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Highly fictionalized and threadbare on plot, Till the Clouds Roll By still features plenty of charms if you can make it through the framing device that houses them. While the narrative tissue connecting one musical sequence to another is hopelessly dull, the musical numbers by and large are enchanting. Plus, it offers up a chance to listen to some of Jerome Kern’s greatest hits sung by some of the greatest musical stars of all time.
While the film is questionably about Kern’s life, little is learned about the man, his process, the impact of his songs or his enduring legacy. As played by Robert Walker, he’s a dignified and saintly composer who churns out one brilliant piece of writing after another with little effort. So the film is useless as drama, but at least, intermittently, it works as a lovely musical tribute to one of the greatest composers of musical theater and popular songs, ever.
The first great sequence is the opening, heavily abridged version of Show Boat. It zips through several songs, and while I find Kathyrn Grayson’s trill to be a little annoying and shrill at times, the rest of the players give it a spark and energy missing from the following dramatic passages. Of particular note in this segment are Virginia O’Brien’s deadpan version of “Life Upon the Wicked Stage” and Lena Horne’s moving, yearning and seductive “Can’t Help Lovin’ Dat Man.” In a more just and fair cinematic universe, Horne would have been given the chance to essay the role of Julie in the 1951 film version. It seems like the part and her talents would have been a perfect marriage of actor and material, and her delivery of “Can’t Help Lovin’ Dat Man” could have been the showstopper. But, alas, it wasn’t meant to be.
“How’d You Like to Spoon With Me?” is a cute little number involving swings and Angela Lansbury, whose voice is a bit of an acquired taste, in full on cockney showgirl swagger. There’s not much meat to it, but it’s charming in a quaint way. June Allyson’s “Cleopatterer” plays into her strengths as a sweet, wholesome, girl-next-door with more charm, pluck and energy than anyone else on the MGM lot. Dinah Shore’s “The Last Time I Saw Paris” is notable if only to hear her lovely voice wrap itself around the wistful lyrics.
And the ending medley, which sees six or seven songs performed first by an ensemble then by individual performers, is a smooth bit of filmmaking. No surprise that it was done by George Sidney, his work in Pal Joey and Anchors Aweigh prove that he can stage a memorable musical sequence. Highlights include Virginia O’Brien's (again) snarky “A Fine Romance,” Lena Horne (again) singing “Why Was I Born?” and Frank Sinatra standing still and belting out “Ol’ Man River.”
Arguably the best sequence is when Judy Garland shows up onscreen and the whole affair is taken over by Vincente Minnelli. Minnelli, along with Stanley Donen, is without a doubt one of the greatest musical directors of all time. He brings a real energy and eye for unique details and compositions to the film that the rest of it sorely lacks. Even the best sequences could have been improved tenfold if he had been allowed to take charge of them. The best part of this segment is definitely the plaintive “Look for the Silver Lining.” “Silver Lining” sees Garland playing one of the grand dames of musical theater at the time, it’s a perfect bit of casting, and focuses in on washing dishes. It doesn’t sound that enthralling on paper, but Garland was a rare talent who could make the most mundane of actions feel alive onscreen. The combination of the melancholic lyric and her standing still, focusing in on her repetitive task give the whole song a somber tone that is quite beautiful.
Till the Clouds Roll By is no great classic, but it is a charming production. At two hours and fifteen minutes it could feel like a chore to get through since the dramatic moments are so insipid, but they’re mercifully short, as if the filmmakers knew the greatest asset and strength of the film was in the musical performers and the songs themselves. It’s a smart move to usher from one to the next fairly quickly, even if the film does leave us wanting more after it’s all said and done. But when this many great songs are being performed for us, it seems forgivable that the presentation is less than stellar.
