HOLIDAY INN

PARAMOUNT, 1942 | BLACK AND WHITE, 100 MINUTES

DIRECTOR AND PRODUCER: Mark Sandrich SCREENPLAY: Claude Binyon, adaptation by Elmer Rice from an idea by Irving Berlin SONGS: Irving Berlin CHOREOGRAPHERS: Fred Astaire (uncredited) and Danny Dare STARRING: Bing Crosby (Jim Hardy), Fred Astaire (Ted Hanover), Marjorie Reynolds (Linda Mason), Virginia Dale (Lila Dixon), Walter Abel (Danny Reed), Louise Beavers (Mamie), Irving Bacon (Gus), Marek Windheim (François), Bob Crosby’s Band (Orchestra)

Romance and rivalry at a Connecticut inn open only on holidays.

It’s best known for giving the world “White Christmas,” and some confuse it with the 1954 film of that title. It deserves a better fate, and more recognition. With Crosby’s singing, Astaire’s dancing, and Berlin’s songs, it’s a joyous entertainment.

While also writing other scores for movies and shows, Irving Berlin became the master of a very particular type of musical: a “catalog” filled to the brim with a mix of new and old tunes in a direct predecessor of films like An American in Paris and more recent jukebox shows such as Jersey Boys. In films such as Alexander’s Ragtime Band, Blue Skies, Easter Parade, and There’s No Business Like Show Business, the scripts were rarely more than excuses for Berlin’s songs, which came around like lilting clockwork. Holiday Inn is the best of the Berlin catalog musicals, with a catchy premise and, especially, two high-powered stars performing outstanding material. Crosby is appealingly laid-back and in stupendous voice, and Astaire offers brilliant dancing while playing a more devious character than usual. Although their two female partners are perfectly adequate, they definitely take a back seat to the gentlemen. (Mary Martin, the original choice for Linda, had to bow out due to pregnancy.) The songs, needless to say, are better than the script, and whenever things begin to congeal, there’s always another number coming up, sung or danced with Old Master virtuosity. There is also slick and smart direction by Mark Sandrich, who had already worked with Astaire on five of his eight films with Ginger Rogers.