Wow! I never knew these two were in a movie together. Both such talented people, and what a fun little song! It’s great to see Alice dancing - and George... I wish I had a fraction of his athleticism! I’ll have to look into this one. Thank you! :)
What a delightful number! YOU'RE A SWEETHEART shows Alice's dancing abilities more than any of her Fox movies - she barely dances in any of them. . It's a real puzzle why her own studio didn't showcase her dancing at all!
You gotta mention Andy Devine, though we don't get to hear his unmistakable voice in this clip. And I was compelled to check IMDb and IBDb, (and the National Library Of Australia, thanks Google) for: 5 of the 7 songs listed for this film were Music by Jimmy McHugh, Lyrics by Harold Adamson. But Scrapin' the Toast: Music by Murray Mencher, Lyrics by Charles Tobias. The choreographer was Carl Randall, ( b. Feb 28, 1898 Columbus, Ohio, USA - d. Sep 16, 1965 Sydney, Australia ), whose impressive career began in 1915, dancing in the Ziegfeld Follies, with his first choreography credit 1916. There are only 4 film credits, dancing with Jean Harlow, and staging the dances, in Reckless in 1935, then 3 films in 1937. Louisiana Purchase and Gay Divorce would be the most recognizable of his Broadway credits as choreographer. B’way credits to 1945. He continued as performer, director, producer, and choreographer with credits in Australia from 1947 to 1962.
As early as December 1919 Randall broke his vaudeville partnership with Lucille Cavanaugh, sailing from NYC to Paris to stage 'several revues' including a turn at the Casino with the legendary Mistinguett. As early as December 1914 Carl had headlined at the Colonial, a Keith circuit house, with Cavanaugh's predecessor, Emma Carus. Sounds like a boy wonder, but they started early then. Randall seems to have gone into decline after his mid-Thirties stint in Hollywood, especially during WW2. He went to Australia in 1947 to mount 'Annie Get Your Gun', and is said to have been so smitten that he decided to stay Down Under.
Darryl Zanuck, a writer at heart, often misused or neglected his on-screen talent, while promoting ungifted girls such as Sheree North and Bella Darvi. His priapism barely cloaked contempt for the ladies whose star quality underwrote Fox's prestige productions. Like Howard Hughes, he maltreated them, yet hated to let them shine under others' guidance. His relations with Lilian Harvey, Alice Faye, Betty Grable and Marilyn Monroe were fraught. Alice was only loaned out twice- this was the second time- but got no scope to test her dancing from DFZ. In truth she has little more to do here than Joan Fontaine in 'A Damsel in Distress'. Both films came out in 1937. Like his Broadway buddy Fred Astaire, George Murphy nurses his partner through it; unlike Fred he is strong enough to twirl her in a lift without levering himself on a chair or table, as Fred did in 'The Yam'. As ever, George's arm and hand movements are not just for balance. They frame his partner's motion. He was lightfingered as well as light on his feet.
Thanks so much for all the information you have shared here, Esmee. The Studio system was definitely testing for many of these stars. They had to jump through hoops to avoid the displeasure of the Mandarins. In many instances they were just viewed as 'product' ie money-making machines. You had to be tough to go through that. It wasn't all 'moonlight and roses'. That's why we are privileged to have these reminders of their talent. The same goes for all involved....choreographers/musicians/camera and lighting men and women/scriptwriters ........a long list but they brought us this joy! Let's continue to celebrate their dedication and talent!
A kooky theme and title for a song & dance number in a Hollywood film, but this works wonderfully. George Murphy had the ability to execute leaps and other gymnastics so smoothly and effortlessly that you don't realize how arduous some of them really are.
i can get up by myself no alarm clock on the shelf no one has to say wake up my dear i can tell right to the dot when the coffee's gettin' hot just about that time i always hear ch ch ch ch ch , scrapin' the toast ch ch ch ch ch , scrapin' the toast when breakfast rolls around i hear that funny sound ch ch ch ch ch , scrapin' the toast a zih zuh, a zah zuh , scrapin' the toast three cheers for rye and white let's burn that bread up right oh every mother and wife has the time of her life with that knife in the morning ch ch ch ch ch , scrapin' the toast in every kitchen from coast to coast when morning rolls around those breakfast makers those income takers they start the day scrapin' the toast ch ch, ch ch ch ch ch ch ch ch ch ch ch scrapin' the toast ch ch scrapin' the toast when breakfast rolls around i hear that funny sound that's not toast hey you burned that bread okay oh every mother and wife has the time of her life with that knife in the morning ch ch ch ch ch so, you're scrapin' the toast in every kitchen from coast to coast when morning rolls around those breakfast makers those would be bakers they start the day scrapin' the toast [DANCE BREAK] [DANCE BREAK CONTINUES]
George Murphy! So graceful and elegant!
Wow! I never knew these two were in a movie together. Both such talented people, and what a fun little song! It’s great to see Alice dancing - and George... I wish I had a fraction of his athleticism! I’ll have to look into this one. Thank you! :)
What a delightful number! YOU'RE A SWEETHEART shows Alice's dancing abilities more than any of her Fox movies - she barely dances in any of them. . It's a real puzzle why her own studio didn't showcase her dancing at all!
Love the song and dance sequence from the only time Alice was loaned out and too Fox's frustration it was a huge success.
Alice had a terrific dance number with Jack Haley and Shirley Temple. It is truly one of the most complicated tap numbers I have ever seen.
You gotta mention Andy Devine, though we don't get to hear his unmistakable voice in this clip. And I was compelled to check IMDb and IBDb, (and the National Library Of Australia, thanks Google) for:
5 of the 7 songs listed for this film were Music by Jimmy McHugh, Lyrics by Harold Adamson. But Scrapin' the Toast: Music by Murray Mencher, Lyrics by Charles Tobias.
The choreographer was Carl Randall, ( b. Feb 28, 1898 Columbus, Ohio, USA - d. Sep 16, 1965 Sydney, Australia ), whose impressive career began in 1915, dancing in the Ziegfeld Follies, with his first choreography credit 1916. There are only 4 film credits, dancing with Jean Harlow, and staging the dances, in Reckless in 1935, then 3 films in 1937. Louisiana Purchase and Gay Divorce would be the most recognizable of his Broadway credits as choreographer. B’way credits to 1945. He continued as performer, director, producer, and choreographer with credits in Australia from 1947 to 1962.
As early as December 1919 Randall broke his vaudeville partnership with Lucille Cavanaugh, sailing from NYC to Paris to stage 'several revues' including a turn at the Casino with the legendary Mistinguett. As early as December 1914 Carl had headlined at the Colonial, a Keith circuit house, with Cavanaugh's predecessor, Emma Carus. Sounds like a boy wonder, but they started early then.
Randall seems to have gone into decline after his mid-Thirties stint in Hollywood, especially during WW2. He went to Australia in 1947 to mount 'Annie Get Your Gun', and is said to have been so smitten that he decided to stay Down Under.
That's Andy Divine [Jingles] scraping the toast
You're right! His last name is spelled Devine though.
I agree, songplugger, Alice was not the best dancer but she could certainly 'turn a heel' when required. I think this clip shows it!
I never imagined that Andy Divine could dance a few steps!
Darryl Zanuck, a writer at heart, often misused or neglected his on-screen talent, while promoting ungifted girls such as Sheree North and Bella Darvi. His priapism barely cloaked contempt for the ladies whose star quality underwrote Fox's prestige productions. Like Howard Hughes, he maltreated them, yet hated to let them shine under others' guidance.
His relations with Lilian Harvey, Alice Faye, Betty Grable and Marilyn Monroe were fraught. Alice was only loaned out twice- this was the second time- but got no scope to test her dancing from DFZ.
In truth she has little more to do here than Joan Fontaine in 'A Damsel in Distress'. Both films came out in 1937. Like his Broadway buddy Fred Astaire, George Murphy nurses his partner through it; unlike Fred he is strong enough to twirl her in a lift without levering himself on a chair or table, as Fred did in 'The Yam'.
As ever, George's arm and hand movements are not just for balance. They frame his partner's motion. He was lightfingered as well as light on his feet.
Thanks so much for all the information you have shared here, Esmee. The Studio system was definitely testing for many of these stars. They had to jump through hoops to avoid the displeasure of the Mandarins. In many instances they were just viewed as 'product' ie money-making machines. You had to be tough to go through that. It wasn't all 'moonlight and roses'. That's why we are privileged to have these reminders of their talent. The same goes for all involved....choreographers/musicians/camera and lighting men and women/scriptwriters ........a long list but they brought us this joy! Let's continue to celebrate their dedication and talent!
A kooky theme and title for a song & dance number in a Hollywood film, but this works wonderfully. George Murphy had the ability to execute leaps and other gymnastics so smoothly and effortlessly that you don't realize how arduous some of them really are.
Thanks, Gale, for your appreciation. They certainly make a good pairing!
new one for me.
You'll wreck the piano!
i can get up by myself
no alarm clock on the shelf
no one has to say wake up my dear
i can tell right to the dot
when the coffee's gettin' hot
just about that time i always hear
ch ch ch ch ch
, scrapin' the toast
ch ch ch ch ch
, scrapin' the toast
when breakfast rolls around
i hear that funny sound
ch ch ch ch ch
, scrapin' the toast
a zih zuh, a zah zuh
, scrapin' the toast
three cheers for rye and white
let's burn that bread up right
oh
every mother and wife
has the time of her life
with that knife
in the morning
ch ch ch ch ch
, scrapin' the toast
in every kitchen from coast to coast
when morning rolls around
those breakfast makers
those income takers
they start the day scrapin' the toast
ch ch, ch ch ch ch
ch ch ch ch ch
ch ch scrapin' the toast
ch ch scrapin' the toast
when breakfast rolls around
i hear that funny sound
that's not toast
hey
you burned that bread okay
oh
every mother and wife
has the time of her life
with that knife
in the morning
ch ch ch ch ch
so, you're scrapin' the toast
in every kitchen from coast to coast
when morning rolls around
those breakfast makers
those would be bakers
they start the day scrapin' the toast
[DANCE BREAK]
[DANCE BREAK CONTINUES]
Scrapin' the bottom of the barrel if ya ask me--the poor man's Fred and Ginger.