This movie was nominated for best picture in an era when they used to have ten nominees. I can see why it was nominated. Generally, in the days of ten nominees there was always a spot for a smartly written family picture and this is the exact definition I am talking about. Deanna Durbin is the best child actress Hollywood has ever produced, period and she brings the charms to this movie that already had her getting above the title billing while such established names and stars like Adolphe Menjou are relegated to below the title. This is her movie from start to finish. The plot line of this movie is not original if you are familiar with the Pasternak musicals. He always opted for classical music over current pop and standard pop songs of their time were always done opera style to suit the sopranos he liked to cast in his movies. Durbin, a not very pretty teen who makes up for it with an avalanche of charisma sings the song. It's the depression. 100 musicians are out of work and need a job. Therft leads to reward which leads to deceit which leads to the fate of circumstances which leads to harmony in this hopeful picture. And a scene in the conductor's house when the 100 men come to play is one of the better constructed and filmed shots in cinema history. Old pro henry Koster nails every shot and makes you want to throw away all those auteur theory books. And the final scenes leave you warm as apple pie inside and happy and cheerful. If this is not what cinema is meant to do, then what else is it for! A classic!
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raskimono29 July 2005
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jotix10021 February 2006This delightful family picture reflects how the public taste changes over the years. Movies, in general, were kinder to serious music then, something that no studio would even consider in tackling these days. This was a vehicle for Deanna Durbin, who reigned supreme at Universal and who had movies tailor made for her to showcase her talents.
Ms. Durbin was a cute young girl in those years. She was wonderful in the way she projected charm without being obnoxious, or bratty. Her singing voice was amazing and it was always prominently heard in all the movies she made.
The story is something typical of those years. Director Harry Koster was able to present the material in a good fashion. The film follows Ms. Durbin in her quest to help her impoverished father and his musician friends. With the help of the rich Frosts, she is able to bring together the talented unemployed music men into forming an orchestra and convincing the great Leopold Stokowski to make music with them.
The film will not disappoint Ms. Durbin's fans. Adolph Menjou plays her father. The wonderful Alice Brady and Eugene Palette are seen as the generous Frosts, and Mischa Auer plays the family friend Michael. -
krorie4 March 2006How many have heard of Shirley Temple? How many have heard of Judy Garland? Now, how many have heard of Deanna Durbin? You may be surprised to learn that Deanna Durbin at the time this film was released was more popular than either Temple or Garland, made more money than either, saved her studio from going broke, and had as much merchandise marketed in her name as either. Then why is she all but forgotten today? Because she simply announced that enough is enough and walked away from the so-called glamorous life of a Hollywood star to live in France as a nobody. But we can be thankful that before she made such a fateful decision, she starred in a few classic movies that showcased her magnificent voice.
"One Hundred Men and a Girl" is a wonderful family-type film to share with others. Made during the Great Depression, it gave the audience an optimistic view that those out of work would find jobs, or as the New Deal spin-doctors put it, "Prosperity is just around the corner." Patsy (Deanna Durbin) attempts to put her unemployed father John Cardwell, played to perfection by the marvelous actor Adolphe Menjou, back to work as a trombone player. She tries to convince classical director Leopold Stokowski to put her father in his orchestra but to no avail. While returning a pocketbook her father found to a wealthy society matron (Alice Brady), she misunderstands a joke as a serious proposal to offer a radio contract to her father if he can get an orchestra together composed of his out of work musician friends. The rich lady's husband John Frost is brought into the deal when his wife suddenly leaves for an extended vacation in Europe. The rest of the film revolves around Patsy getting it all together by persistence and unknowingly giving the story to the media. For viewers, it's fun all the way.
There is also an assortment of gifted character actors to add mirth and merriment to the proceedings, to name a few: Eugene Palette, Mischa Auer, and one of the funniest men in the movies Billy Gilbert. Of particular note is a hilarious performance given by Frank Jenks as a singing cab driver with a penchant for opera who appreciates Deanna's talent.
A bonus is all the fantastic classical music played by Stokowski and his orchestra. Stokowski was everyone's ideal of what a conductor should look like and sound like. Disney recognized this and put him in "Fantasia." Stokowski was largely responsible for bringing classical music from its long hair ivory tower status to make it accessible to the average American. All this plus the enchanted singing of Deanna Durbin. Who could ask for anything more?
A postscript: Keep your eye on the feather in Deanna's hat. -
gazzo-219 November 2000I haven't seen this in about 17 years to be honest, but my memories of it are quite clear-take a great singing actress-Durbin, throw in a fine supporting cast of Mejou, Auer, Stowkowski, Pallette, and a 'we made a band and saved the day' type of plot, and you get a very fine movie.
I remember it as being well produced, joyfull to watch, Durbin's voice was terrific and her presence onscreen like no one else's. It's weird that you don't hear about her much nowadays-she was that good.
So-fond memories will have to do here---
I give it ***1/2 outta ****. If you like Capra, you will prob. like this one. -
blanche-211 December 2006A young girl forms an orchestra to help her out-of-work father in "100 Men and a Girl," a 1937 film starring Deanna Durbin, Adolphe Menjou, Leopold Stokowski, Alice Brady, and Mischa Auer. When Patsy Cardwell returns an evening bag her father found, she winds up at a huge society party where she entrances everyone with her singing. Explaining that her father is an unemployed musician, she gets the idea to form her own orchestra and believes the society matron (Alice Brady) when she carelessly agrees to sponsor the orchestra. Many complications ensue, especially when the eminent conductor Leopold Stokowski is sought to lead the new orchestra in concert.
It was interesting to read the "Wizard of Oz" comparisons on this page, because Deanna Durbin reminds me of Judy Garland in a way - in this era, they both wore their hair the same way, were both teenagers, and both had mature voices, Durbin of course leaning more toward the classical. To say that Durbin is an energetic actress is an understatement. She's completely hyper, and that high speaking voice only adds to the anxiety level. As Patsy, she is very pretty and sings well. Like all sopranos of that era, she backs off of her high notes, but the middle voice is quite beautiful and as she grows into a young woman, it will become even more so. She does a credible job on Mozart's "Alleluia" and "Libiamo" from "La Traviata" despite some pitch problems. Given her age, these are minor criticisms. She has a great deal of poise, too, for someone so young.
The rest of the cast is very good, and Stokowski makes a nice contrast against Durbin as his calm, deliberate and very professional self.
"100 Men and a Girl" is about a determined young woman with an outlandish dream who makes it come true. This isn't a fantasy like "Wizard of Oz," nor is it very realistic, I suppose, but the way it's presented - well, you just believe it could happen. -
Doylenf30 October 2006Judy Garland wasn't the only little girl in movies with a big voice.
ONE HUNDRED MEN AND A GIRL must be why all those Jane Powell movies took shape, with Jane pestering Jose Iturbi to do this or do that while she ran through a gamut of girlish schemes. Here we have DEANNA DURBIN in her teen years trying to get her father (ADOLPHE MENJOU) and some unemployed musicians noticed and employed by Leopold Stokowski, and successfully too, in time for a happy ending.
Deanna spends the entire film breathlessly scheming her way to gain attention for her father's out of work plight. After the smashing success of this film, Deanna was destined to spend the remainder of her career at Universal pretty much in the Little Miss Fixit role she established here with so much pep and sincerity. JANE POWELL was to do the same thing at MGM, except that her films were in Technicolor and given bigger budgets.
It's all a bit dated now, taking place at a dreary time in America--the Great Depression--when almost everyone had problems finding, let alone holding, a job. But once DEANNA DURBIN lifts her voice in song, the film can do no wrong. This girl was magic in front of the camera and her voice was pure gold for Universal.
ADOLPHE MENJOU does a nice job as her musician father and ALICE BRADY and EUGENE Palette play a rich married couple who have the good sense to help Deanna. Stokowski plays himself agreeably enough without hurting the story.
Summing up: Threadbare story only works because Durbin has the energy and charm to carry it, along with her beautiful soprano voice. Should be of major interest to Durbin fans. -
whpratt112 December 2006Enjoyed viewing this great film classic from 1937 and enjoying a long forgotten actress, Deanna Durbin,(Patsy Cardwell),"For the Love of Mary". Patsy plays a very talented young girl who has a fantastic voice and a father who is an unemployed musician played by Adolphe Menjou,(John Cardwell),"Bundle of Joy". John Cardwell goes behind the scenes where Leopold Stokowsk has just conducted a Symphony Orchestra and asks him for a job as a trumpet player or even a trombone or whatever. There is some drama and great classical music selections along with plenty of comedy by great talents like Billy Gilbert and Eugene Palette (John R. Frost)," The Mark of Zorro". Leopold Stokowsk was a famous conductor during this period of time and married a few women and had children, one of the marriages was to Gloria Vanderbilt. If you like an old time Classic, this is a good film to view and enjoy the great singing of Deanna Durbin. Enjoy
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dglink22 August 2020The title, "One Hundred Men and a Girl," conjures visions of Dorothy Lamour in a sarong, stranded on a desert isle with dozens of scantily clad men. However, this Depression-era feel-good movie is a G-rated star vehicle for Universal's money making ingenue, Deanna Durbin. Durbin plays young Patricia Caldwell, the daughter of an unemployed trombone player. After an attempt to get a job with Leopold Stokowski, the elder Caldwell finds a ladies purse filled with money outside the concert hall. After he pays the overdue rent, his daughter finds an address in the purse and returns it to the wealthy woman who dropped it. As she gives the purse back, the young girl proposes to the woman and her spoiled friends that they sponsor an orchestra of unemployed musicians. The woman casually agrees in order to humor the child, then she promptly forgets and sets off to Europe. Needless to say, young Patricia takes everything seriously, and the predictable storyline plays out to everyone's satisfaction.
At age 16, Deanna Durbin was already a confident screen personality with a fine voice that lent itself to classical music. As Patricia, Deanna manages to side-step most of the saccharine moments and win the audience through her manipulation of the adults. As in all Durbin films, music plays an important role, and conductor Leopold Stokowski, who plays himself, conducts several works throughout the film. Andre Previn, who is credited with the movie's score, won an Oscar for his work. The supporting cast includes an interesting mix of character players; Adolphe Menjou effectively plays Durbin's single father, while the frog-voiced Eugene Pallette is husband to Alice Brady, whose lost purse set the story in motion. Mischa Auer, Billy Gilbert, and Frank Jenks also appear to good effect.
Directed by Henry Koster, the film was nominated for Best Picture, likely because its uplifting message played well during the Depression. However, contemporary viewers may gag a bit at the film's naivete and the easy duping of elders by a child. Aficionados of classical music may enjoy seeing and listening to Stokowski and his music, and fans of Durbin will be pleased with her singing. While the movies remains entertaining, unfortunately, Durbin's appeal has not endured like that of her cinematic rival Judy Garland. Although this film strikes similar chords to the Garland-Rooney "let's put on a show" series of musicals, perhaps Durbin needed her own Mickey Rooney. -
radioriot20 February 2006I caught this movie on TCM and WOW, what a voice. Deanna was just incredible at only 16. Plus she had such personality, and who doesn't like Adolphe Menjou and Eugene Palette. This could have been just another depression era "rags to riches story" or a "let's put on a show" movie, But it had a real story, formula, yes, but a step above. I love classical music and I never realized there was a popular musical like this using only classical music. Boy how times have changed...hehe. I just can't get over Deanna's voice. And yet you just never here about her like Judy Garland. Well Judy is great but Deanna Durbin was just as great in my opinion. Too bad she didn't make more movies or record more records. I could listen to that voice all day. The director, Henry Koster, did a masterful job. The scene of the orchestra playing in the conductors house, is shot in a style way ahead of it's time and not a low budget 30's movie style. Koster went on to direct some very good movies. You can see why in this movie. This movie would be great for film students to study... a 1930's formula film, that rises above formula to Art.
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JohnHowardReid24 October 2017Director: HENRY KOSTER. Screenplay: Bruce Manning, Charles Kenyon, James Milhauser and Hans Kraly. Original screen story: Hans Kraly. Photography Joseph Valentine. Film editor: Bernard W. Burton. Production designer: John Harkrider. Associate art director: Jack Martin Smith. Costumes: Vera West. Assistant cameraman: James V. King. Assistant director: Frank Shaw. Sound recording: Joseph Lapis (engineer) and Bernard B. Brown (supervisor). Associate producer: Joe Pasternak. Executive producer: Charles R. Rogers.
Songs: "It's Raining Sunbeams" (Durbin) by Sam Coslow (lyrics) and Frederick Hollander (music); "A Heart That's Free" (Durbin) by Alfred G. Robyn and Thomas T. Railey; "Libramo" aria (Durbin) from "La Traviata" by Francesco Maria Piave (lyrics) and Giuseppe Verdi (music); "Alleluia" (Durbin) from "Exultate, Jubilate K165" by Wolfgang Amadeus Mozart. Orchestral music conducted by Leopold Stokowski includes the Prelude to the 3rd Act of "Lohengrin" by Richard Wagner, the Second Hungarian Rhapsody by Franz Liszt and part of the Fifth Symphony of Peter I. Tchaikovsky. Music director: Charles Previn. Vocal coach: Andres de Segurola.
Copyright 3 September 1937 by Universal Pictures Co., Inc. New York opening at the Roxy, 17 September 1937. U.S. release: September 1937. Australian release: 6 January 1938. 9 reels. 84 minutes.
SYNOPSIS: Girl persuades Leopold Stokowski to conduct "Orchestra of Jobless Musicians".
NOTES: Academy Award, Best Music Score. Also nominated for Best Picture (The Life of Emile Zola), Original Story (A Star Is Born), Sound Recording (Hurricane) and Film Editing (Lost Horizon).
COMMENT: "Fairy tales don't happen," sighs Adolphe Menjou. Well I'm here to tell you they do — at least in this most entertaining musical fairy tale in which a truly outstanding group of players help us suspend our disbelief. The script could have wallowed in sentiment, but its creators have chosen a humorous approach which makes the underlying drama even more pointed and poignant.
You'd have to see more than a hundred films to beat this assemblage of players — both thespic and musical. Stokowski of course combines both worlds. With his slim figure, cultured voice, aesthetic face, de rigeur white hair and quizzical curl of an eyebrow, his is a commanding presence. Miss Durbin's charm needs no encomium. Alice Brady is delightfully dotty in her one long scene (if we exclude the snip of her at the introductory concert).
Thereafter Eugene Palette keeps the comic ball running, with a nice assist from Jed Prouty.
Production values are particularly lavish. Koster's camera is more fluid than usual while his compositions have an appealing tightness and sense of balance that his later work signally lacks. Although we are blinded by light whenever the camera closes in on Miss Durbin, Valentine's photography is like-wise commendably attractive. Film editing is smooth, the orchestral numbers in particular being cut in a most skillful manner.
OTHER VIEWS: Fine music grafted on to a slushy story about a hundred jobless musicians. Fortunately, there are a number of agreeably humorous interludes, though director Koster doesn't make as much of them as he could have. For instance, the feather-in-the-orchestra- seats routine could have been extended so that it bobbed up all over the place. And why not have the orchestra chime in with Stokowski as he plays the piano? -
Average, inconsequential film with the dubious pleasure of listening to Deanna Durbin singing the Brindisi of La Traviata or the Alleluja from Mozart's Exultate, jubilate.
Very good supporting cast: Menjou, Pallette, Brady.
One of those films which confirm that besides the many masterpieces Hollywood produced every year, they made dozens of mostly forgettable films.
Deanna Durbin, a pretty young girl always in a state of paroxysm and with a contagious smile, proves once again that she had a chorus girl's voice and could be all the geek that the Hollywood of the code could require.
Not bad, not good, one of those routine films of its time, that have not aged well, and that today have no special interest besides the surprising presence of Stokowsky who couldn't say no to a succulent contract. -
mgconlan-11 November 2006A 16-year-old singer/actress plays a girl who travels around a city seeking a mysterious white-haired man of power who can make all her dreams come true where have we seen that since? Though it's a naturalistic (if not realistic) film instead of a fantasy, "One Hundred Men and a Girl" seems to me strikingly close to "The Wizard of Oz" (the legendary 1939 MGM version) not only in its plot structure but its overall approach. I can't help thinking that Judy Garland screened it and based her performance in "Oz" largely on Deanna Durbin's acting here, just as I suspect Victor Fleming studied Henry Koster's direction of this film to figure out ways to make "Oz" believable on screen. Aside from the "Wizard of Oz" parallels, "One Hundred Men and a Girl" is a first-rate film, a masterpiece within the limits of its genre, with a class consciousness we're more likely to see from Warners than Universal one of its most moving aspects is the way the jokes and polite tossed-off remarks of the rich characters become heartbreaking when the poor characters take them all too seriously. Incidentally, apropos of some of the "trivia" entries on this film, the orchestra actually heard in the film was the Philadelphia Orchestra, recorded in the Philadelphia Academy of Music on a multi-channel sound system, the first time one was used in a film (contemporary reports differ on whether 12, 14 or 28 microphones were used); by then Leopold Stokowski was no longer the Philadelphia's main conductor but he was still the orchestra's principal guest conductor and he used them in other movie projects, including "Fantasia" (1940).
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Interesting, but weak film about an out-of-work trombone player (Adolphe Menjou) and his aggressive, go-getter daughter Patsy (played by Deanna Durbin) who takes it upon herself to wheel and deal her father and friends into their own orchestra of unemployed musicians.
Young Miss Durbin is attractive and charming, and has a very beautiful singing voice - I did, however, find her acting style in this to be a bit hyper and shrill-voiced, which was a bit annoying, though I loved hearing her sing. Another slight annoyance - all the characters in this film seem to treat Patsy as if she were about eight years old, sort of her own version of Shirley Temple - yet she is almost an adult. Especially at one party scene where all the well-heeled party guests seem to gather around her in an "ah, isn't she a cute little girl" style that just seems a bit ridiculous. I did enjoy the comic back-and-forth exchange of practical jokes between two of the characters - the character of Mr. Frost is particularly fun to watch, well played by actor Eugene Palette. Decent film, though nothing great, probably best for Deanna Durbin fans only. -
Kalaman22 July 2003I can't say I'm a fan of Deanna Durbin, but I thought she was very charming and exuberant in "100 Men and a Girl", one of Deanna's biggest vehicles at the time. Deanna plays the daughter of an impoverished musician (Adolphe Menjou, who previously worked with another famous child star Shirley Temple in "Little Miss Marker"). Most of the plot revolves around how Deanna manages to hook up 100 unemployed musicians with a famous orchestra conductor. It may have dated by today's standards but it is worth catching for the music and Deanna's singing talents.
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planktonrules29 November 2016"One Hundred Men and a Girl" is an odd film and, in hindsight, I wonder if the studio was thinking when they made it! This is because in this Deanna Durbin flick, she's a VERY determined young lady and spends most of the film sneaking past security guards and even breaking into folks' homes because she INSISTS that she MUST speak to the the star! I am sure that David Letterman's stalker and many other famous stalkers felt pretty much the same way!! Do they REALLY want to encourage this sort of behavior?!
When the film begins, you learn that Patricia (Durbin) is the daughter of an out of work conductor, John (Adolph Menjou), and has an out of work orchestra. After all, it IS the Depression and getting anyone to listen to them is practically impossible. However, the plucky and determined Patricia decides to take it upon herself to meet with the super-famous conductor, Leopold Stokowski (of "Fantasia" fame) to get him to listen to the men. Again and again, roadblocks come up and Deanna deals with them the way any reasonable person would...she lies her head off!!
While this is an enjoyable film and Durbin's singing is absolutely incredible for a 17 year-old, as I mentioned above, the film is disturbing because clearly the message is to badger, lie and sneak your way to success! Well made...and a very strange message. -
lugonian5 May 2009ONE HUNDRED MEN AND A GIRL (Universal, 1937), directed by Henry Koster, features teenage soprano Deanna Durbin in her second motion picture lead, following her enormous success in THREE SMART GIRLS (1936). With Universal best known for his horror thrillers ("Dracula" and "Frankenstein") or best selling based love stories ("Back Street" and "Imitation of Life"), the Durbin products brought forth a new cycle of screen entertainment, venturing into the world of classical music with the celebrated musical conductor, Leopold Stokowski, appearing as himself. Durbin, who shared screen time with other Universal starlets, Nan Grey and Barbara Read, in THREE SMART GIRLS, becomes the sole focus here, sharing screen time with one hundred men, being her father and his group of unemployed musicians.
Set in New York City, John Caldwell (Adolphe Menjou), is seen as an unemployed musician who makes a desperate attempt confronting conductor Leopold Stokowski at Carnegie Hall for a job, but is consistently chased about by stage doorman, Marshall (J. Scott Smart), with pleas ignored by Stokowski's manager, Mr. Russell (Jameson Thomas). After being shown out the door, Caldwell acquires a lost purse on the crowded street with cash inside. Unable to locate its owner, he returns home where he uses the found money to pay off his back room rent, giving his teenage daughter, Patricia (Deanna Durbin) a indication that he's now working under Stokowski with advance in salary. In due time, however, Patricia, learning the truth, locates the identification inside the purse and does the right thing by returning it to Mrs. Frost (Alice Brady) at her luxurious home. Telling her and society guests about her father's orchestra, Mrs. Frost agrees to have her husband, John R. Frost (Eugene Palette), sponsor them on his radio program. As Caldwell organizes his orchestra in the garage, Patricia comes to the Frost home to follow up on her promise only to find that the absent-minded Mrs. Frost has gone to Europe. After locating Mr. Frost's whereabouts, she asks him for financial support, but dismisses the girl and her story as one of many practical jokes by his friend, Tommy Bitters'(Jed Prouty). With unexpected results, news reaches the media of Stokowski conducting for Caldwell's unemployed musicians, causing complications for all concerned, considering Stokowski is going on a six month concert tour in Europe.
A delightful Depression era/ fairy tale type story helped by the presence of Deanna Durbin's self confidence and energetic personality. It's hard to believe how virtually new she is to the movie business and natural she is as a performer. It's not so easy to forget Durbin's blink of her eyes that bring a happy smile to her sad-faced father (Menjou). Aside from its original screenplay by Bruce Manning, Charles Kenyon and James Mallhauser, the film is highlighted by a mix of contemporary and classic music, including "Symphony # 5, 4th Movement" by Peter Ilyich Tchiakowsky (conducted by Leopold Stokowski); "It's Raining Sunbeams" by Frederick Hollander and Sam Coslow (sung by Deanna Durbin); "The Rakoczy March" by Bezloiz; "A Heart That's Free" by Alfred G. Robyn and Thoms T. Railey; "Prelude to Act II" from Richard Wagner's "Loitengrin"); Mozart's "Allelua in 'F' Major" "Second Hungarian Rhapsody" by Franz Liszt; and "Libiamo Ne Liete Lauci" from Guiseppi Verdi's "La Traviata" (sung by Durbin). With these classical pieces, good production values and high notes, 100 MEN AND A GIRL gives the distinction of looking more like an MGM product than Universal's.
The supporting cast includes such Hollywood reliables as Mischa Auer (Michael Borodoff, a musician and close friend of the Caldwells); Billy Gilbert (The Garage Owner); Frank Jenks (The Taxi Driver); Edwin Maxwell (Ira Westling); with John Hamilton, Jack Mulhall and Charles Coleman in smaller roles. The performance given by Leopold Stokowski may provoke laughter to contemporary viewers for his wavy combed back hairstyle and mechanical way of conducting his orchestra with the use of his hands instead of a baton.
ONE HUNDRED MEN AND A GIRL earned an Academy Award nominee for Best Picture of 1937. After frequent public television revivals that took place in the 1980s, this now Durbin classic got further recognition on home video around 1994. In 1996, it had occasional revivals on American Movie Classics, and later on Turner Classic Movies where it premiered February 20, 2006. If movie does not prove satisfactory with its story, then it should for classical music lovers. (****) -
dakota_linda26 March 2006I didn't expect much from this movie, as I'd never heard of it before though I'd seen other Deanna Durbin movies. I was surprised to find that it was really charming. Durbin is at her most effervescent but somehow manages to avoid being "cutesy." In fact, the setbacks her character ("Patsy") encounters as she tries to get the orchestra going are sometimes genuinely moving. The movie juxtaposes scenes of the super-wealthy and the down-on-their-luck in this post-Depression movie to very good effect. Much of the comedy came from wonderful character acting by the always-excellent Eugene Palette, among others. All in all, a buoyant,fast-moving vehicle with the bonus of a few lovely orchestral numbers conducted by Stokowski. Definitely worth seeing for fans of Durbin and classic black-and-white films of the 30's.
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mkilmer28 December 2006If you like musicals, they can be wonderful escapes to an earlier time, a chance to see and hear what was popular at an earlier time in our history. I've found a musical, though, in which the music is timeless. The film opens with legendary composer Leopold Stokowski conducting his orchestra in a performance of Tchaikovsky's Fifth Symphony. (I'm led to believe that the recording itself was made by Stokowski's Philadelphia Orchestra.) The story itself is somewhat tied to the Great Depression, when I assumed unemployed classical musicians were wont to board together by the dozens. It is from these unemployed musicians that "Patsy" Cardwell (Deanna Durbin) forms an orchestra, manages to find an unwitting sponsor (Eugene Palette), and lets the orchestra convince Stokowski to conduct them, by having the entire orchestra perform Liszt's Hungarian Rhapsody no. 2 in the conductor's palatial home.
The story is appealing: an innocents convinces and tricks the wealthy and powerful into helping the penniless and powerless. The acting is good: Eugene Palette is as good as ever as the sponsor, Alice Brady is hilarious as his mindless wife, Adolphe Menjou is empathetic as the father, and Durbin is a splendid actress and vocalist. Comparing her to Judy Garland is not at all fair to Miss Garland, a fine "pop vocalist" for her time. Durbin's voice is trained, and she performs well in two standard numbers as well as Mozart's "Alleluia" from Exultate Jubilate and Verdi's "Libiamo" aria from La Traviata. (The latter suffices as her "remarks," given at Stokowski's prompting, at the end, as her personal tax driver (Frank Jenks) looks on.
I was pleasantly surprised when, as Durbin's character tried to sneak into the concert hall during rehearsals to speak to Stokowski, the orchestra played the Scherzo from Beethoven's under-appreciated "D Symphony" (Symphony no 2). They then broke into Wagner's Lohengrin Prelude, which left Durbin's character overwhelmed.
You do not have to be a lover of classical music to enjoy this film. Anyone who pulls for the underdog and smiles when they see a character with whom they might relate ought to like this one. Henry Koster's direction is excellent. -
So says the impresario played by Eugene Palette to real life conductor Leopold Stokowski.
A group of unemployed musicians, with the help of Adolphe Menjou's singing daughter, played by Deanna Durbin, form themselves into an orchestra and try to get Leopold Stokowski to cancel his engagements and conduct them instead.
Some pretty memorable scenes in this film, culminating in the crescendo of the orchestra breaking into Leopold Stokowski's house, gathering on the stairwell, and starting to play. Stokowski comes storming out of his study and...
A must for all fans of classical music. -
Deanna Durbin was just 16 years old when she made this film. She still had her childish face that goes so well with the spunky, rambunctious character she plays here. She is Patricia Cardwell, the daughter of John Cardwell. He's a professional trombonist who's been out of work for some time. They live in a tenement and frequent a café hangout with many other unemployed musicians. They're all men, and most, but not all, are older men who were "retired" from their past orchestras. Some are immigrants from Europe who played in orchestras there.
"100 Men and a Girl" is a fun and light comedy musical that is a showcase of classical music. Durbin sings a few songs, with her very mature and beautiful voice. And the great Leopold Stokowski leads an orchestra with samplings of well-known classical composers. We are treated to pieces by Mozart, Beethoven, Liszt, Chopin, Wagner and others. Stokowski was an English-born conductor. He did more than anyone else to help popularize classical music in America. This is one of only three movies that he appeared in as himself. Among other Hollywood work he did was the arrangement and conducting for Walt Disney's "Fantasia" of 1940.
Stokowski's role in this film makes it somewhat unique alone. It's the best appearance of a great conductor and his music that most of the public have from the last half of the 20th century to the present. Stokowski (1882-1977) was music director of several major city orchestras in the U. S. He also founded some orchestras that have become American institutions. These include the American Symphony Orchestra, the Hollywood Bowl Symphony Orchestra, the All-American Youth Orchestra, and the New York City Symphony.
Besides the musical extravaganza, and Deanna's hustling and bustling that lead to much mayhem, this film has a wonderful supporting cast. Several actors were leading men and top supporting actors of the time. Adolphe Menjou is Pat's dad. Eugene Pallette plays John Frost. Mischa Auer is Michael Borodoff; and Billy Gilbert plays the garage owner. Alice Brady has a short early part and Frank Jenks is the taxi driver.
This is a film that most people should still enjoy well into the 21st century. It's a good introduction to classical music without long stretches of theater sitting.
The funniest lines in the film are with Pat and her dad, as she gives him a haircut. Patricia Cardwell, "Daddy, do you still need this ear?" John Cardwell, "Yes, darling." Patricia, "Then hold still, please." -
LeonardKniffel11 June 2020Leopold Stokowski plays himself in this delightful musical in which Deanna Durbin organizes an orchestra made up of unemployed musicians. Yes, it is smarmy, Deanna Durbin against the world! Her beautiful voice combined with the musical genius of Stokowski makes the film an inspiring and under appreciated classic from beginning to end. This is the kind of movie that made classical music lovers out of a lot of ordinary Americans.
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chrisbishop50006 September 2007About a month and a half ago, I got this movie on video and, let me tell you (if you're a fan of classic, old-school films which I am), you'll find it irresistible! It is unique in many ways just like FANTASIA is. Had it not been for perhaps the black and white and the fewer number of compositions which are a bit briefer, this would certainly live up to Walt Disney's outstanding, revolutionary classic. Not for one minute though am I taking back my previous words of praise for 100 MEN & A GIRL and besides, as far as quality and production is concerned, FANTASIA is probably only about 15% better than this 1937-hit out of 100. The two films are so much alike in many ways and yet they are both immediately thrilling so much so that they will take you by sudden excitement or awe even if you have seen one them before. The similarities between the two films are the fact that classical music is very much involved with how they are set up, we see and hear Leopold Stokowski who will be celebrated the 30th anniversary of his death next Thursday and the main characters (Mickey Mouse as the sorcerer's apprentice for FANTASIA) were troublemaking ones who always got up to no good. Here, the beautiful actress Deanna Durbin plays a very mischievous young lady who is determined to restore her family to their former wealth after her father loses his job as a musician and so she single-handedly takes charge of a big orchestra which could mean that she and her family will earn more money but there's still something wrong. Deanna realises that to make up a brilliant orchestra she'll need a proper conductor and I expect you know just who she exactly has in mind - that's right! Conductor Leopold Stokowski. But he is, in this classic movie, a busy man and I think I ought to just leave the rest of the storytelling to a video or DVD you must, must MUST have of it. Like any old film which would originate around this early part of the 20th century, I wouldn't recommend this for spunky teenagers or other people who are more-or-less made up of 21st Century fashion for obvious reasons. My sister would definitely say right now, "oh god! You're like SO 20th century!". Yes I certainly am! And although this is in black and white, it isn't at all dated but a memorable masterpiece.
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Byrdz10 March 2017Deanna Durbin is lovely to look at and lovely to listen to. The plot is rather lightweight but amusing. Great cast of characters including Mischa Auer, Eugene Palette and Adolphe Menjou. Brilliant casting having Leopold Stokowski play conductor Leopold Stokowski.
It's a fun picture and a painless way to listen to some classical music. -
Philipp_Flersheim31 August 2021Do you want to know the secret of happiness? Watch Deanna Durbin in One Hundred Men and a Girl and listen to her voice. That's it.
Also works with His Butler's Sister, Mad About Music, It Started with Eve and a number of other movies by this amazing actress/singer. -
vandino124 February 2006It's Deanna Durbin. It was made at the height of the depression. It was a huge success. It's old fashioned wholesome entertainment. That's enough to recommend it to people who thrill to the 'old timey' charms of Hollywood's Golden Era. As for the rest out there who might run across it, it's dated nonsense not worth bothering with. The story (unbelievably nominated for an Academy Award---as was the film for Best Picture) is an absurd extension of those "put on a show in a barn" yarns: this time not involving a couple of performers, but a full-scale hundred piece orchestra! Durbin and Menjou spend most of the film dodging the same security guard and being driven around by the same cabbie, all to get help from conductor Leopold Stokowski. It's all very frantic, with endless misperceptions that could be explained in seconds, but if so would stop the story cold. There's no wit to the proceedings yet the film is loaded with witty actors such as Menjou, Mischa Auer and Alice Brady. Such a waste. And Durbin is very charming, yet she speaks in a yipping high-pitched squeak for most of the film, as if trying to make herself sound younger. And Billy Gilbert is always a comic actor to be taken in small doses, but in here his demand-for-payment shtick goes on and on and on. At least for those not inclined to accept the idea of people spontaneously breaking into song in musicals, this film avoids that: Durbin only sings when asked or as a full orchestra plays on camera. But, hey, it's all harmless fun, so why nitpick? Because it could have been better, and the lack of era-transcending quality in her movies is the main reason the talented Durbin is mostly forgotten today.