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Kathryn Grayson as SOTM January 2019


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the 8th of january
andy hardy's private secretary (1941) with mickey rooney
rio rita (1942) with abbott & costello
seven sweethearts (1942) with marsha hunt
the vanishing virginian (1942) with frank morgan

the 15th of january
thousands cheer (1943) with gene kelly
anchors aweigh (1945) with gene kelly
two sisters from boston (1946) with june allyson
it happened in brooklyn (1947) with frank sinatra

the 22nd of january
the kissing bandit (1949) with frank sinatra
that midnight kiss (1949) with jose iturbi
grounds for marriage (1950) with van johnson
the toast of new orleans (1950) with mario lanza

the 29th of january
show boat (1951) with howard keel
lovely to look at (1952) with red skelton
the desert song (1953) with gordon macrae
kiss me kate (1953) with howard keel

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I have to admit I've always been a little indifferent to her, so this will be a good opportunity to change my mind. It seems MGM in particular liked to put classically trained singers in the position of selling a combo of classical and popular material. I never questioned the artistry of the singers, but sometimes it seemed something like slumming and it could give popular material a shriller edge than I'm comfortable with. Also, the grande dame/diva persona often associated with the classical tradition doesn't necessarily translate into relatable characters in more proletarian fare, in my opinion. I've always given Kathryn Grayson A for effort, but I think the actual results could be mixed. I probably won't watch all of these, but I'll give what I do watch my best attention in hopes of being won over.

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11 hours ago, DougieB said:

I have to admit I've always been a little indifferent to her, so this will be a good opportunity to change my mind. It seems MGM in particular liked to put classically trained singers in the position of selling a combo of classical and popular material. I never questioned the artistry of the singers, but sometimes it seemed something like slumming and it could give popular material a shriller edge than I'm comfortable with. Also, the grande dame/diva persona often associated with the classical tradition doesn't necessarily translate into relatable characters in more proletarian fare, in my opinion. I've always given Kathryn Grayson A for effort, but I think the actual results could be mixed. I probably won't watch all of these, but I'll give what I do watch my best attention in hopes of being won over.

If you have to watch one my recommendation is the Desert Song. It's a very beautiful operetta where Grayson plays a Foreign Legionnaire's daughter who falls in love with a mysterious hero.

 

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