Three Little Words (film)

Three Little Words is a 1950 American biographical musical comedy film directed by Richard Thorpe from a screenplay by George Wells. It stars Fred Astaire as lyricist Bert Kalmar and Red Skelton as composer Harry Ruby, along with Vera-Ellen and Arlene Dahl as their wives, with Debbie Reynolds in a small but notable role as singer Helen Kane and Gloria DeHaven as her own mother, Mrs. Carter DeHaven.

The film was produced by Jack Cummings and released by Metro-Goldwyn-Mayer. Ruby served as a consultant on the project and appears in a cameo role as a baseball catcher. The third in a series of MGM biopics about Broadway composers, it was preceded by Till the Clouds Roll By (1946) and Words and Music (1948) and followed by Deep in My Heart (1954).

Bert Kalmar (Fred Astaire) co-stars in a popular vaudeville dance act with his partner and sweetheart, Jessie Brown (Vera Ellen). Bert is also a part-time magician and playwright; though Jessie loves him, she is rather fed up with his other interests and wants to get married and settle down.

Things take a turn one evening when stagehand Harry Ruby (Red Skelton) unintentionally makes a wreck of Kalmar’s magic act. When Kalmar injures his knee and has to give up dancing for a while, he concentrates on songwriting and winds up partnered with composer Ruby. The duo overcome some initial quarrels and become friends as they work together and their songs gain popularity.

Along the way, Bert and Jessie use Harry’s fondness for baseball to involve him with one of his favorite teams while distracting him from unsuitable girlfriends. Harry eventually meets singer Eileen Percy (Arlene Dahl) and the two fall in love.

A side plot (invented for the film) involves a play by Kalmar that becomes the basis of a major falling-out between the songwriters, who eventually resolve their differences.

A number of vignettes featuring Kalmar, Ruby, Brown and others feature some of the pair’s best-known tunes including “Who's Sorry Now?”, “Nevertheless”, “Thinking of You”, and “I Love You So Much”. One memorable scene features a young Debbie Reynolds as Helen Kane singing “I Wanna Be Loved By You.”

A running gag features Ruby’s frustration as he seeks fitting lyrics for one of his melodies. Kalmar resolves this near the movie’s end when he and Ruby are being celebrated for their work, and (to Ruby’s surprise) performs their newest song, "Three Little Words".

The film was one of Astaire's favorites.^[2] Three Little Words takes fewer liberties with the facts than many Hollywood biopics, and Astaire and Skelton's portrayal of the songwriting partnership is considered psychologically accurate.^[3] Adding to the film's appeal is the quality acting and mutual chemistry between Skelton and Astaire, as well as some fine comedy touches from Skelton.^[2]

Unusually for songwriting biographies of this period, "Thinking of You" and "Nevertheless (I'm in Love with You)" became major hits on the U.S. music charts when the film was released, reaching numbers one and two, respectively.

This film provides an object lesson in how to integrate numerous songs and dances seamlessly and naturally into the script, a principle Astaire introduced as far back as 1934. Astaire's choreography takes the opportunity provided by Vera-Ellen's technical prowess^[2] to showcase dance routines notable^[3] for leg kicks, lifts and (Astaire's innovative combination of the two) the hurdling lift, invented for "The Yam" number in Carefree (1938). These routines are contrasted with some choreographically primitive numbers typical of vaudeville c. 1920. The spirit of the partnered dances expands on the theme of marital contentment previously explored in The Story of Vernon and Irene Castle (1939) and the prior year's The Barkleys of Broadway (1949). Vera-Ellen's singing voice was dubbed^[3] by Anita Ellis.

• "Where Did You Get That Girl?": Decked out in top hat, white tie and tails, Astaire and Vera-Ellen impersonate the vaudeville duo of Kalmar and Brown with this genial song and dance duet set around 1919. (The 1913 song was written by Kalmar and an earlier partner, Harry Puck.) Fred and Adele Astaire greatly admired the Kalmar-Brown partnership: "We used to stand in the wings and watch Jessie and Bert with thrilled envy, wondering if we could equal their finesse and reach their headline billing."^[2] The routine is straightforward, and when contrasted with the creations of Astaire, Gene Kelly and others, illustrates the profound evolution of popular dance in the intervening period. Incidentally, Ruby, working as a song plugger,^[3] once played for the Astaire siblings.
• "Mr. and Mrs. Hoofer at Home": A hectic and high-kicking comic dance duet for Astaire and Vera-Ellen set in a suburban living room which portrays ^[3] the various challenges of contented domesticity. The routine, which in contrast to the previous one is thoroughly modern ^[3] in conception, is nonetheless shown performed at the Keith's Theatre (which later became the K in RKO)
  in Washington, D.C. in the presence of noted vaudeville fan President Woodrow Wilson.
• "My Sunny Tennessee": Astaire and Skelton deliver a version of this 1921 hit.
• "So Long, Oo-Long": Astaire and Skelton perform Kalmar and Ruby's 1920 Oriental-themed ditty.
• "Who's Sorry Now?": This 1923 Kalmar and Ruby standard was sung by Gloria DeHaven.
• "Test Solo": Danced by Astaire, initially to a spare piano accompaniment by André Previn and then to the music of "Where Did You Get That Girl?". This was his fifth tap and cane solo, the first being "Top Hat, White Tie and Tails" from Top Hat (1935), followed by "I Can't Be Bothered Now" from A Damsel in Distress (1937), the "Audition Dance" from You Were Never Lovelier (1942), and "Puttin' On the Ritz" from Blue Skies (1946) - all remarkably dissimilar in execution. At the beginning, Astaire places his hat atop a light stand and then waves to it. One year later, in "Sunday Jumps" from Royal Wedding (1951), he would famously execute a routine with a hat rack as his partner.
• "Come On Papa": Vera-Ellen and a chorus of sailors perform another high-kicking song and dance routine to a 1918 song by Ruby and Edgar Leslie.
• "Nevertheless (I'm in Love with You)": Accompanied by Skelton on piano, Astaire and Vera-Ellen perform Kalmar and Ruby's 1931 song.
• "All Alone Monday": Gale Robbins delivers Kalmar and Ruby's 1926 ballad.
• "I Wanna Be Loved by You": Debbie Reynolds, in one of her earliest film appearances, performs this 1928 number with Carleton Carpenter. Reynolds is dubbed by the original "boop-boop-a-doop" girl, Helen Kane (uncredited).
• "Thinking of You": One of the dance highlights^[2] of the film is this romantic partnered routine for Astaire and Vera-Ellen, which follows Ellen's (dubbed) performance of this 1927 standard. The dance begins quietly and affectionately in a lounge area, and gradually builds, becoming progressively more extrovert until the music changes into a rumba - the Latin dance of love - and Astaire embarks on a further exploration of the possibilities of blending Latin and ballroom dance styles, which he had first been inspired to undertake during his celebrated partnership with Rita Hayworth. After this departure, illustrating the passion that can flourish long after the honeymoon, the dance subsides into a tender coda, recalling its opening mood.
• "I Love You So Much": Arlene Dahl, accompanied by a chorus of top-hatted men, sings and dances her way through this number originally written^[3] for the 1930 film version of The Ramblers (later retitled The Cuckoos).
• "Medley" (incl. "Three Little Words"): In this closing "and then we wrote" scene, Astaire and Skelton perform a medley of most songs featured in the movie, ending with "Three Little Words" - Kalmar having finally found a suitable lyric for Ruby's melody, a running gag throughout the film.

According to MGM records, Three Little Words earned $3,019,000 in the United States and Canada and $1,507,000 elsewhere, resulting in a profit of $1,252,000.^[1]

• The New York Times, August 10, 1950: "There is a special quality about the new picture...which deserves immediate mention in detail. That is the polished performance of Fred Astaire as Bert Kalmar... Mr. Astaire has been wearing out thin-soled dancing shoes at a great pace over the years while most of us have grown a little heavier and somewhat slower of foot. But, he hasn't changed. Still lithe in appearance, Mr. Astaire has drawn rich dividends from time and is dancing in peak form...In talking of the fine dancing contributed by Mr. Astaire we forgot to mention how engagingly they carry off the romantic interest and bust into song when the script demands it."^[4]
• Variety, July 12, 1950: Stal.: "For Astaire, it's unquestionably his best picture in some time. His terping, as always, is tops, his singing is adequate and his characterisation of Kalmar, while never deeply-etched, does full justice to the late songwriter's many talents...Vera-Ellen, with this picture, becomes the undisputed premiere danseuse of the screen. She matches Astaire tap for tap...and looks to be the best partner he's ever had."^[4]

At the 8th Golden Globe Awards, Fred Astaire was the first recipient of the Best Actor in a Motion Picture – Musical or Comedy award, while Debbie Reynolds was nominated for New Star of the Year.^[5]

• Three Little Words at IMDb 
• Three Little Words at AllMovie
• Three Little Words at Rotten Tomatoes
• Three Little Words at the AFI Catalog of Feature Films
• Three Little Words at the TCM Movie Database (archived version)
• Three Little Words (1950) – Mr. and Mrs. Hoofer At Home on YouTube