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The Strawberry Blonde is a 1941 American romantic comedy movie directed via Raoul Walsh, starring James Cagney and Olivia de Havilland, and presenting Rita Hayworth, Alan Hale, Jack Carson, and George Tobias.
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Set in New York City around 1900, it features songs of that era inclusive of “The Band Played On”, “Bill Bailey”, “Meet Me in St. Louis, Louie”, “Wait Till The Sun Shines Nellie”, and “Love Me and the World Is Mine”. It become nominated for an Academy Award in 1941 for Best Scoring of a Musical Picture. The identify is most usually indexed starting with the phrase The (because it seems inside the establishing credit), however the movie’s posters and promotional materials called it actually Strawberry Blonde.

The movie changed into a greater lighthearted remake of the 1933 non-musical movie One Sunday Afternoon, directed via Stephen Roberts and starring Gary Cooper. Unlike that earlier picture, it was a hit. In 1948, Walsh directed a third version of the story, also known as One Sunday Afternoon, proposing early twentieth-century songs mixed with original musical numbers.

The movie runs as a long flashback in the 1890’s in New York City and establishing with Biff Grimes (James Cagney) as an unsuccessful dentist on a Sunday with out work. Hugo Barnstead (Jack Carson), an vintage associate, nemesis and rival makes a determined appointment to see him. As Biff considers killing Hugo when he offers him nitrous oxide, the flashback starts offevolved.

Biff falls in love with strawberry-blonde society woman Virginia Brush (Rita Hayworth). However, Biff’s greater enterprising “pal”, Hugo, wins Virginia’s affections. Biff finally ends up marrying Virginia’s less-glamorous exceptional friend, Amy Lind (Olivia de Havilland), who Biff finally realizes turned into the right one for him all along.

Both the director of Strawberry Blonde, Raoul Walsh, and its star James Cagney got here to the assignment searching out a change of pace.[2] Walsh had simply finished the dark Humphrey Bogart/Ida Lupino vehicle High Sierra, shot in large part on vicinity, and the good notices the film obtained had Walsh “as fired up as Jack Warner to maintain the ball rolling on initiatives in improvement and production.”[3] The transition between the outdoorsy film noir and the light and sentimental studio-targeted Strawberry Blonde “proved no problem” for Walsh.[3]

Cagney normally played hard guys at Warner Bros. Within the early 1930s, but he had shown his abilties at lighter, musical fabric in films like Footlight Parade (1933)[4] He left the studio in mid-decade, then lower back in 1938 with a settlement that gave him greater control in deciding on roles and brought his younger brother William Cagney as assistant manufacturer and informal buffer among himself and studio executives.[5] However, Cagney soon located himself getting slotted into hard man elements. And by using 1940, he “wanted a nostalgic element—any component—to take him faraway from the gangsters he became now loathe [sic] to play.”[6]

A property at the lot that could fill that invoice turned into One Sunday Afternoon. It had started out early in 1933 as a a hit Broadway play with the aid of James Hagan[7] and were tailored later that 12 months by means of Paramount as a car for Gary Cooper. It became “the only actual flop of Cooper’s stellar and carefully orchestrated career”[8]—and the best Cooper photo ever to lose cash. James Cagney had qualms about it because it’d be a remake,[6] and Jack Warner knew it wished “entire retooling.”[8] It turned into a “pet challenge” of William Cagney, who noticed it as a “present to [the brothers’] mom, Carrie Cagney, who might stay just a few greater years”,[8] and Warner identified the inside song this leverage would provide him along with his regularly recalcitrant megastar. Warner screened the 1933 movie and wrote a memo to his manufacturing head Hal B. Wallis telling him to watch it additionally: “It can be difficult to live thru the complete walking of the image, but do that so that you will recognize what no longer to do.”[8]

Wallis knew the trick became to tailor the script as a vehicle for Cagney, who had yet to commit either to the task or even to his brother. Wallis had a first draft of a screenplay executed via Stephen Morehouse Avery that happy nobody;[9] he called in the Epstein brothers, Julius and Phillip, for some other vision—one that would hook Cagney into the assignment. The brothers and William all concurred that the first issue to do turned into move things from the play’s midwest placing to New York City due to the fact “all of them knew it so much higher.”[6] Said Julius: “We notion the motive [the Cooper film] misplaced money changed into it changed into too bucolic. It happened in a little us of a town. We stated ‘Change it to the big metropolis. Put it in New York.'”[10] The Epstein version quick took form, aided by way of the objective of creating it a Cagney photograph. “When we went at the rewrite,” Julius stated, “we knew it was for Cagney. That become a help.”[10]

Cagney nevertheless become reluctant. Wallis was getting impatient; he taken into consideration the rising John Garfield for the function of Biff Grimes. By July 1940, situation about the deadlock stretched all of the manner to New York, where Harry Warner cabled brother Jack that he was willing to present Cagney 10% of the gross,[6] after which Cagney started to budge. One difficulty turned into that he did not need to play scenes with the much-taller Jack Carson; he might select the shorter Brian Donlevy or the shorter-nevertheless Lloyd Nolan. The distinction was that Nolan commanded $2,000 in step with week and that Carson got $750 according to week.[6] Despite Cagney’s misgivings, Carson changed into solid as Hugo Barnstead.

More difficult became the casting of the Virginia Brush role, which became at the start created for Ann Sheridan, the studio’s “Oomph Girl”.[11] Sheridan turned into in one in all her contract disputes with the studio and refused to do the film. Jack Warner asked Walsh to talk Sheridan into it, but she nevertheless refused.[6] Wallis examined actress Brenda Marshall for the element, but Walsh spoke up approximately “a lady” he had seen in several Columbia pics: younger Rita Hayworth. “He notion she turned into best for the component, and after she became signed without a hitch, from then on he constantly stated Hayworth as his ‘locate’ (no matter [the splash she had made in] Only Angels Have Wings launched in 1939).”[6]

Hayworth received $450 according to week for the film and began work straight away with make-up man Perc Westmore to locate the look for the title man or woman in what might soon be retitled Strawberry Blonde. After shooting check photos and plenty of stills of his makeup experiments, Westmore memoed Wallis: “Her head is so large and he or she has so much hair that it’s going to nearly be impossible to place a wig on her. Whatever shade making a decision on, she could be happy to have it made that color. Then at the end of the image, we will dye it again to its herbal color.”[12] This movie marked the first time Hayworth changed into visible as a redhead and the simplest time that audiences heard her real singing voice.[12]

The taking pictures of Strawberry Blonde started on October 21, 1940. Wallis and Walsh quick got here to troubles. The producer notion his director become coming in too close at the actors, that the close-u.S.A.Decreased the nostalgia by means of obscuring the duration backgrounds. Wallis’s October 29, 1940 memo chided “You have a lot possibility in this picture for surroundings and composition…And I hate like hell to look them move by using with out complete gain being taken of what we have.”[12] (Several months later, with Michael Curtiz on Yankee Doodle Dandy, Wallis’s proceedings could be simply the opposite: “Mike, get the tale from the actors’ faces, instead of going all over the region.”)[13] Walsh in reality had “memorized the entire script and had worked out each digicam attitude and move—a visual map of simply how he might shoot.”[13] As the pictures endured to glide, the memos slowed, then stopped.

Olivia de Havilland had no idea of the friction between the two, no problem with the closeups, and she debunked Walsh’s popularity as a hard guy. “I cherished operating with Raoul. He seemed to recognize flawlessly the characters we were playing, and to apprehend, too, the ‘actor’ method to them. It became a satisfied, harmonious set, a glad image to make.”[13] The screenwriters too discovered Walsh an amazing boss. Julius Epstein said he “changed into remarkable. He was very businesslike. He didn’t exchange a phrase on The Strawberry Blonde. Some writers complained approximately Walsh. My enjoy with him changed into superb.”[10]