Friday, August 10, 2018

June Allyson's Top 4 Performances

June Allyson was one of the most popular stars in her day, a husky-voiced, adorable girl next door as famous for her magnificent crying scenes as she was for a sunny, infectious smile. She had a scrappy quality that lent her bubbly onscreen persona an edge of rebelliousness and determined ambition. Very pretty, but not stunningly beautiful, small in stature, Allyson could play much younger than she was, but she especially excelled in roles that called for a hard edge around her essential sweetness. Here are her four finest performances:

4. Connie Lane in Good News (1947)
Good News is widely regarded as the best of the so-called 'college musicals,' and it's a showcase for the qualities that made Allyson so popular. She plays Connie Lane, a librarian and French tutor hired by football star Tommy (Peter Lawford), who hopes learning the langue de l'amour will get him in chilly new girl, Pat's (Patricia Marshall) good graces. The dance numbers are wildly dated - a number called "Pass the Peace Pipe" is particularly spectacular - but robustly athletic and infectiously cheery. Allyson's lack of pretension serves her in good stead as a young woman who's had to earn her own way and only gradually, as he matures, comes to see Tommy as a potential boyfriend. Allyson and Lawford were repeatedly paired and their relationship's growth comes across as sweet and wholesome, a partnership of two people who respect each other, rather than the power coupling that Tommy originally pursues.

3. Dr. Emily Barringer in The Girl in White (1952)
In my review of this film, I praised it for its "emotionally calibrated dissection of the barriers women doctors faced" in the 19th century, and indeed, although The Girl in White is decidedly short on the sorts of anthem-creating, triumphal moments contemporary feminism tends to glorify, it offers a surprisingly nuanced and sympathetic depiction of what it meant for women to enter the medical profession. Allyson's performance as a young woman determined to become a doctor, come hell, high water, or haughty men doctors, is spunky, steely, but also soft and romantic. Instead of imitating the male doctors, Allyson's Dr. Barringer takes a different, yes, feminine approach - and in the process shows her colleagues a thing or two. The strongest scenes in the picture feature Allyson sparring not with the obnoxious doctors who won't give her the time of day, but with the one (Arthur Kennedy) who encourages her to pursue medicine until he decides to propose.

2. Leslie Odell in Her Highness and the Bellboy (1945)
Allyson is especially heartbreaking in a role that, played by the average Hollywood ingenue, could have proved disastrously maudlin, but not with her, not least of all because Allyson knew something about this character's misery: Leslie has lost her ability to walk after an accident, while Allyson nearly suffered the same fate after being crushed by a branch when she was a child. Leslie, confined to her room, takes comfort in the sweet attentions of Jimmy (Robert Walker), but realizes she may very well lose him when he becomes infatuated with a princess (Hedy Lamarr) staying at the hotel where he works. This romantically melancholic film is more occupied with dreams and fantasies of love than with letting the characters fulfill those dreams. Thus, despite its decadent romantic aesthetic, Her Highness and the Bellboy is less a fairy tale than an interrupted dream of a film.

1. Jo March in Little Women (1949)
Although Allyson was most often cast as the lovely girl that the guy has to learn to love, in contrast to a flashier, more glamorous rival, this type-casting often resulted in her characters ending up in relationships that were more accepting of personality differences and that left room for them to pursue professional goals. Allyson is my favorite Jo March, in part because her performance is so staunchly unsentimental and so grounded in the character's development as a writer. In this version, her refusal of Laurie (Peter Lawford, again, looking decades too old for the part) rings true because her Jo is so constantly, insistently unromantic and for once, one believes her when she says she prefers romance to "be confined to the page." The common line on this version is that it's the most romanticized and politically regressive, but as Jo, Allyson is far less affected and theatrical than Katharine Hepburn and not at all tremulously dreamy like Winona Ryder.

Though she doesn't have a cultish following like Grace Kelly, Elizabeth Taylor or Marilyn Monroe, and she doesn't have a die-hard, devoted fanbase like Esther Williams (though why, I will never understand) or Carole Lombard, and none of her films tend to be regarded as masterpieces, June Allyson deserves to be better remembered and recognized. She exuded rays of sunshine from every pore, that is, when a storm of tears wasn't clouding her over, and we could all use more sunshine these days.

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