The Gang's All Here (1943 film)

The Gang's All Hereis a 1943 AmericanTwentieth Century FoxTechnicolormusical film starringAlice Faye,Carmen MirandaandJames Ellison. The film, directed and choreographed byBusby Berkeley, is known for its use of musical numbers withfruit hats.Included among the 10 highest-grossing films of that year, it was at that time Fox's most expensive production.
Musical highlights includeCarmen Mirandaperforming an insinuating, witty version of "You Discover You're in New York" that lampoons fads, fashions, and wartime shortages of the time. The film features Miranda's "The Lady in the Tutti Frutti Hat" which, because of its sexual innuendo (dozens of scantily clad women handling very large bananas), apparently prevented the film from being shown in Brazil on its initial release.In the US, the censors dictated that the chorus girls must hold the bananas at the waist and not at the hip.Alice Faye sings "A Journey to a Star," "No Love, No Nothin'," and the surreal finale "The Polka-Dot Polka."
The film was nominated for anAcademy AwardforBest Art Direction-Interior Decoration, Color(James Basevi,Joseph C. Wright,Thomas Little).It was the last musical Faye made as a Hollywood superstar. She was pregnant with her second daughter during filming.In 2014,The Gang's All Herewas deemed "culturally, historically, or aesthetically significant" by theLibrary of Congressand selected for preservation in theNational Film Registry.
A man sings "Brazil" as the opening credits fade to the disembarkation of a ship, SS Brazil. As the exotic goods are netted off the ship the camera pans down to the archetypal exotic fruit hat onCarmen Mirandawho reprises the song.
Wealthy businessman Andrew J. "A. J." Mason Sr. takes his nervous partner, Peyton Potter, to the Club New Yorker for a celebratory evening with his son, Sgt. Andrew J. Mason Jr., who is about to report for active duty in theArmy. A. J. and Andy enjoy the show, which features master of ceremonies Phil Baker and dancer Tony De Marco, while Potter worries about what his wife Blossom would say if she knew he was there. While Potter is trapped into dancing with Brazilian sensation Dorita, Andy becomes intrigued by entertainer Eadie Allen. Phil warns Andy that because Eadie dances at the Broadway Canteen between shows, she will not go out on a date with him, but Andy follows her to the canteen and tells her that his name is Sgt. Pat Casey so that she will not be intimidated by his wealth. Despite her insistence that she cannot date servicemen outside the canteen, Eadie is charmed by Andy and agrees to meet him later when he pursues her to the nightclub. Eadie and Andy spend the evening talking and falling in love, and the next day, Eadie bids him farewell at the train station and promises to write every day.
Andy distinguishes himself in battle in the South Pacific, and is granted a furlough after being awarded a medal. A. J. is thrilled and plans to throw a welcome home party for Andy at the Club New Yorker. Phil cannot accommodate his plans, however, as the club is closed for two weeks while the company rehearses a new show. Munificent as always, A. J. invites the performers to rehearse at his and Potter's homes, where they can throw a lavish garden party and war bond rally to welcome Andy. Potter is perturbed about the arrangements when he learns that Blossom knows Phil from her former days as an entertainer, and his chagrin grows when Tony's partner cannot perform and he asks Potter's daughter Vivian to dance with him. Hoping to persuade the stodgy Potter to allow Vivian to perform, Blossom tells him that Phil has threatened to reveal her wild past if Vivian is not in the show. Potter acquiesces, but his problems grow when he is pursued by the romantic-minded Dorita. When not chasing Potter, Dorita learns that Vivian has a boyfriend named Andy, and that he and Eadie's "Casey" are the same man.
Complications arise as Dorita tries to keep Vivian and Eadie from discovering Andy's deception. When Andy and the real Pat Casey arrive at the house, however, Eadie learns the truth. Andy proclaims that he wants to marry her and not Vivian, but Eadie insists on breaking off their relationship, as she believes that Vivian really cares for him. During the show, however, Vivian tells Eadie that she is going to Broadway to perform as Tony's permanent partner, and reveals that she and Andy were never truly in love. As the show comes to a close, Eadie and Andy reconcile, and everyone joins in the final song.
The working title of this film wasThe Girls He Left Behind. According to a January 7, 1943 news item, composerHarry Warrenwas originally scheduled to work with lyricistMack Gordonon the film's score, but Warren instead wrote the picture's songs withLeo Robin. A news inThe Hollywood Reporteron 30 March 1943 included "Pickin' on Your Momma" in the list of songs to be featured in the film. Modern sources note that the song, along with "Sleepy Moon" and "Drums and Dreams" were cut before the final release. According toThe Hollywood Reporterand a studio press release,Linda Darnellwas originally scheduled to play "Vivian Potter," which would have been her first dancing role in motion pictures. During dance rehearsals, however, Darnell sprained her ankle, and after her recovery, eloped with cinematographerPeverell Marleyand askedTwentieth Century-Foxfor an indefinite leave of absence. Darnell was replaced in the role bySheila Ryan.
The Gang's All Herebegan production in April 1943. Berkeley learned thatDarryl F. Zanuckwould not be overseeing the production. Fox's studio head was in Europe on behalf of the war effort, leaving the chore toWilliam LeBaron, a producer and songwriter who had worked at other studios before coming to Fox. Under Zanuck, he set up an independent unit at the studio, mostly making musicals. He and Berkeley got along well at first, but the relationship soon was strained as the showman in Berkeley would not yield to the budget-trimming mandates of LeBaron (who, in turn, was forced to trim expenses due to the demands of the War Production Board, which sought cost cutting in all aspects of businesses during the war). In spite of the producer/director discord during shooting, the film turned out to be an outrageously conceived work of art, blending with subtlety the politics of alliances while overtly disarming the viewing public with surrealism and spectacle.
AlthoughAlice Fayedid have a singing cameo in the 1944 filmFour Jills in a Jeep, this picture marked her last appearance in a musical film untilState Fair(1962). Faye, who was pregnant with her second child during filming ofThe Gang's All Here, retired from the screen and only made one film in the intervening period, the dramaFallen Angel(1945).The Gang's All Heremarked the screen debuts of actressesJune Haver(1926–2005),Jeanne Crain(1925–2003) andJo-Carroll Dennison, who wasMiss Americaof 1942. According to an article in theLos Angeles Times, the film was to include a parody of Phil Baker's radio showTake It or Leave It. The sequence was cut, and Baker instead made an entire film based on the show, calledTake It or Leave It, for Twentieth Century-Fox.
The Gang's All Herewas the first color film entirely directed by Berkeley (he had earlier directed dance numbers for the 1930two-color TechnicolorfilmWhoopee!), and the extravagant production numbers were well received. While praising Berkeley's work, the MPH reviewer commented that the production numbers "are opulent in highly effective color combinations and are climaxed by a finale in the cubistic and modernistic tempo which is different from anything that has passed this reviewer's way since some of the abstract treatments employed by Walt Disney'sFantasia." Although some modern sources indicate that the film was banned inBrazilbecause of the giant bananas featured in "The Lady with Tutti-Frutti Hat" number, the film's file in theMotion Picture Production Code Collectionat theAMPAS Librarycontained no information about censorship in Brazil and the film was approved for export to South American countries. The picture received an Academy Award nomination in the Art Direction (Color) category.
Jazz drummerLouie Bellsonappears uncredited in theBenny GoodmanOrchestra whileCarmen Mirandasings"Paducah".
The film was released on December 24, 1943.The Gang's All Hereit became one of the25 top-grossing filmsof 1943–44.
TheNew York Timesreview describesThe Gang's All Hereas a visually stunning musical, thanks to its use of Technicolor, but disappointing in terms of content and narrative. The film features a well-known cast, including Alice Faye, Carmen Miranda, and Benny Goodman, and presents a predictable plot filled with clichés, centered around nightclub performers staying at a wealthy businessman’s rural estate during wartime efforts. Although directed by Busby Berkeley, famous for his elaborate musical sequences, the numbers are considered lavish but lacking in emotion and innovation. The songs are described as plentiful but forgettable, while the sets and costumes are noted as the most creative aspects of the production. Overall, the review concludes that while the spectacle impresses visually, it fails to deliver an engaging or substantial experience.
The critic Don Druker from theChicago ReaderconsidersThe Gang's All HereBusby Berkeley's most daring film, highlighting it as an innovative exploration of movement and color that reaches the realm of pure abstraction. Sexual symbolism is described as prominent, with iconic moments, such as the scene of 60 girls swinging giant bananas. Berkeley also pushes his aesthetic to its limits by disembodying the characters, culminating in a surreal sequence where heads float in a field of golden and amber tones.
Philip French, fromThe Guardian, describesThe Gang's All Hereas Busby Berkeley's boldest and most delirious work, marking a high point in his career and serving as a "time capsule of the 1940s." It was Berkeley's first color film, produced at 20th Century Fox during World War II, with the aim of boosting morale and supporting the war effort. The simple plot follows a decorated soldier returning from the war to reunite with his love, a nightclub singer in New York, with events like a war bond gala interspersed between the main scenes. Carmen Miranda, with her extravagant costumes and international appeal, symbolizes Roosevelt’sGood Neighbor Policyand attracted Latin American audiences. Her performances in numbers like "The Lady in the Tutti Frutti Hat" and "Polka Dot Polka" showcase the extravagance and sexual symbolism of Berkeley's "paroxysmal production numbers." The film also features memorable performances by Alice Faye singing the nostalgic ballad "No Love, No Nothin’," and Benny Goodman and his orchestra, representing the big band era.
Craig Williams, fromCineVue, describesThe Gang's All Hereas Busby Berkeley's creative pinnacle and a masterpiece of the musical genre. Borrowed from MGM to 20th Century Fox, the director explored unprecedented artistic freedom, crafting a vibrant and imaginative spectacle that served as a form of escapism for a war-torn country. While the songs don't have the same impact as earlier classics, the dance numbers make up for it with extravagance and innovation. A standout is "The Lady in the Tutti Frutti Hat", a bold, suggestive number that faced censorship but became iconic for its creativity and symbolism. Benny Goodman and his band bring a grounded energy that contrasts and complements Berkeley's surreal moments. Berkeley's direction is praised for its dynamic camera work and surrealistic sets that come to life, while Carmen Miranda and Alice Faye anchor the numbers with their charismatic performances. The film masterfully blends contrasting styles, delivering a breathtaking cinematic spectacle regarded as the peak of Berkeley's artistic expression and the musical genre.
Lou Lumenick, in his 2005 review for theNew York Post, celebratesThe Gang's All Hereas one of the most extravagant films ever made, highlighting its vibrant Technicolor aesthetic and iconic musical numbers. The film is famous for scenes like "The Lady in the Tutti-Frutti Hat," where Carmen Miranda performs with chorus girls wielding giant bananas, and the psychedelic final number, "The Polka Dot Polka," where the disembodied heads of the stars sing. Rediscovered in the 1970s, the film amazed a new generation with its spectacular colors, restored through the Technicolor dye transfer process. Lumenick emphasizes the visual and creative impact of the film, which remains unique within the musical genre, blending escapism, surrealism, and artistic extravagance.
Inácio Araújo, a film critic for the Brazilian newspaperFolha de S.Paulo, describesThe Gang's All Hereas an old-fashioned musical centered on the challenges of putting together a show, with a touch of romance. However, he points out that beneath this conventional premise, director-choreographer Busby Berkeley creates delirious choreography, using bold camera angles to transform the scenes into true visual works of art. Araújo emphasizes that, with Carmen Miranda and her iconic balangandãs, Berkeley constructs a festive and sensual image that, while evoking South America, seems more like a symbolic representation of the filmmaker's imagination and creative mind.
TheVarietyreview describes the film as having a weak script, based on a story by Nancy Wintner, George Root Jr., and Tom Bridges, but notes that the musical numbers help compensate for this flaw. Alice Faye is praised for her charming screen presence, and her ballads are well-received. Carmen Miranda is given a substantial role, excelling as both a comedienne and a performer of South American rhythm tunes. Phil Baker does his best with underwhelming comedic lines, while Benny Goodman’s orchestra is prominently featured throughout the film.
Best Art Direction-Interior Decoration, Color (Nominated)
In 2014,The Gang's All Herewas deemed "culturally, historically, or aesthetically significant" by theLibrary of Congressand selected for preservation in theNational Film Registry.
The film is recognized byAmerican Film Institutein these lists:
The Gang's All Herefirst appeared onLaserDiscin 1997 from20th Century Fox Home Entertainment. Fox first released the film on DVD in 2007 as part ofThe Alice Faye Collection, but the transfer was criticized for its faded color reproduction  subduing the original vibrant Technicolor hues.It was rereleased on DVD in 2008 as part of Fox'sThe Carmen Miranda Collection; this edition contained a brighter and more colorful transfer.
In 2014, Eureka Entertainment in the UK released the film on a region B Blu-ray as part of theirMasters of Cinemaseries. This edition preserved the vibrant color scheme. In 2016,Twilight Timein the US released a region 0, limited edition Blu-ray of 3,000 units. Though also fully restored, it utilized a much duller, darker transfer than the Eureka.