Call Me Madam (1953) User Reviews (54)

Madame Ambassador

[jotix100 · 8/10 · 2 August 2004]

Thanks to the Fox Movie Channel one can rediscover forgotten things that don't show on television these days. It was a royal treat to have this film play the other night. We had seen the film years ago, but one forgets how much fun it was and how it still can delight anyone at all.

It helps a great deal this musical score was written by Irving Berlin, perhaps one of the most talented American composers of all times. The music of "Call Me Madam" can't be considered his best, but it pleases the viewer when it plays on the screen. The direction by Walter Lang also was an asset; even though it's filmed musical theater, it doesn't feel claustrophobic.

Ethel Merman was a magnificent star of the New York Broadway stage. She was a legend in the way she could sing a song and she could be heard in the whole theater; no mikes for Ms. Merman!. She was an original who was a consumed entertainer; she graced many musicals during her lifetime. It shows how foolish Hollywood was in not letting Ms. Merman repeat some of the same roles she created for the theater. It's sad, but it's a great loss.

Donald O'Connor does some of his best work in films in the movie. He plays well against Ms. Merman, as well as against Vera Ellen, his love interest in the film. Mr. O'Connor and Ms. Ellen are charming in their roles.

A great surprise was to see George Sanders, a man who played heavies, or cynical characters on the screen, singing and acting with enough suavity to charm Ms. Merman. Also in the cast, Walter Slezak, Billy DeWolfe, who are also effective in their supporting roles.

This is a film that will delight anyone looking for a pleasant time watching a delightful musical.

Lavish musical, with marvellous songs and dazzling choreography.

[TheLittleSongbird · 8/10 · 27 July 2009]

Call Me Madam is an excellent film, that I don't think is as appreciated as much as it should be. One of the film's main merits is that it is beautifully designed, with stunning cinematography, and Ethel Merman's dresses especially were to die for. The only things that let it down that let it down were its length and that one or two scenes could have simplified. However, these are fully compensated by the marvellous Irving Berlin songs and the dazzling choreography, evident in Donald O'Connor and Vera Ellen's dance routines. Now for the performances-Ethel Merman lends her big brassy personality to the character of Mrs Adams and does a highly commendable job. Whether she gave the best performance of the film is up for debate, personally I think not, for Donald O'Connor is a sheer delight as her assistant, and Vera Ellen looked beautiful and danced a dream. Though special mention should go to George Sanders as Cosmo Costantine, who not only shone with his charm and charisma, but also his singing was absolutely beautiful. Overall, a very well done musical, where the performances, songs and choreography shine through considerably, and fully compensate for the film's minor flaws. 8/10 Bethany Cox

Crackpot musical from Fox does indeed fit Merman like a glove...

[moonspinner55 · 6/10 · 21 February 2008]

Ethel Merman's overly-jovial, happily impersonal, maniacally spirited stage persona didn't always translate well to the silver screen (she was accused of projecting too big, as was Carol Channing). She certainly had some worthwhile movie opportunities however, this bright musical from Fox--modeled on the career of Perle Mesta--being one of them. Merman plays a Washington, D.C. hostess who is appointed U.S. Ambassador to Lichtenberg by her good friend Harry Truman, whom she telephones once in a while to check up on. Farcical, frantic and thoroughly insincere, the picture is still a marvel to behold as seen in unreal Technicolor (looking like 20 different flavors of Jell-O). Finger-snapping Merman is a hoot in her duet with lackey Donald O'Connor ("Your heart goes pitter-patter/I know just what's the matter..."), although Ethel never really adjoins herself to anybody else: she's intent on towing this ship fully on her own steam. It's a snug, entertaining concoction, though one which is apt to amusingly perplex and frazzle those unfamiliar with Merman's impertinent charm and gimme-some-elbow-room gusto. **1/2 from ****

Merman, Like Olives . . .

[harry-76 · 4 July 2004]

is an acquired taste. Apparently enough folks developed it enough to keep Ethel's shows running for a couple of decades.

One of the "Queens of Broadway" (with Mary Martin) Ethel Merman's brassy voice belted through many a record-breaking run, thrilling thousands.

What a rare treat to see her in a role she made her own! "Call Me Madam" is a dandy musical, rich with a great Irving Berlin score and lively performances.

Equally rare is the excellent singing performance of George Sanders. His beautiful baritone is heard in "It's an Old-fashioned Idea" and other lovely ballads. As he played Gen. Constantine, I couldn't help but wonder how his reported troubled private life might have gone had he done more light, musical fare.

Sanders' whole demeanor is different: he's warm, relaxed, sincere and fun-filled--what a departure from the cynical cads he was almost always engaged to portray! [N. B. History shows he was signed to star in a stage production of "South Pacific," and his recording of solo ballads, "The Sanders Touch: Songs to the Lovely Lady"--released five years after this film--has become one of the hottest collectors' items around.] All I can say is, his singing is gorgeous in "Call Me Madam."

If this Fox musical has the somewhat look and feel of an MGM production, there's Donald O'Conner and Vera-Ellen lending their aura from the latter studio. Director Walter Lang, an old-hand at Fox musicals and light comedies, keeps things on track, while Bob Alton's dances really hit-the-mark.

"Call Me Madam" is a most delightful diversion, and a lasting testament to the gifted Merman--the "hostest with the mostest."

CALL ME MADAM (Walter Lang, 1953) ***

[Bunuel1976 · 7/10 · 16 September 2008]

As I’ve often said, the Musical is far from my favorite genre – however, whenever I come upon a well-regarded example, I don’t mind all that much checking it out; this was the case not too long ago with THE PAJAMA GAME (1957) and, again, now with this Fox extravaganza.

Incidentally, every studio seemed to have its own particular style with respect to this genre – until the heyday of the sprawling filmizations of Broadway successes came along; actually, this one belongs to the latter category but it came at a relatively early stage – so that the treatment accorded it is still very much linked with the studio’s standard formula. Now, the Fox musicals (or what little I’ve seen of them) were among the more garish yet traditional – that is to say, unimaginative – to come out of Hollywood; this one, however, had the distinction of an Irving Berlin score as well as the added treat of a Ruritanian setting (bearing reasonable comparison with the equivalent work of the great Ernst Lubitsch).

CALL ME MADAM, then, is best-known for providing brash entertainer Ethel Merman with her most significant role as an American hostess appointed Ambassador to the tiny duchy of Lichtenburg; the actress’ qualities are, perhaps, something of an acquired taste – but there’s no denying that the part fits her like a glove. Still, the talent supporting her is certainly not to be scoffed at: the film, in fact, showcases young leads Donald O’Connor and Vera-Ellen (who dance as well as sing) – he appears as Merman’s press attaché who falls for his pretty but impossibly thin co-star, a princess of the impoverished country promised in a marriage of convenience to Helmut Dantine’s military hero; Merman herself shares an unlikely romance with Foreign Minister George Sanders (the famously world-weary actor even gets to sing – modestly and in a deep, heavily-accented voice – on a couple of occasions!) while, at the same time, being pursued by Finance Minister Walter Slezak.

Some of the plot complications/contrivances – involving political intrigue, romantic rivalry, secret trysts, misunderstanding and sacrifice – are so typical as to be wholly predictable, making the film’s not inconsiderable 114-minute duration somewhat long drawn-out (with even a number of the songs being reprised). That said, Berlin’s music and lyrics (and the performers’ rendition of them) are a delight – as is, surprisingly, much of the dancing (one of which occurs in the cellar of the palace[!], but especially O’Connor’s energetic drunken antics in a tavern incorporating a xylophone and a set of balloons a' la Fred Astaire).

Incidentally, Merman, O’Connor and director Lang (a regular – albeit impersonal – exponent in the field) would be re-united the next year for THERE’S NO BUSINESS LIKE SHOW BUSINESS (1954), a showbiz musical revolving around a clutch of Berlin hits; for the record, this film is shown ad nauseam on TV (even locally)…but which, given the reservations I mentioned earlier about the Fox style, I’ve never bothered to watch (a situation I perhaps ought to remedy now on the strength of my generally favorable appraisal of CALL ME MADAM itself)!

Call Her Ferocious On DVD!

[movieman-200 · 7/10 · 11 August 2005]

"Call Me Madame" is a musical that desperately wants you to love it. At times that love is genuine…at other times it seems forced. Ethel Merman stars as "the hostess with the mostest" – Ambassador to Luxemburg (name). She's bold, gregarious, irrepressible, manic, enigmatic and electrifying – in spots. But 2 hours of Ethel is like 20 minutes in a wind tunnel; it's exhausting!

Yes, the Irving Berlin score will have you tapping and humming away with pleasure, and, yes, the supporting cast of Vera Ellen, Donald O'Connor and George Sanders are all welcome additions that compliment the divine Ms. Merman. But they are mere appendages to her performance and are given so little to do that without Ethel there really wouldn't be a show. That aside, Merman proves why she was such a powerhouse on the live stage. She's like the female Bert Lahr (the cowardly lion from "The Wizard of Oz" for those who might otherwise not know to whom I am referring). She bounces from one emotion to the next, manically sucking up the atmosphere and expelling all things Merman in its place. Is she intoxicating?

Suffocating is a more accurate assessment, but engaging nonetheless. Just make sure you've had your morning coffee first! Okay, make it two! TRANSFER: A respectable transfer from Fox. Full frame, as originally seen, with rich, vibrant Technicolor, solid blacks and excellent contrast levels. Digital anomalies are rare, pixelization being of the greatest concern, for a picture that is overall quite smooth and satisfying, if somewhat softly focused from time to time. Age related artifacts are present throughout but they do not distract from your viewing enjoyment. The audio has been remastered to stereo but remains something of a muffled disappointment, particularly in the songs. EXTRAS: A wonderful audio commentary and precious little else. BOTTOM LINE: Tackle the exuberant Ms. Merman…but only if you dare!

Broadway's greatest musical legend repeats her classic stage role!

[mark.waltz · 10/10 · 16 July 2004]

In her 60 year career, Ethel Merman only made two appearances in musical versions of her Broadway hits. The first was a much altered version of Cole Porter's "Anything Goes" in 1936, and the second was this striking and colorful musical, "Call Me Madam", by the legendary Irving Berlin. Ann Sothern and Lucille Ball were cast by MGM in two of her other Cole Porter hits, "Panama Hattie" and "DuBarry Was a Lady", while Betty Hutton was a second choice after Judy Garland to play Annie Oakley in "Annie Get Your Gun!". Over a decade later, Rosalind Russell was given her role of Mama Rose in "Gypsy". Fortunately, 20th Century Fox saw fit to cast Merman in the film version of "Call Me Madam", giving her a rare leading film role after they had cast her in supporting roles in movie musicals of the late 1930's.

The Broadway hit had co-starred Oscar Winner Paul Lukas and Russell Nype, and for the film version, Oscar Winner George Sanders took over for Lukas, and Donald O'Connor, after his triumph in "Singin' in the Rain" and the "Francis the Talking Mule" films, replaced Nype. For the role of the Princess, originated on Broadway by Tamara Geva, Fox cast the pretty Vera-Ellen. However, the film is all Merman's as she sings, clowns, and bounces all over the fictional duchy of Lichtenberg. For the record, two small duchys of the time, Luxemborg and Lichtenstein, were combined into one to fictionalize the setting. The spoof of Pearl Mesta, American ambassador to Luxemborg, seemed appropriate for a musical, and Merman, after her triumph as Annie Oakley, was the perfect choice to spoof someone she actually knew. As Mrs. Sally Adams, Washington Hostess turned Ambassador, Merman turns the duchy upside down, and gets a charming lover in the process. George Sanders, usually cast as despicable villains (films such "Rebecca" and "All About Eve"), is cast against type, but is perfect with his suave charm. His villains also had charm in spite of their calculating manner. He also displays a fine singing voice, and does a remarkable job in spite of the fact that this is Merman's show all the way.

As the younger lovers, Donald O'Connor and Vera-Ellen have some nice dance numbers, most notably "Something to Dance About", but the musical highlight is O'Connor and Merman's duet, "You're Just in Love". Merman shines in "The Hostess With the Mostess" and the interpolated "International Rag" (which replaced "Washington Square Dance" from the original show), while O'Connor almost tops his "Make Em' Laugh" number with "What Chance of I With Love?", an Irving Berlin song originally heard in the 1941 musical "Lousiana Purchase". The very charming and colorful "Ocarina" number gives Vera-Ellen her chance to shine, and is well staged in the confines of a movie camera. Berlin's lyrics are just as good as his "Annie Get Your Gun" score, and the book by Russell Crouse and Leland Hayward delightfully spoofed America's constant gifts of money to poorer countries. In fact, Merman has several comical phone conversations with President Harry S. Truman (who actually had left office by the time this film was released), and while the comments about Margaret Truman's acting career may seem dated, they become funnier with each passing phone conversation.

In supporting roles are Billy DeWolfe as Merman's stuffy assistant, Walter Slezak as the Minister of Finance, Ludwig Stossel as the Grand Duke, and Lila Skala (later the head nun of "Lillies of the Field") who says not a word as his wife. Director Walter Lang did an outstanding job bringing the film to the big screen, and the dances by Robert Alton are outstanding as well. Every aspect of the film is done with care; costumes and scenery give the viewer a feeling of a more peaceful time in the world (even though it was less than a decade after World War II had ended), and some viewers might be reminded of the classic operettas being done on Broadway just a decade before. However, once Merman's vibrant personality takes over, there is no question that we are not in Sigmund Romberg territory; This is the Americana of Irving Berlin with brassy Merman, suave Sanders, rubber-legged O'Connor, and sweet Vera-Ellen.

I first saw "Call Me Madam" back in 1982 at a summer classic movie retrospective where the audience applauded as if they were seeing a live performance. It turned up a decade later on cable with tons of commercials, but until the introduction of the Fox Movie Channel, it seemed to be one of those rare movies unavailable for viewing. Now it has also made its way onto DVD. Merman deservedly won a Golden Globe for her performance, but was sadly overlooked for an Oscar Nomination. Perhaps, like Carol Channing, she is too big for the big screen, and comes across better on stage. Still, she was neglected in films, and "Call Me Madam" will remain a vibrant and colorful record of what this great lady did best-to entertain and make the world forget its troubles. In some scenes, she can even tear your heart out. While her follow-up Fox film, "There's No Business Like Show Business", is enjoyable for what it is, it is "Call Me Madam" that gives her the biggest chance to shine on screen.

A Phenomenon

[MOscarbradley · 7/10 · 27 September 2006]

Ethel Merman wasn't just a great entertainer; she was a phenomenon and one of the Seven Wonders of the Showbiz World and the part of Sally Adams, American ambassador to Lichtenburg, is one of her greatest roles. It was also one of the few stage parts she had to be preserved on film which makes this screen version of the Broadway musical doubly welcome.

The plot is classic musical-comedy; in other words as corny as all-get-out and about as realistic as "The Wizard of Oz", and it's got a great Irving Berlin score, (the 'You're just in love' duet between Merman and Donald O'Connor is a highpoint in the musical genre). Walter Lang's direction isn't particularly innovative, (the film is lavish but stage-bound), and Vera-Ellen was never the most charismatic of musical-comedy stars but these are minor quibbles when there is so much else to enjoy.

O'Connor and Merman Shine

[nmayers · 10/10 · 11 May 2004]

Both Ethel Merman and Donald O'Connor suffered from the same misfortune -- lack of quality movie roles to showcase their extraordinary gifts. In O'Connor's case, it was because from childhood up into his middle twenties he was contracted by Universal Studios which, up 'til that time, produced "B" movies, suitable for coming into an air-cooled movie theater on a hot summer's day, but not much else. He always shone brightly, however, even in those early films, but not 'til Singin' In The Rain -- and Call Me Madam -- did he get the chance to glitter in great "A" material. Ethel Merman, the greatest of the Broadway greats had expansive mannerisms, stereophonic lungs, and irrepressable exhuberance, and was not considered cinema material by the powers that be. See how wrong the powers can be? O'Connor and Merman together in this film make it great -- his dancing, her voice, their personalities blending in just the right way. Great movie with two great leads -- don't miss "Call Me Madam"!

Good Irving Berlin music with Ethel Merman! What more could you want?

[661jda · 7/10 · 19 October 2020]

Lots of memorable music. Merman. Donald O'Connor. Vera Ellen. Worth watching a couple of times for Merman alone...

Bland

[AAdaSC · 4/10 · 12 July 2009]

Sally Adams (Ethel Merman) is appointed US ambassador to Lichtenburg and takes along Kenneth Gibson (Donald O'Connor) as her Press-attaché. The Lichtenburg Prime Minister (Steven Geray) is keen to get an American loan so that they can proceed with an arranged royal marriage between Princess Maria (Vera-Ellen) and Prince Hugo (Helmut Dantine). However, Sally is under instruction not to provide the loan. She meets General Cosmo (George Sanders) and they fall in love with each other, as do Kenneth and the Princess. After her stay, she returns to the US where there is a final twist in the tale at her home-coming party.

This film contains annoying accents. Ethel Merman has a voice that irritates when she speaks, let alone when she sings, and George Sanders and Vera-Ellen affect poor foreign accents throughout the film. George Sanders is also slightly creepy in the oily, slimy sense of the word and Vera-Ellen just naturally looks weird. The songs (ruined by Merman's staged deliveries) aren't that good and neither are the dances. Ethel Merman delivers some funny lines and she is funny to watch in some scenes but overall the film is bland.

That Hostess With The Mostess

[bkoganbing · 9/10 · 28 October 2006]

Movie audiences got a treat in Call Me Madam because they got to see Ethel Merman repeat one of two of her Broadway roles for the screen, the other being in the first Anything Goes.

For some reason, movie audiences never really took to Ethel. She did some parts during the Thirties, but in the Forties worked exclusively on Broadway. Mary Martin suffered a similar fate and we never got to see any of her Broadway starring roles with the exception of the famous telecast of Peter Pan.

Irving Berlin wrote the score for Call Me Madam and the book is based on the colorful life of Perle Mesta, famous Washington socialite who Harry Truman made ambassador to Luxembourg.

That's the way of things in Washington. Both parties with a new administration give ambassadorships out to wealthy contributors and Perle Mesta, an oil widow was one of the wealthiest.

Ethel is appointed by President Truman as Ambassador to the mythical duchy of Lichtenburg. Her rather informal style sets some professional State Department teeth rattling and during the course of the film both causes and solves a diplomatic crisis. Her personal assistant, Donald O'Connor is in her corner, but the chief of Protocol Billy DeWolfe is at his wit's end.

Both Ethel and Donald find romance in Lichtenburg, she with Count George Sanders and he with Vera-Ellen. When things aren't looking so good, they console each other with the hit song of Call Me Madam, You're Just In Love. This is what you call a contrapuntal melody with both members of the duet singing different melodies at the same time. At the same time this one was hitting the jukeboxes, another contrapuntal by Berlin, Play A Simple Melody was revived by Bing Crosby and his son Gary. To my knowledge no other major composer has ever had a hit with one of those.

George Sanders surprised quite a few folks with his singing voice. They needn't have been, he in fact had appeared in some musicals on the London stage before going into film. And he drops the sneer that usually accompanies most of us film characters and makes a most dashing and romantic count.

Dropped from the film version was Irving Berlin's tribute to Dwight D. Eisenhower which became his campaign theme song, I Like Ike. I guess it was considered redundant since the American people already had him. There are many references to Harry in the book and how Ethel was going to not let him down in the position he placed her in.

Billy DeWolfe steals every scene he's in as the fussy officious career foreign service employee, Pemberton Maxwell. If there ever was a name for a stuffy career WASP diplomat, that's it. They were a ripe target back then, certain politicians made a living on accusing a whole flock of them as traitors. One of them was Truman's Secretary of State, Dean Acheson. There manner didn't play well in what we would now call red state America.

Call Me Madam is bright and funny with a great score and some fabulous performances. Can't do better than that.

Delightful and Alternately Brassy and Touching; All Sanders and Merman

[silverscreen888 · 7/10 · 28 May 2010]

"Call Me Madam" (1953) possesses perhaps the most complete list of attributes that most other musicals made since the early 1970s have completely lacked of any film ever made. Its protagonist is past 40 and not particularly attractive, female. gruff, tough-minded and smart. Her romantic opposite number in the film is foreign, classically-trained as a singer, anti-United States, honest, unpopular in his own country and a nobleman. The second leads are a comic dancer and a short, skinny blonde playing a member of a foreign royal family. Veteran Walter Lang used this material to fashion a well-directed film set in a Graustarkian nation all of whose leaders want U.S. aid from the new ambassador--except for one man, the man the heroine, the new U.S. ambassador, falls for. Arthus Sheekman deserves the credit for making of Russel Crouse's and Howard Lindsay's book of the stage hit of the same name, with music by Irving Berlin, the best of his musicals and a filmic delight. Solid Sol Siegel produced and Leon Shamroy supplied vivid cinematography for this ambitious work that goes indoors, outdoors, presents at night and by day and does all with seemingly effortless ease, by my standards. With art direction by Lyle Wheeler and John De Cuir, set decorations by dependable Walter Scott and a range of colorful costumes by Irene Sharaff the movie had to be beautiful, and it is. Add in musical work by Ken Darby with the singers, Earle Hagen as orchestrator and Robert Alton as choreographer, and interesting results should have been expected. Songs such as "You're Not Sick You're Just in Love", "It's a Lovely Day Today" a folkloric showstopper, "The Hostess With the Mostess" and a dance number that rivals Fred Astaire and Ginger Rogers at their best for staging and the possibilities improve even more. But the film is also one that moves well, is pleasant, intriguing, and features a large number of locales, moods and scenes, tied to a running gag about the then new female ambassador's boss, Harry Truman, who appointed her and to whom she reports by phone. Something special with these elements mixed well was bound to happen. It happened I say because of Ethel merman's very professional approach and the great singing and acting of her award-level co-star, George Sanders as the honest official who woos her. Billy de Wolfe is Merman's insufferable underling, Donal O'Connor her protégé and Vera Ellen the royal with whom O'Connor falls in love. Helmut Dantine is powerful as O'Connor's rival, Walter Slezak and Steven Geray two bumbling comic ministers. Others in the large and talented cast includes Ludwig Stossel, Lilia Skala as his wife, capable Emory Parnell, Percy Helton and Charles Dingle as well as Oscar Beregi, Olan Soule and Nestor Paiva. For an adult viewer, one willing to forego Hollywood's usual musical clichés, this amiable and memorable entertainment--based loosely on the life of real-life hostess Perle Mesta--should work satisfactorily from brassy opening to intelligent conclusion. Not to be missed, if only for Sanders' musical numbers.

Terrible miscasting of George Sanders

[gtimson · 3/10 · 22 February 2022]

Yes, we love Ethel. And Donald can dance. But the movie is spoiled for me with the casting of Sanders as the super-ethical bemedaled singing heartthrob with a borscht-belt accent. If you've ever enjoyed Sanders in Rebecca, or All About Eve, or Dorian Gray, you'll wince during every moment of his performance here.

The Ultimate Ethel Merman Performance in a Movie

[darkinvader45210 · 25 February 2004]

I remember seeing Call Me Madam as a teenager when it first came out as a movie in 1953. There was the great Ethel Merman on the screen. I had never heard of her before as to who she was, but I saw the movie so many times that it is still very vivid in my mind. Always yelling "Hello Harry" every time the phone rang, when Billy De Wolfe tried to tell her that one of his jobs was to tell her how to dress, and she looked at him in his outfit with striped pants and quipped, "You're going to tell me how to dress? Your coat and pants don't even match!" But, the surprise of the movie was George Sanders singing especially his song "Marrying for Love". Who would have known that he had such a rich baritone voice. This was probably Vera Ellen's best movie including "Three Little Words" with Fred Astaire. She and Donald O'Connor were perfect in their dance numbers together. Ethel Merman's rendition of "The International Rag" was brassy and sassy the way only Ethel Merman could deliver it with the end of the song singing, "Oh, oh! Wiggle your personality!" and someone in the audience said, "She sure can wiggle it; can't she?" It was if as soon as you sat down to watch this wonderful musical, it was time to leave the theater. I understand that the film is finally going to be released on Video. It's about time. I'll buy one copy to look at and another to keep just in case. Wonderful entertainment. One of the best!

Call Her MERMAN!

[Harold_Robbins · 9/10 · 15 September 2004]

Ethel Merman was unique in the annals of the American Musical Theater -she was responsible for the success of more shows, and introduced more songs that became Broadway standards (and by the best composers) than any other performer - even Mary Martin and Gwen Verdon never quite de-throned the First Lady of Musical Theater. But Merman is one of those whose talent didn't quite transcend the big screen, despite several attempts. Anyone seeing her on the screen today may well wonder what all the fuss was about, but take it from an eyewitness: Merman was a force of nature who had to be seen live to be appreciated - when she set foot on a stage, she OWNED that stage, the scenery, and every seat, patron, and brick of that theater.

Although it came along too late to make her a real movie star (she was in her mid-40s already and, unfortunately, wasn't aging gracefully), CALL ME MADAM is her best movie, and gives us the closest approximation of how the Merman magic lit up the stage (and the box-office). MADAM was very much a star vehicle, the kind they don't have today (let's face it: because they don't have such stars), and there wouldn't have been any point in filming it with anyone else - every situation, line, lyric and note of music was tailored to her style, personality, and, of course, voice (aside from the fact that the show is very dated politically, that's the other reason it was seldom revived without her. GYPSY, though a much better show, was considered a sacred Merman vehicle until Angela Lansbury tackled it in 1973 - it's been revived regularly ever since). Merman was known for 'freezing' a performance, seldom varying it by a syllable throughout a show's long run, and often claimed to be thinking about her grocery list while she was belting out a song. Though she probably 'tweaked' her performance for the screen, what we see here is very likely the way she played Sally Adams hundreds of times before and after the movie.

Although she certainly dominates the proceedings, Merman surprisingly doesn't hog the show (she even gave one of her songs over to Donald O'Connor, "Something To Dance About") - everyone gets their chance to shine, from George Sanders (not playing a cad for once, and displaying an excellent singing voice) to the wonderful Donald O'Connor and Vera-Ellen. O'Connor was riding the crest of his success in SINGIN' IN THE RAIN, and he's almost as good here - his performance is a joy, whether dancing with Vera-Ellen, by himself, or teaming up with Merman for the legendary duet of "You're Just In Love" that stopped the show cold on-stage (he was fond of saying that one of the Merm's high notes bent his eardrum!).

So pop this one in, sit back and have a wonderful time watching several seasoned troupers doing what they did best - entertaining!

Merriment, Grace and Pleasure

[sharlyfarley · 9/10 · 2 May 2004]

It's easy to forget how many great musicals 20th Century Fox has put out, and how varied - from "My Fair Lady" to "the Commitments." One of their very best has just been re-released on DVD: "Call Me Madam"...

Once upon a time, boys and girls, they used to make movies that you were supposed to enjoy. They didn't thrill you, or scare you, or wow you with effects and disasters. They simply gave pleasure by having people sing amusing songs and dance with grace and lightness and ease. Here you have a chance to see the kind of singer - the incomparable Ethel Merman - who could fill a theater without using a microphone, and you could understand every word she sang. And you have a chance to see some of the greatest dancers Hollywood ever knew - Donald O'Connor and Vera Ellen - who advance the love story simply by dancing together. I gotta admit, O'Connor's got a gleam in his eye Astaire never had, and that dance in the wine cellar did more for my imagination than thrashing naked bodies ever did. And I roared every time Merman said "Hello, Harry!" And who knew George Sanders could sing?

This is not life-changing cinema...It's simply wonderful entertainment. And the more I see of today's offerings, the rarer that looks.

Excellent!

[mggbikeluvr · 10/10 · 5 April 2011]

I only have a few negatives about this film. So, I think I will get those out of the way. The plot is a bit far fetched. It isn't likely that you'll just fall in love with a princess. But they made it work well. The only other negative is the opening credits. As silly as it sounds, it's strange. Ethel Merman's demanding voice shouting, "Call Me Madam!" was a bit surprising. But other than those two minor things, I loved it! Then again, if Irving Berlin wrote the music, it's going to be fantastic. Walter Lang directed it. He also directed "There's No Business Like Show Business", which also has Ethel and Donald O'Connor. This movie is for Ethel and Donald fans, especially. They do a smashing duet together, "You're Just in Love". It is a show-stopper. And you can't watch this movie with out watching Donald's "What Chance Have I With Love?" at least six times. That is one of his most famous dances, behind the electrifying "Make 'Em Laugh" from "Singin' in the Rain". Vera-Ellen does great, too. Her and Donald do two dances together that are very romantic and exciting. They also sing a song together. And in one scene, you can get a glimpse as Vera's neck, which was never shown. Since she had anorexia at the time, it left her neck very wrinkled, thus, she never showed it. This is one of the very rare occasions where it is revealed. Her and Donald make an amazing couple. They were almost paired in "White Chirstmas" together. But Donald got severely ill and was replaced with Danny Kaye. Oh, yes. You also see that not only can Donald dance. He has an enchanting voice! His singing is usually overshadowed by his dancing. But with two whole songs with him just singing without and dancing or comedy, for that matter, you hear his absolutely gorgeous voice! If you don't like musicals, you won't like this. But if you're a musical freak like me, you will fall in love with it.

Now available on DVD - AT LAST!!!

[gregcouture · 3 April 2003]

There's been a long wait to revisit the delights of this brassy film recreation of a big Broadway hit, but now we can once again enjoy it, fairly bursting from the screen, with its several lively production numbers, John DeCuir's classy production design, Irene Sharaff's flattering costumes, plus Robert Alton's absolutely first-rate choreography. Check out Vera-Ellen and an ultra-well-rehearsed chorus of dancers in "The Orcarina" number, as well as her amazing dance duets with Donald O'Connor, who smoothly displays his exceptional terpsichorean ability, so well showcased two years earlier in MGM's "Singin' in the Rain." George Sanders's singing is a wonderful surprise, holding his own with leather-lunged Madame Merman, who had triumphed on Broadway with this votive offering to her stardom, so cleverly crafted by Irving Berlin. Alfred Newman's Oscar for his endlessly inventive musical direction was more than well-deserved. For anyone who thinks that M-G-M was the only studio to adequately mount a film musical, this one might convince fans of this genre otherwise. (The DVD, by the way, is a very nice transfer, and boasts a quite informative commentary by "Musical Film Scholar" Miles Kreuger.)

Excellent as a showcase for Merman and on its own

[funkyfry · 8/10 · 27 August 2007]

Let's talk about Broadway entertainment at its best. Let's talk about Ethel Merman. Let's talk about Irving Berlin. It's all one and the same. And pretty much all of it is here in this exceptional film version of Berlin's Broadway play "Call Me Madam" (the original play's book was written by Russell Crouse and Howard Lindsay). This is the best performance I've seen so far from Merman on film. It's not a groundbreaking film and it wasn't really a groundbreaking play either, but it is very true to the spirit and tone of the original play (whose original cast record I have listened to hundreds of times) and therefore provides the modern viewer with a window into the last days of the late lamented glory days of American musical comedy.

The play's plot is thin and might seem outdated today because it refers to post-WWII Europe and U.S. loans for rebuilding war-torn countries. In that respect it's always reminded me of the Jack Arnold/Peter Sellars film "The Mouse that Roared". It focuses on the small fictional country of "Lichtenberg" and the chaos that ensues when socialite party-giver Sally Adams (Merman) is sent by Harry Truman (who she often engages in long-distance small-talk with) as an ambassador to that country. She falls hard for what seems to be the only man in the country who doesn't want a U.S. loan for millions of dollars, Cosmo Constantine (George Sanders). Her oily career-diplomat assistant with the hilariously improbable name of Pemberton Maxwell (Billy De Wolfe) however convinces her that Constantine has ulterior motives, so complications ensue. Adams' press attaché Kenneth (Donald O'Connor) is introduced in a very amusing way as he tries to secure a press position with Merman and fails, but then comes to her rescue while she's cornered by reporters and so she announces she's taking him to Lichtenberg. There he too finds romance, in the person of a lovely and talented princess (Vera-Ellen).

All of the characters are appealing and the romantic chemistry is fine, particularly between Merman and Sanders. When Sanders begins singing in a duet with Merman, I was totally astounded. Just one of the many pleasant surprises this film has to offer. O'Connor comes as close as humanly possible to stealing the show from La Merm. His solo number "What Chance Have I With Love?" is almost the equal to his famous turn in "Singin' in the Rain", and he's given much more opportunity to build his character in this film. What could have been a dull "juvenile lead" role is spiced up considerably by the humorous introduction mentioned above (an innovation missing from the play) and by his almost cocky self-assurance, made all the more humorous when love brings him down low. Vera-Ellen doesn't have much screen presence but she does provide some great dance moves, and I thought her scene with O'Connor in the wine cellars was quite romantic.

As many other posters have noted, it's not Irving Berlin's best score. But other than "Annie Get Your Gun" it's definitely the highest quality show he ever wrote in the "integrated" style (songs designed to further the characters and/or story), far surpassing the later "Mr. President" (which starred Robert Ryan and Nannette Fabray but was never filmed to my knowledge). Most of the highly hummable Irving Berlin movies of the 30s and 40s (like "Blue Skies" and "Easter Parade") were compilations of his hit songs from previous Broadway shows going back to the teens. Other than 2 songs (one of which, "International Rag" sung by Merman, goes back to 1913) interpolated into "Madam", the entire score is straight from the Broadway show that it was written for. Considering the fact that much of the score is preserved and this version stars Merman from the original show, "Madam" is a better film in many ways than the more famous "Annie Get Your Gun" done by MGM with Betty Hutton.

Fox did a very good job on this film. It should be treasured by classic Broadway fans and it gives those unfamiliar with musical history a chance to discover one of its greatest gems, the incomparable Merman. We could pine away all afternoon that this show was done instead of "Annie" or "Gypsy", but instead we should count our blessings (we got the sun in the morning and the moon at night and we're all right, folks). The show might be dated politically but it's one of those classic musicals that knew not to take itself too seriously while at the same time respecting the taste and intelligence of its audience.

Not meant to be obscured from the classic film musical collection

[szekeong123 · 10/10 · 9 June 2006]

As the new generation of film musical fans are catching up on their next Judy Gardland vehicle, how many of them know of the powerhouse singer Ethel Merman? Best known for her great dancing duet with Gene Kelly in "On the Town" and Danny Kaye in "White Christmas", who would even think of Vera-Ellen and Donald O'Connor as a dancing pair no less worthy of praising than Fred and Ginger? Those who saw George Sanders in his better known films, which one of you knows that he has a pleasant singing voice and is capable of playing gentle role with inviting charm?

For a film as captivating as this, it is no surprise that it was a hit when it was first released. It is therefore deeply regrettable that such a wonderful gem was buried away from the public for decades due to copyright issue. Now finally available on DVD, will it find its new batch of fans? It deserves to. After 5 decades, it has indeed ages very well. It has no deep plot or provocative themes. It is sheer delight and entertainment from the start to the end. Every songs are sweetly memorable for me and the music is constantly melodious.

The moment Merman appears in the first scene, her loud and vibrant personality will grab the attention of her audiences. When she starts singing, Merman dominates the screen. It is no wonder why she was such a great star on Broadway. Sadly, this is the only time she won massive favour from the public. One wonders why.

Merman may be the center of attention of the film, but all the supporting casts play well against her. She has such lovely chemistry with George Sanders and, oh, how well they sing together! Donald O'Connor makes a good companion of Merman, but more importantly, he makes a perfect lover of Vera Ellen. The way they dance is pure magic. Inspite of their different dancing styles and personality, they compliment each other technically and emotionally with such perfection.

Story wise, certain things may be hard to understand. It is recommendable to listen to the DVD commentary by film scholar Miles Kreuger before actual viewing to have a better understanding of the story. With or without the commentary, this is a film not to be missed.

Ethel Merman is made an ambassador--political appointment--with great music and humor

[johnjhafs · 10/10 · 30 June 2005]

I was delighted to see Call Me Madam out on DVD. I saw the movie at the theaters when it first came out and loved it. Ethel Merman is a sheer delight and in great voice; George Sanders surprisingly has a great singing voice; Donald O'Conner and Vera Ellen dance wonderfully together. The Technicolor is beautiful. The songs by Irving Berlin are wonderful. This is my favorite musical and gives people the opportunity to see Ethel Merman at her best and understand why she wowed them on Broadway for nearly three decades. The comments on the DVD are very good--the gentleman knows what he is talking about and is able to identify all the character actors and compare and contrast the movie with the Broadway show from which it was taken. A great buy!

Ethel's Finest Moment

[theowinthrop · 24 August 2004]

Carol Channing, Mary Martin, Ethel Merman - the three biggest stars of Broadway between 1940 and 1970, and none made as big an imprint in movies. This seems to be a running sore in cinematic history - so few stage stars were great film figures. Some, like George M. Cohan, did not like the restrictive effects of movie making, and made few stabs at film (though, fortunately, Cohan made THE PHANTOM PRESIDENT in 1932). Others just seemed to weak on film. The great Pauline Lord made one movie, the pathetic MISS WIGGS OF CABBAGE PATCH, which (if recalled at all) is remembered as a film "starring" (he was actually in a supporting role) W.C.Fields. Channing, star of GENTLEMEN PREFER BLONDS watched while that role went to Marilyn Monroe, and star of HELLO DOLLY watched as that role went to Barbara Streisand. Martin, star of SOUTH PACIFIC saw Mitzi Gaynor play Nellie Forbush, and star of THE SOUND OF MUSIC saw the role of Maria Von Trapp become identified with Julie Andrews. Merman with credits like ANYTHING GOES, PANAMA HATTIE, ANNIE GET YOUR GUN, and GYPSY, only was able to keep the role of Reno Sweeny in ANYTHING GOES, when it was first made into a film in the 1930s. She was fortunate to also have the role of Sally the ambassador in CALL ME MADAM on film. It was a rarity, because she knew the part and was able to shine in a film adaptation. It's success probably enabled her to get another lead in the musical THERE'S NO BUSINESS LIKE SHOW BUSINESS. But the latter film, despite her good work in it (and Dan Dailey's, Mitzi Gaynor, and Donald O'Connor's)is recalled because Marilyn Monroe sang "We're Having a Heat Wave". Merman never led in another musical film again, and would be overlooked for GYPSY (when Rosalind Russell got the part).

At least here and in the first ANYTHING GOES we see how she handled stage roles in her career. Mary Martin was less successful, her film record of her stagecraft limited to the scene in the first Cole Porter biopic NIGHT AND DAY, when she sings the song MY HEART BELONGS TO DADDY as she did on stage (unfortunately two of her chorus, Gene Kelly and Van Johnson, were not asked to repeat their chorus boy parts). There is the television version of PETER PAN, which is on video. It's fortunate that exists (there is also some songs from SOUTH PACIFIC that were sung with Ezio Pinza on THE ED SULLIVAN SHOW). The rest is silence. As for Channing, the only time she appeared in a movie musical, it was as the wacky aunt of Mary Tyler Moore in THOROUGHLY MODERN MILLIE (a movie not based on any stage musical). Channing had little singing to do in it.

So Merman was able to do one great performance on film. CALL ME MADAM, a musical spoof on the career of political hostess Pearl Mesta, was a charming little musical (no ANNIE GET YOUR GUN, though). It's best musical moment is the duet with Donald O'Connor (I HEAR MUSIC BUT I DON'T KNOW WHERE), and it is a romantic piece of fluff. Nice also to see George Sanders playing a decent chap for a change. But watching Merman at her best, makes one regret what was not captured on film of her other performances. Ironically, that great singing voice is best recalled as a "loud-mouth broad" voice from Merman's best remembered role: the obnoxious mother-in-law of Milton Berle in IT'S A MAD, MAD, MAD, MAD WORLD.

Ethel Merman and Irving Berlin

[robertguttman · 8/10 · 21 October 2015]

Those interested in learning who Ethel Merman was could do worse than stop right here. "Call Me Madam" is the movie version of a Broadway show for which Merman won a Tony Award a couple of years before. Principally a stage star, many of Merman's best vehicles, such as "Panama Hattie", "Annie Get Your Gun" and "Gypsy", were brought to the screen by other stars. In this case, however, Merman was given the chance to do the job herself. She gives it everything she has which, in her case, is a lot.

Don't expect any subtlety. Ethel Merman was primarily a stage performer and was accustomed to playing to the customers in the cheap seats in the back of the theater. Her voice, although completely untrained, was enormous and, in the days before microphones were invented, she could easily make herself heard in the back of the largest theaters. Singing a duet with Merman must have been like trying to sing a duet with the ship's whistle on the Queen Mary, you simply weren't going to be heard over her. For that matter, the lady herself was such a huge presence on stage that everybody around her seemed to shrink to insignificance. All of those qualities come through in "Call Me Madam".

On the other hand the greatest songwriters of the day, including Irving Berlin, all wanted to write musicals for Merman because they knew that she could "sell a song" like nobody else. Berlin not only wrote the songs for "Call Me Madam", he also wrote the songs for her previous hit show, "Annie Get Your Gun". Berlin's songs for "Call Me Madam" are a perfect fit for Merman's inimitable style, and she belts them out as only she can.

One other odd bonus here is a rare opportunity to see George Sanders in a musical. That really is his voice, and it's not at all bad. It makes one wonder whether, had he ever wanted to go that way, he could have become an opera singer rather than a film actor.

Don't expect any great subtlety of characterization or acting here, or unexpected complications of plot. However, as a showcase for the considerable talent of the legendary Ethel Merman, "Call Me Madam" is definitely worth a look.

This wacky comedic musical romance works!

[weezeralfalfa · 10/10 · 17 January 2012]

The plot of this superior comedic musical romance is basically similar to that in "Royal Wedding", starring Fred Astaire and Jane Powell. A male and female pair of American entertainers(with other official roles in the present case)come to Europe to interact with royalty and other upper class persons, and each establishes a romance with one of such. The three main musical stars: Ethel Merman, Vera -Ellen, and Don O'Connor, all deserved much more and better film documentation of their exceptional talents during their careers. Here is a unique opportunity to see all of them shine, separately and together.Ethel is perfectly cast as the brassy expert Washington party hostess, turned ambassador. Vera-Ellen is also perfectly cast as the beautiful, but somewhat icy, cloistered princess, looking for an opportunity to shed this lifestyle and pursue her singing/dancing talents. This role rather closely mimics her role as a beautiful but repressed lost soul saviour, who falls for the suave rich playboy Fred Astaire, in "The Belle of New York".

Ethel was often denied the film version of Broadway hits she starred in as a singer, comedian and actress, because she was considered not beautiful enough, or because too many in the film audience considered her singing voice too harsh and loud, or her personality too brassy, as she often acted as if she were still on a stage without a microphone.Vera-Ellen's exceptional dancing talent was recognized, but her singing was usually dubbed, and she was often considered too introverted to come across as an all around entertainer.In this film, her scenes nearly all exclude Ethel, thus she has ample opportunity to carry her own scenes, mostly with O'Connor's help.O'Connor's exceptional vaudevillian combination of talents, honed since early childhood, was too often shadowed in film assignments by Gene Kelly, Fred Astaire, or others, or wasted in inferior roles at Universal. I think of him as a younger version of rubbery comedic dancer Ray Bolger(Scarecrow in "The Wizard of Oz"). In this film, he escapes the dominance of Kelly in their superhit "Singing in the Rain". He gets to shine in his comical novelty dance, following singing the somber "What Chance Have I With Love? He also sings a Berlin standard with Ethel, and has several romantic song or dance numbers with Vera-Ellen, who made a perfect dance partner. In addition to brassy solos of "The Hostess with the Mostess","The International Rag" and "Can You Use any Money Today?" and a show-stopping duet with O'Connors, Ethel sings several romantic duets with George Sanders.

The fanciful story is based on an actual Truman appointment of a Washington socialite as ambassador to the tiny country of Luxemburg. In the film, the country is changed to the ultratiny alpine country of Liechtenstein, renamed Lichtenburg, presumably because it is more scenic and remote and has more colorful traditional dance costumes, esploited in the charming musical number "Ocarina", featuring Vera-Ellen and a dance chorus.Seems Lichtenburg had a problem of needing a huge dowry for their Princess Maria(Vera-Ellen), to marry Prince Hugo of a neighboring country, and they are hoping to obtain a loan from the US Marshall Plan. As instructed, Ethel refuses a loan requested by several short overeager ministers, but offers a huge loan to tall suave reserved foreign minister Cosmo Constantine(George Sanders), who immediately mermerizes her. But Cosmo knows that the princess does not love the prince, thus he refuses to OK the loan. He himself refused a political arranged marriage and sings the song "Marrying for Love" to Ethel, whom he is warming up to. Meanwhile, the cloistered princess Maria, with the forbidden desire of a singing/dancing career, develops a romance with Ethel's press attache(O'Connor), who happens to have similar talents. In the happy ending, although Ethel is recalled to Washington for encouraging the O'Connor:Vera-Ellen romance, Cosmo conveniently is appointed ambassador to the US, after defeating the loan offer in his very brief role as prime minister.Princess Maria accompanies Cosmo on the ship over, having decided to renounce her claim to the throne in favor of a marriage with O'Connor's character and perhaps a show business career.

Billy De Wolfe has the thankless, if prominent, role of the arrogant embassy chief of protocol in Lichtenburg, who thinks Ethel should be just a figurehead, with himself wielding actual embassy power. The title of the film comes from Ethel's imperative that he address her as Madam, as part of her counterattack. I wonder if the fact that Billy has more than a passing physical resemblance to Thomas Dewey was purely coincidental, with Truman periodically on the phone with Ethel?... Several of the leading actors in the Lichtenburg government were native to that region. This includes Walter Slezak, who makes a play for Ethel, but is quickly rejected.