BY THE LIGHT OF THE SILVERY MOON (Warner Bros. 1951) Warner Home Video

David Butler’s By The Light of the Silvery Moon (1953) is a cordial wrap-up and sequel of sorts to Roy Del Ruth’s On Moonlight Bay (1951), as it marked Doris Day’s final association with Gordon MacRae. The two had made 5 movies together. Ever a definitive example of style and song triumphing over substance – the movie, once again cribbing from Booth Tarkington’s Penrod Stories, is an effervescent concoction of musical vignettes, skillfully strung together in Irving Elinson and Robert O’Brien’s adroit and often humorous screenplay. By now, Doris Day had proven she could act with practically anyone and be a hit. Indeed, in this same year Day would have one of her biggest hits with Calamity Jane (1953) and, in just 3-short-years, prove she could do without singing ‘mostly’ and perform better than most dramatic actresses of her vintage in Hitchcock’s remake of The Man Who Knew Too Much. Shameless, I know, but it is impossible for this reviewer to remain unbiased when reviewing any movie in which Day appeared. Whatever the material, however rudimentary the script, Day could always be counted upon to rise above it all, belt out a few tunes with her inimitable warmth, and carry – not only the picture – but also ‘the day’ with her most ardent fans.

Plot wise: Will Sherman (Gordon MacRae) returns from WWI. But his hasty pre-war proposal to Marjorie Winfield (Doris Day) is not nearly as close to his heart as it once was – all the worse for Marjorie who cannot wait for Will’s return; a chronic source of consternation for Marjorie’s father, George (Leon Ames). Loosely based on Tarkington’s Penrod stories, the subplots are varied and largely forgettable, including one involving actresses, who want to rent the Winfield’s barn, but who take on a spurious coloring when Marjorie’s younger brother, Wesley (Billy Gray) thinks the eldest is romantically after their father. Again, plot is not as essential as the characterizations and settings. Wisely recalling the importance of their supporting cast; Mary Wickes returns as the irrepressible maid, Stella. Rosemary DeCamp, as Mother Winfield, is the ideal foil for her blustering husband…and Gordon MacRae – given a more intensive stint as a dancer, proves that although he is no Gene Kelly, he was amiable enough and remarkably light on his feet. For the rest, Day and MacRae flesh out the story with another bumper crop of Tin Pan Alley standards; the melodic, I’ll Forget You,’ playfully coy, Be My Little Bumble Bee and spirited Ain’t We Got Fun.

Warner Home Video’s DVD exhibits a fine Technicolor transfer. Colors, for the most part, are bold vibrant and true to their original spectrum. Flesh tones lean heavily to pasty pink. levels are nicely realized. Blacks are deep and solid. Whites, generally clean – though occasionally adopting a slight bluish tint. Technicolor misregistration occurs sporadically throughout. The audio Dolby Digital 1.0 mono – adequate, though just.  Short subjects are the only extra feature. By the Light of the Silvery Moon  truly was the end of an era in musicals at Warner Bros. No longer could the studio afford to make the intimate ‘disposable’ movie musical in the fifties – fast becoming a decade of extremes and ‘bigger than life’ spectacles. On the cusp of these changing times, Day would prove she could segue from one generation to the next – and even, the next and then some, becoming a beloved treasure and hold-over from Hollywood’s ancient dream factories. We sincerely miss Doris Day, and even more sincerely hope she is somewhere ‘up there’ warbling tunes of glory to the angels, on whose wings her voice here on earth brought a wholesome joy to the masses.

FILM RATING (out of 5 - 5 being the best)

3

VIDEO/AUDIO

3

EXTRAS

1