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Post by marianne48 on Aug 5, 2019 0:59:17 GMT
Watching this again, after many years of not seeing it, on TCM last week, I was both entertained and irritated. Entertained because of the great cast--Jack Lemmon, William Powell, Henry Fonda, and especially James Cagney, with a brief but charming appearance by Martin Milner. And irritated because of the odd, off-kilter overdubbing of some of the dialogue. I know this was a troubled production, with John Ford being inebriated at times and Ward Bond stepping in to take his place before other directors were assigned to the project. But whose idea was it to have so much of the crew's dialogue dubbed so awkwardly? A lot of their lines sound like Jerry Lewis in full manic mode in his comedies--the sailor who repeats "WHA HAPPENED?" during the general alarm, the other sailor who mentions watching the nurses through his binoculars and says, "We could see all of them!" in such a goofy way (the line is obviously dubbed since his mouth doesn't exactly match the words). Jack Lemmon's singing "If I Could Be With You" is funny at one point, but when it's repeated while he's wading through an explosion of soap suds, it makes no sense. The music playing on the radio when Fonda marches up to the palm tree and rips it out of its planter was not "Stars and Stripes Forever" when this movie was shown on TV decades ago (I'm sure of this because when I was a kid in the pre-home video mid-'70s, I recorded the audio of this movie on cassette (because of my childhood crush on James Cagney, I loved listening to his tirades in this film), but a different patriotic tune, and there was no idiotic "TA DA DA DA DA DA DA DA!!" added to this sequence as Fonda climbs the steps to the tree. Can anyone explain why this was changed in later versions of this film? Is anyone else annoyed by the dubbing of the dialogue?
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Post by biker1 on Aug 5, 2019 1:37:08 GMT
"irritated" sums up my viewing. "entertained" does not.
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Post by wmcclain on Aug 5, 2019 11:47:13 GMT
Mister Roberts (1955), directed by John Ford, Mervyn LeRoy, and Joshua Logan. This fondly remembered service comedy seems slow going these days, talky and obviously adapted from a stage play, with a chorus of sailors always clustered nearby. Ford had a fondness for all things military. The fun is watching Ford's crew together again: chiefly Henry Fonda in the title role, but also Ward Bond, Ken Curtis and Harry Carey, Jr. Photographed, as usual, by Winton C. Hoch and with a comical score by Franz Waxman. Worthy new additions to the ensemble: James Cagney as the bitter, unfit but ambitious captain, a lighter version of Queeg in The Caine Mutiny (1954). One scene reveals the class-based source of his resentment, which makes him more human. Also with Jack Lemmon, age 30. Most significantly, this is a great exit for William Powell; his last feature film, although he lived in retirement for almost 30 years after. For the first time he had trouble remembering his lines and decided it was time to go. As Doc he is a natural Ford character and I wish they had done more together. A troubled production. Ford was in a nasty mood and abusing everyone, apparently throwing punches, then had a medical leave. Mervyn LeRoy came in and said he would shoot the rest as he judged Ford would have done it, then Fonda had Joshua Logan, who wrote the play, do extensive reshoots. It is hard to know who is responsible for what. My wife had objections to some sex play: long-range spying on the women as they shower and alcohol as a dating adjunct. Available on a poor DVD. Jack Lemmon provides an intermittent commentary track: you have to chapter skip. 
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Post by Doghouse6 on Aug 5, 2019 14:07:46 GMT
Those obviously looped voices were a peculiar aspect of Warner Bros films of the mid-'50s; similarly exaggerated ones can be heard in A Star Is Born, The High and the Mighty and Rebel Without A Cause, for instance.
Warners had a number of regularly-used voice artists who supplied lines for minor characters in the Looney Tunes animated shorts (Mel Blanc couldn't do everything), and they were sometimes pressed into service for looping work on live-action features as well. These recording sessions were not usually supervised by the films' credited directors and, in the case of Mister Roberts, the recording director, or whoever was responsible for casting these voice artists for the given jobs, seems to have gone overboard with the idea that the scenes you reference were basically comedic.
As far as music substitutions are concerned, those most commonly have to do with rights clearances. A particular composition not written by the film's credited composer might be cleared for one form of distribution, but not for others. And so for broadcast or home video distribution, changes would be made. Such issues have kept entire films from the home video market in cases where musical performances comprised significant portions of those films; 1971's Taking Off and 1978's American Hot Wax are two examples.
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