To describe the 1948 WORDS AND MUSIC as a "whitewashed" version of the famous song-writing team Rogers and Hart is a gross understatement. Lorenz Hart (1895-1943) was a homosexual in an era when such was flatly unacceptable; the pressures of the closet drove him into a wildly self-destructive alcoholism that ultimately killed him. Richard Rogers (1902-1979)was Hart's polar opposite, a highly disciplined individual who had zero tolerance for Hart's extremes. Their friendship and working relation was stormy, to say the least.

Needless to say, there was no way on earth that 1940s Hollywood could approach these facts. What we get instead is the story of the brilliant but glitchy Hart (Mickey Rooney) who is disappointed in love by singer Peggy McNeil (Betty Garrett), never gets over it, and falls apart as Rogers (Tom Drake) and his wife Dorothy (Janet Leigh) look on in dismay. It's pretty much a lot of pap, but fortunately for all concerned the movie gives us a lot of music along the way.

Most of the music is the form of cameos by a wash of MGM's musical stars. Perry Como has unexpected screen presence; Lena Horne, saddled with the excessive gesticulation and odd costumes typically inflicted upon her during her Hollywood years, still manages to give truly memorable performances of "Where or When" and "The Lady Is A Tramp;" June Allyson does a charming "Thou Swell;" Gene Kelly and Vera-Ellen offer a memorable version of the jazz ballet "Slaughter on 10th Avenue." Other notables include Anne Southern, Cyd Charisse, and Mel Torme.

The big noise among the cameos is Judy Garland, who was battling MGM over withheld salary at the time and finally agreed to do two numbers to even out what the studio said she owed them. The result would be the final pairing of Judy Garland and Mickey Rooney in a motion picture, the two performing a charming duet of "I Wish I Were In Love Again," with Rooney clearly trying to break Garland up--and often succeeding. It's tremendous fun and followed by Garland's hard-belting and equally enjoyable "Johnny One Note."

Cameos aside, the primary cast is quite good with Rooney a stand out as Hart; one wonders at what performance he might have given if the script had been a no-holds-barred account. Granted, WORDS AND MUSIC is the sort film you watch for the musical moments rather than the plot--but when all is said and done it does what it does extremely well. Recommended, but primarily for musical fans.

Gary F. Taylor, aka GFT, Amazon Reviewer

A sanitized account of the personal lives and professional partnership of Richard Rogers and Lorenz Hart. Tom Drake is his usual bland self as Rogers and Mickey Rooney is characteristically over-the-top as the self-destructive, troubled Hart. (According to the film, Hart's problems stemmed from a failed romance with a singer, played here by Betty Garrett. In truth, Hart was gay but this was only part of what contributed to his complicated personality.) The film is notable only for its many musical numbers. Among the highlights: Lena Horne's masterful rendition of "Where or When" and "The Lady is a Tramp"; June Allyson and the Blackburn Twins' charming "Thou Swell"; and Judy Garland and Rooney's spirited "I Wish I Were In Love Again" as well as Garland's dynamic "Johnny One Note". The show-stopper, however, is the brilliant jazz ballet, "Slaughter On Tenth Avenue", choreographed by Gene Kelly and danced expertly by Kelly and the fabulous Vera-Ellen. It, alone, is worth the price of admission.

Words and Music is one of those films that is heavily flawed but is still a pleasure to watch. The failures are mainly to do with the biographical parts, with anachronistic and rather stilted dialogue, an underwritten and stodgily paced story that takes truth liberties to the extent that Richard Rodgers and Lorenz Hart just don't seem very interesting and the heavier dramatic elements seemed on the ham-fisted side. Unfortunately there are also casting issues too. Tom Drake is so restrained as Rodgers that he comes across as colourless, especially when compared to Mickey Rooney who chews the scenery to pieces with the subtlety of a sledgehammer that seems at odds with the rest of the film. Janet Leigh also has very little to do and her performance doesn't register as a result. The film has lovely sets and costumes though and the cinematography is very nicely done. The music is top drawer with witty lyrics and melodies that are both beautiful and catchy. The choreography brims with sharpness and nostalgia too, and several of the performers are great. Of the musical numbers, my personal highlight was Slaughter on 10th Avenue, utter class of the highest order and danced to perfection by Gene Kelly and Vera-Ellen. Very close is Thou Swell, June Allyson performs it with such lively energy, and you have to love the Blackburn Twins' coyness. Blue Room benefits from Perry Como's sensitive singing and Cyd Charise is able to show her elegant dancing and long legs just as beautifully. Mel Torme's rendition of Blue Moon is incredibly touching, as is Judy Garland and Rooney's(his best moment in the film easily) reunion rendition of I Wish I Were in Love Again. Garland's Johnny One-Note charms too and Lena Horne's The Lady is a Tramp is a winner. All in all, the biographical elements don't really work but the musical numbers do and the best ones(Slaughter on 10th Avenue and Thou Swell) are outstanding. 6.5/10 Bethany Cox

Even when you consider how these whitewashed Hollywood musical biopic extravaganzas usually play out, "Words and Music" is embarrassingly ill-conceived. MGM might have been wiser to borrow Abbott & Costello from Universal for the roles of Lorenz Hart and Richard Rodgers. But, the movie is beautifully produced at all times, by Arthur Freed and the studio. And, the musical numbers range from terrific to indispensable. For a song, listen to Mel Tormé doing "Blue Moon"; it's one of the most beautiful renditions of that standard, and became a Capitol hit for Mr. Tormé. For a dance, observe Gene Kelly and Vera-Ellen doing "Slaughter on 10th Avenue"; it's a superbly performed and choreographed vignette, and belongs with the best of Mr. Kelly's work.

****** Words and Music (12/9/48) Norman Taurog ~ Mickey Rooney, Tom Drake, Gene Kelly

This technicolor musical biopic from MGM and director Norman Taurog charts the lives of songwriter Richard Rodgers (Tom Drake) and lyricist Lorenz Hart (Mickey Rooney), from their early successes, to their mid-career successes, to their late career successes. We also see their various romances, bot the successes and the failures.

This movie can be looked at in two parts: a biopic, and a musical showcase. As far as biopics go, this was horrendous, as not only does it not shed any real light on who Rodgers and Hart were, or take a serious look at their process, it portrays character traits that are completely fictitious, while ignoring others that are integral to understanding who these men were, particularly Hart. On the musical front, as usual, if you're a fan of this type of music, and these particular songwriters, then you'll most likely love it, as there are some of Hollywood's best belting out the tunes. I enjoyed the "Slaughter on Tenth Avenue" ballet sequence with Kelly and Vera-Ellen, even if the latter looked a bit like she was suffering from a hip disorder rather then as if she were dancing.

Another old movie from my garage vaults; one I always loved because of the great music and so many MGM stars. The loosely based biography of both Richard Rogers and Lorenz Hart. They were a great pair. Rogers wrote the music and Hart did the sometimes crazy lyrics Tom Drake plays Rogers, and Mickey Rooney plays Hart. The big numbers in this were by June Allison in "Thou Swell"; Judy Garland's "Johnny One-Note"; Judy and Mickey doing "I'll Take Manhattan"; Mel Torme's "Blue Moon", and many others. I believe this film was one of Perry Como's and Mel Torme's first. The story may seem like a hodgepodge of great talent, but who cares the music is wonderful! How could anyone not love Judy Garland or June Allison? 7/10

During the 1940's, MGM produced a number of All-Star musicals. The most notable being The Ziegfeld Follies, Till the Clouds Roll By, and Words and Music. The Ziegfeld film is most remembered for its comedy routines: Fanny Brice, Red Skelton, Victor Moore, and Judy Garland's satirical "The Great Lady Gives an Interview". The other two films are idealized biographies of Jerome Kern ("Clouds") and Rodgers and Hart ("Words"), of which the latter is far and away the more entertaining. The Kern film followed closely on the death of the revered composer and is too respectful for its own good. "Words and Music", on the other hand, benefits greatly from the presence of Mickey Rooney (as Larry Hart) and the always delightful Betty Garrett. But, most of all, it's the wide variety of songs that Rodgers and Hart produced that make it such a joy to watch. From June Allyson's lively "Thou Swell" (a highlight in her career) to the dramatic "Slaughter on Tenth Avenue" ballet with Gene Kelly and Vera-Ellen (a forerunner of the sensual ballet's that Kelly performed in "An American in Paris" and "Singing in the Rain". And of course, there's the wonderful (and final) teaming of Rooney and Judy Garland (the amusing "I Wish I Were in Love Again").

From beginning to end, this is the best of MGM. Don't miss it.

Just like Till the Clouds Roll By, this is a fictional biography of the song writing team of Rodgers & Hart. the musical numbers are worth the rental

When this film was made.They could not say that Lorenz Hart---Mickey Rooney's character was gay. so they made in a remorseful drunk.

Tom Drake was a very limp Richard Rodgers.

Odd note is the scene with Mickey & Judy Garland (she played herself & the song they sang was written many many years earlier, granted most people would catch that, BUT movie buffs sure would.

I was 20 at the time.

The ending of this film, you will seem made up by Hollywood writers. Sorry to disappoint you,. I verified this right after seeing film by going to the microfisch at the New York Daily News. I was very surprised to find that what seemed like a corn ball Hollywood ending was nearly 90% true.

as unbelievable as it looks on screen, it is accurate. For those who have not seen this, I will not spoil it for you

as always

Jay Harris

I sometimes imagine in horror that people, hundreds of years from now, will dig up _Night and Day (1946)_ (qv) or Words and Music and mistake it for actual history. Anachronisms jump off virtually every frame of both films: here for starters, the time line jumps back and forth inexplicably (it's 1925... no 1936! Nope, try a 1927 where everyone dresses like it's 1948). MGM---for obvious reasons--- brushed aside Lorenz Hart's angst over being gay (his actual personality was the polar opposite of Rooney's portrayal), The clothes are all wrong, songs are incorrectly connected to various productions and most glaringly, Perry Como (his last film) inexplicably morphs into himself in the last few minutes. MGM was in dire straits in 1948--- Loew's was breathing down an increasingly out of touch L.B. Mayer's neck over the red ink bleeding across most of the year's releases (1948 could arguably be cited as the beginning of the studio's long slow slide into decline). This is entertaining but, aside from the short shrift given the Rodgers and Hart partnership split and innumerable snubs at marriage proposals, there isn't any real truth in it. It's a collection of good-to-great musical numbers (best: Slaughter on 10th Avenue) tied to a story that never happened. Great R&H songs though... oddly watchable.

For years, I read again and again that this movie would disappoint me, that it was a waste of talent, that it was badly fictionalized, et cetera. What a load of hooey! The dialog is crisp and rings true, the musical numbers are full to the brim with pep and style, and the performances are nothing short of masterful! If you like music, Broadway, and old-fashioned musical brilliance, then this is the movie for you. I hate to sound like an advertisement, but you'll laugh, you'll cry, you'll sing along, you'll dance in your seat! This is movie is not to be mistaken for a masterpiece, despite all of this. It is a very standard musical for the period and for the MGM style -- but that's the best!

For MGM, this was a sadly deficient movie "biography" (Bwahahahaha) of the Richard Rogers/Lorenz Hart writing team. I don't mind so much that it was totally dishonest - that's the way things were done back then and had to be done. And usually the stories don't matter in these things - but this one was totally distracting.

The script was poor, the acting not much better, and there was little continuity. Just words (most of which never happened) which meant little between scenes from Broadway shows.

The Rogers and Hart Music selected for inclusion was fine, and the Slaughter on Tenth Avenue jazz ballet scene choreographed by, and featuring Gene Kelly was movie making at its best. But while he has his moments on the screen in some movies, Mickey Rooney playing Hart was not one of them. The rest of the featured cast was mostly the MGM "B" team - Tom Drake, Perry Como, Cyd Charisse and Ann Southern.

Even the superstars added to make this look good, were pretty much limited to the aforementioned Kelly, Judy Garland who sang 2 songs, June Allyson (who sang one song) and the amazing Lena Horne. The rest of the "playing themselves" group were has beens or never to bees.

6 for the songs. And 3 more for Slaughter on Tenth Avenue. Take away 2 for the "story" and 1 for the totally miscast Mickey Rooney.

6/10 Norm

I just saw it on TCM, and a fresh viewing of it gives rise to so many ironies regarding the real Lorenz Hart. Many critics have attacked the film because it so clearly ignores the facts. But what mainstream film do *you* know from 1948 that features an openly gay protagonist? When the studio is sweetness-and-light MGM you simply have to buy the premise and move on. (Note through all of Mickey Rooney's pursuit of Betty Garrett, she keeps alluding to 'something' about him that keeps her from marrying him. Foreshadowing?) Rooney, to his credit, seems to go for pathos in his performance but just overacts the role, and winds up making Hart into some kind of wind-up toy about to explode. Later in the film when he's wallowing in loneliness (punctuated in the party sequence with the song "Blue Moon"), the drama is much better. But more than anything else, there are the exhibits of the glorious songs: "Manhattan," "Thou Swell," "Small Hotel," "With A Song In My Heart," a double-bill of Judy Garland alone and with Rooney (the song "I Wish I Were In Love Again" is a standout); "Where Or When" and "The Lady Is A Tramp" given the chanteuse treatment by Lena Horne; "Blue Room" sung by Perry Como and danced (or, more accurately, spun like a top) by hostess Cyd Charisse; and the sexy "Slaughter on Tenth Avenue" finale with Gene Kelly and Vera-Ellen. Entertainment at its classiest, nothing more or less.

Coming out in 1948,was this glossy MGM musical intended as a cure for the postwar blues? Considering the thinness of the story line, a quite poor commentary on Lorenz Hart's short life,maybe it was supposed to be only entertainment. I think that it was. Perhaps it was dulled somewhat by the narration by Tom Drake as Richard Rodgers more or less presenting it as a brightened up musical documentary but otherwise I found it very enjoyable; but then there's a melody about Rodger's music that is just not here in modern pop numbers. The splash of color in Ann Sothern's rendering, "Where's that Rainbow" plus the whole production values makes this fine entertainment for those who like this style; Perry Como and the chorus put on "Mountain Greenery" quite well surrounded by scenery;there is an evocative song "Blue Moon" by Mel Torme,while "Hart" sits back in wistful reminiscence of his lost love. Neither the diminutive Mickey Rooney nor Tom Drake resemble in appearance or personality the famous duo, but what of it? It wasn't supposed to be a biography (or biopic,as it is now called),but a very colorful musical. The only likeness I found was Hart's unreliability and alcoholism ; but give it a plus for well delivered "Words and Music", including most impressive of all,Lena Horne's "Lady is a Tramp". "Words and Music"; that's all it was meant to be.

Usually, musical biopics from the 1940s and 1950s aren't that great, but Words and Music isn't that bad. It's the history of the partnership between Richard Rodgers, played by Tom Drake, and Lorenz Hart, played by Mickey Rooney. It's chalk-full of over a dozen of their greatest hits, sung by a dozen different stars, so not only is it a treat for audiences to see an all-star cast together in one movie, but it's a sweet way for many singers to honor their legacy.

Most of the movie focuses on Mickey Rooney, and if his characterization was true-to-life, I feel very sorry for Larry Hart, who had a sad and lonely life. If it weren't for the lovely songs, the movie might feel like too much of a downer. But, when Mickey Rooney sings "Manhattan," Judy Garland joins him for "I Wish I Were in Love Again," and Lena Horne performs "The Lady Is a Tramp" and "Where or When," it's hard to feel sad for very long.

An extra treat is the dance number "Slaughter on Tenth Avenue," from the musical On Your Toes performed on an elaborate stage set by Gene Kelly and Vera-Ellen. I'm a huge fan of both, and while I've always thought Vera-Ellen was beautiful, cute, and had an incredible figure, she wasn't really known for having much sex appeal. In this dance number, she must have taken lessons from Gene, because they are absolutely smoldering together. Her costume almost shows too much, and they seem connected by an invisible string as they give audiences a particularly boundary-pushing dance. Robert Alton's choreography more than makes up for June Allyson's song-I think the person who first told her she could sing must have been deaf-"Thou Swell."

Rudgers and Hart and Rodgers and Hammerstein were two of the great musical theatre song duos. This one loosely covers the partnership with Rogers and Hart.

I love Tom Drake as Hart, the stable part of the duo. Mickey Rooney is somewhat effective but too over the top. His energy can overwhelm the scene.

It's a loose story about their struggle to success, success on and off the screen and Hart's struggle with homosexuality (not covered here) and his short stature. Yet Rodgers succeeds in his personal life. It does not show as fact would have it that Hart started partnering with Hammerstein while Hart was alive and two years before Hart's death. It would be good to pick up a biography on Rodgers, being a part of two prolific music writing duos.

Aside from a very brief overview of plot, you'll find a star cast with Janet Leigh, Gene Kelly, Mel Torme, Vera Ellen and more. Wonderful dancing amd singing numbers and varied, with talent. It's worth it for these elements.

Don't miss the unbelievable dance Slaughter with Gene Kelly and Vera Ellen which is stunning. Great choreography and use of stairs.

A good solid movie with star cast.

Larry Hart (Mickey Rooney) is an energetic songwriter. Herb Fields brings in Richard Rodgers to play his song and becomes his writing partner. The movie is told through Rodgers' eyes. Hart is taken with singer Peggy Lorgan McNeil. Fields gains some success and brings in his friends for a new Broadway show. Rodgers proposes to older leading actress Joyce Harmon but she turns him down.

This is a fictionalized account of the music writing duo. The real story is nowhere to be found and shouldn't be expected especially during that era. It does feel scattered following both guys. Tom Drake doesn't have quite the charisma. Rooney and Garland have a final pairing. It's old fashion including the musical performances. At least, it has the songs. It's old fashion in many different ways.

I first saw this movie on TV in 1963. I was only 13 years old. What caused me to sit down and watch was the mention of Mel Torme in the opening credits. I had only just become favorably aware of this man's music but had never seen as much as a photo of him.

This was my first experience of 'The Musical' genre of film and I was enchanted from beginning to end. Well apart from the Mel Torme bit. I think we got more of Larry Hart looking miserable, and his mother looking out of the window (no doubt wondering when this party was going to end. It's 4am and she probably needed her beauty sleep) than we did of Mel.

I was stunned by the brilliant 'Slaughter On 10th Avenue' sequence. There was stuff like this available and yet kids my age were listening to the Beatles? What on earth was wrong with the world? And Lena Horne's out-standing performance of The Lady Is A Tramp just blew me away.

Plot? OK it was sanitized but I didn't know that at the time. Homosexuality was never mentioned back then. I just figured that anyone who would write a song like 'My Funny Valentine' would never score with the ladies.

"Your looks are laughable - unphotographable" Come on. You can't be serious?

I finally found this on DVD a few days ago and couldn't believe my luck. I had wanted to see it again ever since reading in Mel Torme's autobiography that he and Richard Rodgers had had a falling out over how to handle the vocals on 'Blue Moon'. Mel had wanted to go with the meaning of the lyrics, example 'you heard me saying a prayer... (pause) for someone I really could care for.

Rodgers had insisted that he stick with the rhyme, example you heard me saying a prayer for (pause) someone I really could care for.

Sorry, Dick, but I'm with Mel on that one.

Oh, dear, dear, dear. What can one say about "Words and Music?" That it contains some boffo musical numbers? Sure. That it has cameo appearances by a whole galaxy of Hollywood musical stars? Check. That it keeps on going with a "and then this and this and this happened" rhythm that would make even the shaggiest of shaggy dog storytellers blush? Yup. Alas. This big, white-washed, no-expenses-spared movie musical has about as much to do with lyricist Hart's real life story as "Night and Day" had to do with that of Cole Porter. Rooney was (presumably) cast by the studio since he could sing and was a big box-office draw, but here he seems to be channelling the spirit of a chipmunk with Broadway aspirations; anyone seeing this movie would come away with the impression that Hart's fundamental problem was that he was short. Hart's alcoholism is (tastefully) glossed over; his homosexuality is never even mentioned.

However... every time the viewer is fed up with the bland dialogue, or the inability of the studio to decide just what era to set the film in, along comes one of those boffo musical numbers to lull (or club) you into dewy-eyed attentiveness. My advice is to rent this movie and fast-forward through all the "drama", pausing only to enjoy the musical numbers. You'll have a good time and it'll cut the film's running time down to a sparkling hour plus change

The high score I've given this is purely for the musical numbers - 'On Your Toes', 'There's a Small Hotel', 'Johnny One Note', 'I Wish I Were In Love Again', 'On Your Toes', 'Blue Moon', 'A Blue Room', 'Mountain Greenery', and best of all, the dance sequence to 'Slaughter on 10th Avenue'. Performers showcased in this movie include Judy Garland, Perry Como, June Allyson, Betty Garrett, Cyd Charisse, Gene Kelly and Vera-Ellen, who are all great.

As Rodgers and Hart themselves, Tom Drake (a bit colourless) and Mickey Rooney (a bit manic) are passable, but the story has little to do with the reality of their lives. As a biopic, then, this film is laughable. But as a musical showcase, it works well.

If I judged a musical on the quality of the cast, the songs and its production values, this movie would be rated very highly indeed. However, there are also things to be considered like characterisation, acting, plotting and a little thing, I appreciate not always thought important in Hollywood particularly in bio-pics and that is adherence to the truth. Apparently Richard Rodgers could find only one thing to like about the film and that was the depiction of his wife which tells you something about the rest.

It only takes a few minutes to read up on the true facts of the short, sad life of Lorenz Hart, to appreciate how much of his story is bowdlerised. Hart was reportedly a real-life alcoholic, only hinted at here, but more importantly, was a closet homosexual unable it would appear, to live with the guilt and shame of it. Here, we see him strike out with a series of girls, including one supposed to be the love of his life, but far more insulting and unfeeling is the inference that he had an inferiority complex about his height which leads to the so-bad-it's-comical climactic scene where Hart expires in the doorway of the shoe-shop where he earlier bought a pair of shoe-lifts to supposedly help him with the ladies. Considering that in real life Mickey Rooney managed to marry screen-goddess Ava Gardner, it would seem that a lack of height wasn't such a big disadvantage to him.

It doesn't help either that Rooney otherwise overacts on a grand scale and lack of inches apart, in no way made me think of the great lyricist. Tom Drake as Rodgers goes the other way, no pun intended, with his wooden portrayal of the great melodicist, leaving a great big hole at the centre of the picture for which no amount of star cameos singing and performing stunning musical set-pieces of the highest ordercan compensate, the best of these being Judy Garland belting out "Johnny One-Note", Lena Horne tearing through "The Lady Is A Tramp" and Mel Torme's gentle croon of "Blue Moon". I thought the music to Rodgers' "Slaughter On 10th Avenue" sensational but feel that Gene Kelly, for all his undoubted athleticism overacted his part while the less said about the later singing-pullover Perry Como trying to swing-along with "Mountain Greenery" the better.

Listen, this film is so sanitised it should be shown in a hospital ward and I believe does a great disservice to this undoubtedly great songwriting partnership, even as I understand the reasons at the time for its blatant censorship. And just don't get me started about Lena Horne's scenes being cut out when shown to Southern audiences.

Clearly anachronistic to modern day audiences this film might work better if all the supposed drama was omitted and all the musical numbers spliced together. More music and less words, I say.