
* "In the Evening by the Moonlight"
** Music and Lyrics by James Allen Bland
** Music and Lyrics by James Allen Bland
* ''[[Wait Till the Sun Shines, Nellie]]''
* "[[Wait Till the Sun Shines, Nellie]]"
** Music by [[Harry von Tilzer]]
** Music by [[Harry von Tilzer]]
** Lyrics by [[Andrew Sterling]]
** Lyrics by [[Andrew Sterling]]
* ''[[The Fountain in the Park]]''
* "[[The Fountain in the Park]]"
** Music by [[Ed Haley]]
** Music by [[Ed Haley]]
* ''The Red, White and Blue'', aka ''[[Columbia, the Gem of the Ocean]]''
* "The Red, White and Blue", aka "[[Columbia, the Gem of the Ocean]]"
** Written by David T. Shaw
** Written by David T. Shaw
** Arranged by Thomas A. Beckett
** Arranged by Thomas A. Beckett
* ''[[In the Good Old Summer Time|In the Good Old Summertime]]''
* "[[In the Good Old Summer Time|In the Good Old Summertime]]"
** Music by [[George "Honey Boy" Evans|George Evans]]
** Music by [[George "Honey Boy" Evans|George Evans]]
* ''[[A Life on the Ocean Wave]]''
* "[[A Life on the Ocean Wave]]"
** Music by [[Henry Russell (musician)|Henry Russell]]
** Music by [[Henry Russell (musician)|Henry Russell]]
* ''Love Me, and the World Is Mine''
* "[[Love Me and the World Is Mine (song)|Love Me, and the World Is Mine]]"
** Music by [[Ernest Ball]]
** Music by [[Ernest Ball]]
** Lyrics by Dave Reed Jr.
** Lyrics by Dave Reed Jr.
* ''[[In the Shade of the Old Apple Tree]]''
* "[[In the Shade of the Old Apple Tree]]"
** Music by [[Egbert Van Alstyne]]
** Music by [[Egbert Van Alstyne]]
* ''[[In My Merry Oldsmobile]]''
* "[[In My Merry Oldsmobile]]"
** Music by [[Gus Edwards (vaudeville)|Gus Edwards]]
** Music by [[Gus Edwards (vaudeville)|Gus Edwards]]
* ''[[Let the Rest of the World Go By]]''
* "[[Let the Rest of the World Go By]]"
** Music by Ernest Ball
** Music by Ernest Ball
** Lyrics by [[J. Keirn Brennan]]
** Lyrics by [[J. Keirn Brennan]]
* ''[[When You Were Sweet Sixteen]]''
* "[[When You Were Sweet Sixteen]]"
** Written by [[James Thornton (songwriter)|James Thornton]]
** Written by [[James Thornton (songwriter)|James Thornton]]
* ''[[The Bowery (song)|The Bowery]]''
* "[[The Bowery (song)|The Bowery]]"
** Music by Percy Gaunt
** Music by Percy Gaunt


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{{Commons category|The Strawberry Blonde (film)}}
{{Commons category|The Strawberry Blonde (film)}}
* {{IMDb title|0034236}}
* {{IMDb title|0034236}}
* {{amg movie|47256}}
* {{allMovie title|47256}}
* {{tcmdb title|91678}}
* {{TCMDb title|91678}}
* {{AFI film|27050}}
* {{AFI film|27050}}


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[[Category:Warner Bros. films]]
[[Category:Warner Bros. films]]
[[Category:1940s American films]]
[[Category:1940s American films]]
[[Category:English-language romantic comedy films]]
[[Category:English-language musical comedy films]]

Latest revision as of 22:54, 20 November 2024

For other uses, see Strawberry blonde (disambiguation).
The Strawberry Blonde
Theatrical release poster
Directed byRaoul Walsh
Screenplay byJulius J. Epstein
Philip G. Epstein
Based onOne Sunday Afternoon
1933 play
by James Hagan
Produced byHal B. Wallis
StarringJames Cagney
Olivia de Havilland
Rita Hayworth
Jack Carson
CinematographyJames Wong Howe
Edited byWilliam Holmes
Music byHeinz Roemheld
Production
company
Distributed byWarner Bros.
Release date
  • February 21, 1941 (1941-02-21)
Running time
97 minutes
CountryUnited States
LanguageEnglish

The Strawberry Blonde is a 1941 American romantic comedy film directed by Raoul Walsh, starring James Cagney and Olivia de Havilland, and featuring Rita Hayworth, Alan Hale, Jack Carson, and George Tobias. Set in New York City around 1900, it features songs of that era such as "The Band Played On", "Bill Bailey", "Meet Me in St. Louis, Louie", "Wait Till The Sun Shines Nellie", and "Love Me and the World Is Mine". It was nominated for an Academy Award in 1941 for Best Scoring of a Musical Picture. The title is most often listed beginning with the word The (as it appears in the opening credits), but the film's posters and promotional materials called it simply Strawberry Blonde.

The film was a more lighthearted remake of the 1933 non-musical movie One Sunday Afternoon, directed by Stephen Roberts and starring Gary Cooper. Unlike that earlier picture, it was a hit. In 1948, Walsh directed a third version of the story, also called One Sunday Afternoon, featuring early 20th-century songs combined with original musical numbers.

Plot

[edit]

The movie runs as a long flashback in the 1890's in New York City and opening with Biff Grimes (James Cagney) as an unsuccessful dentist on a Sunday without work. Hugo Barnstead (Jack Carson), an old partner, nemesis and rival makes a desperate appointment to see him. As Biff considers killing Hugo when he gives him nitrous oxide, the flashback begins.

Biff falls in love with strawberry-blonde society girl Virginia Brush (Rita Hayworth). However, Biff's more enterprising "pal", Hugo, wins Virginia's affections. Biff ends up marrying Virginia's less-glamorous best friend, Amy Lind (Olivia de Havilland), who Biff eventually realizes was the right one for him all along.

Cast

[edit]

Development and production

[edit]

Both the director of Strawberry Blonde, Raoul Walsh, and its star James Cagney came to the project looking for a change of pace.[2] Walsh had just completed the dark Humphrey Bogart/Ida Lupino vehicle High Sierra, shot largely on location, and the good notices the film received had Walsh "as fired up as Jack Warner to keep the ball rolling on projects in development and production."[3] The transition between the outdoorsy film noir and the light and sentimental studio-centered Strawberry Blonde "proved no problem" for Walsh.[3]

Cagney usually played tough guys at Warner Bros. in the early 1930s, but he had shown his talents at lighter, musical material in films like Footlight Parade (1933)[4] He left the studio in mid-decade, then returned in 1938 with a contract that gave him more control in choosing roles and brought his younger brother William Cagney as assistant producer and informal buffer between himself and studio executives.[5] However, Cagney soon found himself getting slotted into tough guy parts. and by 1940, he "wanted a nostalgic part—any part—to take him away from the gangsters he was now loathe [sic] to play."[6]

A property on the lot that might fill that bill was One Sunday Afternoon. It had started early in 1933 as a successful Broadway play by James Hagan[7] and had been adapted later that year by Paramount as a vehicle for Gary Cooper. It was "the only real flop of Cooper's stellar and carefully orchestrated career"[8]—and the only Cooper picture ever to lose money. James Cagney had qualms about it because it would be a remake,[6] and Jack Warner knew it needed "complete retooling."[8] It was a "pet project" of William Cagney, who saw it as a "gift to [the brothers'] mother, Carrie Cagney, who would live only a few more years",[8] and Warner recognized the inside track this leverage would give him with his often recalcitrant star. Warner screened the 1933 film and wrote a memo to his production head Hal B. Wallis telling him to watch it also: "It will be hard to stay through the entire running of the picture, but do this so you will know what not to do."[8]

Wallis knew the trick was to tailor the script as a vehicle for Cagney, who had yet to commit either to the project or even to his brother. Wallis had a first draft of a screenplay done by Stephen Morehouse Avery that satisfied no one;[9] he called in the Epstein brothers, Julius and Phillip, for another vision—one that might hook Cagney into the project. The brothers and William all concurred that the first thing to do was move things from the play's midwest setting to New York City because "they all knew it so much better."[6] Said Julius: "We thought the reason [the Cooper film] lost money was it was too bucolic. It took place in a little country town. We said 'Change it to the big city. Put it in New York.'"[10] The Epstein version quickly took shape, aided by the objective of making it a Cagney picture. "When we went on the rewrite," Julius said, "we knew it was for Cagney. That was a help."[10]

Cagney still was reluctant. Wallis was getting impatient; he considered the emerging John Garfield for the role of Biff Grimes. By July 1940, concern about the impasse stretched all the way to New York, where Harry Warner cabled brother Jack that he was willing to give Cagney 10% of the gross,[6] and then Cagney began to budge. One issue was that he didn't want to play scenes with the much-taller Jack Carson; he would prefer the shorter Brian Donlevy or the shorter-still Lloyd Nolan. The difference was that Nolan commanded $2,000 per week and that Carson got $750 per week.[6] Despite Cagney's misgivings, Carson was cast as Hugo Barnstead.

More problematic was the casting of the Virginia Brush role, which was originally created for Ann Sheridan, the studio's "Oomph Girl".[11] Sheridan was in one of her contract disputes with the studio and refused to do the film. Jack Warner asked Walsh to talk Sheridan into it, but she still refused.[6] Wallis tested actress Brenda Marshall for the part, but Walsh spoke up about "a girl" he had seen in several Columbia pictures: young Rita Hayworth. "He thought she was perfect for the part, and after she was signed without a hitch, from then on he always referred to Hayworth as his 'find' (despite [the splash she had made in] Only Angels Have Wings released in 1939)."[6]

Hayworth received $450 per week for the film and began work immediately with makeup man Perc Westmore to find the look for the title character in what would soon be retitled Strawberry Blonde. After shooting test footage and many stills of his makeup experiments, Westmore memoed Wallis: "Her head is so large and she has so much hair that it will practically be impossible to put a wig on her. Whatever color you decide on, she will be happy to have it made that color. Then at the end of the picture, we will dye it back to its natural color."[12] This film marked the first time Hayworth was seen as a redhead and the only time that audiences heard her real singing voice.[12]

The shooting of Strawberry Blonde began on October 21, 1940. Wallis and Walsh quickly came to problems. The producer thought his director was coming in too close on the actors, that the close-ups decreased the nostalgia by obscuring the period backgrounds. Wallis's October 29, 1940 memo chided "You have so much opportunity on this picture for atmosphere and composition...and I hate like hell to see them go by without full advantage being taken of what we have."[12] (Several months later, with Michael Curtiz on Yankee Doodle Dandy, Wallis's complaints would be just the opposite: "Mike, get the story from the actors' faces, instead of going all over the place.")[13] Walsh in reality had "memorized the entire script and had worked out every camera angle and move—a visual map of just how he would shoot."[13] As the footage continued to flow, the memos slowed, then stopped.

Olivia de Havilland had no idea of the friction between the two, no problem with the closeups, and she debunked Walsh's reputation as a tough guy. "I loved working with Raoul. He seemed to understand perfectly the characters we were playing, and to understand, too, the 'actor' approach to them. It was a happy, harmonious set, a happy picture to make."[13] The screenwriters too found Walsh a good boss. Julius Epstein said he "was great. He was very businesslike. He didn't change a word on The Strawberry Blonde. Some writers complained about Walsh. My experience with him was very good."[10]

When Warner Bros. released Strawberry Blonde on February 21, 1941, "the studio knew it had a hit on its hands."[14] Walsh considered it his most successful picture to date, and he called it his favorite film.[14]

  • Amy Lind shocks Biff with her modern "new ideas", so scandalous in the Gay '90s
    Amy Lind shocks Biff with her modern "new ideas", so scandalous in the Gay '90s
  • Virginia's flirtatious beauty captivates Biff and holds him tight for years afterward
    Virginia's flirtatious beauty captivates Biff and holds him tight for years afterward
  • Pugnacious Biff calls out Nicholas's barbershop patron over Miss Brush's honor
    Pugnacious Biff calls out Nicholas's barbershop patron over Miss Brush's honor
  • Biff and Nicholas, lifelong pals; George Tobias received good notices as Nicholas
    Biff and Nicholas, lifelong pals; George Tobias received good notices as Nicholas

Reception

[edit]
From the 1941 trailer:

Critic Bosley Crowther praised Strawberry Blonde in a New York Times February 1941 review, calling it "lusty, affectionate, and altogether winning."[15] Part of its "amiable, infectious quality", he wrote, came from its cast: "James Cagney, true to form, is excellent as the pugnacious and proud little guy who 'don't take nothing from nobody' cause that's the kind of hairpin he is. Olivia de Havilland is sweet and sympathetic as the girl he marries and Rita Hayworth makes a classic 'flirt' of the one who got away." Part of it also came from the screenplay by Casablanca writers Julius J. and Philip G. Epstein: they took "the little play, One Sunday Afternoon... and fashioned from it a gas-lit comedy, laced with sentimental romance, about a fellow who thinks he's been played for a chump, but, in the end, discovers that he's the winner." Crowther also liked the supporting performances of George Tobias and Jack Carson.[15] On Rotten Tomatoes, the film has an aggregate score of 100% based on 9 critic reviews, with an average rating of 7.8/10.[16]

The entertainment trade publication Variety liked it as well: "Cagney and de Havilland provide topnotch performances that do much to keep up interest in the proceedings. Rita Hayworth is an eyeful as the title character, while Jack Carson is excellent as the politically ambitious antagonist of the dentist."[17]

In Halliwell's Film Guide (1994), reviewer Leslie Halliwell describes the production as a "pleasant period comedy drama" and recognizes its three stars and cinematographer James Wong Howe for their outstanding contributions.[18]

In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.[19]

Soundtrack

[edit]

Home media

[edit]

Strawberry Blonde was released on both VHS and in a DVD edition through the Warner Archive Collection.

References

[edit]
  1. ^ Hagen, Wagner, Tompkins "Movie Dubbers", http://www.barbaralea.com/Dubbers/dubberslist.html
  2. ^ Moss, Marilyn Ann (2011). Raoul Walsh: The True Adventures of Hollywood's Legendary Director. Lexington, Kentucky: The University Press of Kentucky. ISBN 978-0-8131-3393-5. p. 198
  3. ^ a b Moss, p. 198
  4. ^ Warren, Doug, and James Cagney (1986). Cagney: The Authorized Biography. New York: St. Martin's Press. ISBN 0-312-90207-7. p. 101
  5. ^ Warren, p. 124
  6. ^ a b c d e f g Moss, p. 200
  7. ^ Halliwell, Leslie with John Walker, ed. (1994). Halliwell's Film Guide. New York: HarperPerennial. ISBN 0-06-273241-2. p. 894
  8. ^ a b c d Moss, p. 199
  9. ^ McGilligan, Patrick (1986). Backstory: Interviews with Screenwriters of Hollywood's Golden Age. Berkeley and Los Angeles: University of California Press. ISBN 0-520-05666-3. p. 180
  10. ^ a b c McGilligan, p. 180
  11. ^ Katz, Ephraim, Fred Klein and Ronald Dean Nolen (2005). The Film Encyclopedia. New York: Harper Collins. ISBN 0-06-074214-3. p. 1284
  12. ^ a b c Moss, p. 201
  13. ^ a b c Moss, p. 202
  14. ^ a b Moss, p. 203
  15. ^ a b Crowther, Bosley (February 22, 1941). "James Cagney in a Nostalgic Comedy of the 1890s, Strawberry Blonde, at the Strand". The New York Times. Retrieved April 15, 2019.
  16. ^ "The Strawberry Blonde". Rotten Tomatoes. Fandango Media. Retrieved November 13, 2022.
  17. ^ Variety, February 12, 1941
  18. ^ Halliwell, p. 1140
  19. ^ Rosenbaum, Jonathan (June 25, 1998). "List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies". Chicago Reader. Archived from the original on April 13, 2020.
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