If films are evaluated primarily as entertainment, then none can surpass the ability of Classic Hollywood to transport viewers away from their daily worries and into a realm of wonderment. One such cinematic gem is the 1944 musical comedy, Bathing Beauty, directed by George Sidney. This immensely popular film not only turned Esther Williams into one of the biggest stars of her era but also played a pivotal role in establishing synchronised swimming as a recognised sport.
The plot revolves around songwriter Steve Elliott (played by Red Skelton), who is about to marry his fiancée, Caroline Brooks (played by Esther Williams), a swimming instructor at Victoria College in New Jersey. However, Broadway producer Steve Adams (played by Basil Rathbone), fearing that Steve will cease to write songs, hires aspiring actress Maria Dorango (played by Jacqueline Dalya) to pretend to be Steve’s wife and the mother of three children, with the intention of ruining his marriage to Caroline. The ruse succeeds, and Caroline leaves Steve, returning to her job at the college. Determined to win her back, Steve decides to enrol at the women-only college, taking advantage of a loophole that permits him to do so despite being male. Chaos ensues on campus as Caroline seeks to have him expelled.
Bathing Beauty exemplifies the formula for successful entertainment, with its elaborate sets, vibrant colours, popular music, beautiful women in revealing attire or bathing suits, a touch of romance, and plenty of slapstick humour. Originally intended as a “pure” comedy starring Red Skelton, the film ultimately became a vehicle for Esther Williams’ stardom, thanks to her remarkable athletic abilities and captivating underwater choreography, showcased in two memorable scenes: her solo performance at the pool and the closing number, a true testament to Hollywood spectacle.
Between these two numbers, the film features a variety of musical performances, including appearances by renowned musicians and their big bands, such as trumpeter Harry James and Xavier Cugat, the band leader famous for drawing cartoons of himself during performances. Many of these musical segments reflect the growing popularity of Latin American music in the United States during this period, which served as a welcome distraction from the ongoing Second World War.
Interestingly, the production’s creative process was somewhat inverted, with dance and song numbers devised first, followed by the development of the plot and characters. Nevertheless, this approach worked wonders, largely due to the skilful direction of George Sidney, who would later gain recognition for his work on MGM musicals. Some of the comedy segments are particularly standout, such as the hilarious ballet lesson sequence.
While the film primarily rests on the shoulders of Esther Williams and Red Skelton, the supporting cast occasionally appears underutilised, particularly veteran actor Basil Rathbone in an under-written villainous role. In contrast, Jean Porter shines as a college student in a musical number with Skelton.
In conclusion, Bathing Beauty is a splendid film that continues to transport viewers into the magical world of Classic Hollywood, just as it did for audiences eight decades ago, providing an escape from everyday troubles and a celebration of the wonders of the silver screen.
RATING: 8/10 (+++)
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