DAMN YANKEES: Blu-ray (Warner Bros., 1958) Warner Archive

In 1955, the writing/producing duo of George Abbott and Douglass Wallop launched Damn Yankees – a modern-age Faustian tale based on Wallop’s novel, The Year the Yankees Lost the Pennant, now set to a rambunctious score, and, a runaway smash playing to packed houses for 1,019 performances, with music and lyrics by Richard Adler and Jerry Ross. Given its Broadway ballyhoo, it was inevitable Damn Yankees would eventually reach the screen.  The picture, a pet project of Jack Warner’s, arranged via his sweetheart’s deal with Abbott to include both it and the rights to produce a movie based on The Pajama Game (1957) was lucrative to both parties, although Abbott would have sincere reservations about Warner’s insistent to cast at least one major movie star in each movie to ensure solid cache at the box office. Briefly, Adler and Ross were considered the ‘rising stars’ of musical theater, a teaming to also yield the integrated score for The Pajama Game. Alas, shortly after Damn Yankees triumphant opening, Ross fell ill, succumbing to chronic bronchiectasis, age 29!!! While Abbott reasoned the show would best be served by a singer, producers, Frederick Brisson, Robert E. Griffith and Harold S. Prince opted instead to go with a dancer for the pivotal role of ‘Lola’ – the devil’s disciple. Hence, the part was first offered to Mitzi Gaynor, then Zizi Jeanmaire, both turning it down. Gwen Verdon, who had sung only one song in Cole Porter’s Can-Can (1953) was approached for the role. Alas, even she was not certain Lola was entirely her cup of tea…that is, until she met the show’s choreographer, Bob Fosse. To say the pair got on famously is putting things mildly as Fosse and Verdon soon became ‘an item’ – professionally and personally – marrying in 1960.

For director, Stanley Donen’s 1958 movie incarnation, Jack Warner heavily promoted the casting of Tab Hunter in the pivotal role of the butch ballplayer, Joe Hardy – a part, played on the stage by Stephen Douglass whom Abbott would have much preferred. Alas, Douglass was a virtual ‘nobody’ to movie audiences, while Hunter had steadily built a public reputation as the virile blonde Adonis. Behind closed doors, Hunter was gay – well-known to the artistic community in which he toiled, but virtually closeted to the outside world, thus to ensure girls continued to swoon over his concocted clean-cut, buff bod’ all-American persona – thus, Abbott’s natural aversion to casting him as Joe – a part that required an actor who could convincingly be plied with, and succumbing to, temptations of the female persuasion.  Jack disagreed and Hunter got the part. And in this, despite his own sexual predilections, Tab Hunter proved rather convincing, and, undeniably, just the sort of saleable ‘eye candy’ to promote healthy box office.

Verdon’s casting as Lola – the role she had made famous on Broadway – was a minor coup, as the actress, already on her way to a legendary stage career, was oft overlooked for the movies, despite her superb resources and pleasant enough screen presence. In Damn Yankees, Verdon goes a bit too gaga for our tastes. It is a problematic transformation from her saucier sexpot stage incarnation, mostly at the behest of Hollywood’s censorship. The stagecraft’s Lola warbles some fairly promiscuous lines, virtually all of them sanitized, or completely expunged in the movie. Even Lola’s erotic hip-swivel was kiboshed for this movie. Instead, Verdon seductively pauses at precisely the moment when one anticipates she might hit Joe Hardy with more than a hint of that more obvious ‘come hither’ body language. The film version’s musical program is also shorn of ‘Near to You’, ‘The Game’, and, ‘A Man Doesn't Know’ – all tour de forces for Stephen Douglass’s Joe on the stage, thus to leave Tab Hunter with a real dearth of musical moments on the screen. Bob Fosse, who returned to choreograph, also appears alongside Verdon in the number, ‘Who’s Got the Pain?’ – an electrifying moment, arguably, never to be rivaled again in this movie, highlighted by Hunter’s immediate acknowledgement, “Great work, Bobby!” Interestingly, although Douglass was not considered ‘cinematic’ enough to reprise his role in the movie, virtually all of the rest of the Broadway cast actually made the transition, including Ray Walston (as Mr. Applegate – the devil), and Jean Stapleton (in her movie debut as Sister Miller).

As pre-production began, producers were faced with a musician’s strike, preventing the orchestral arrangements for the entire score from being recorded. Undaunted, Warner had the cast record their vocals a cappella to an original RCA/Victor Broadway soundtrack, dumping in their own orchestrations in post-production, perfectly looped to the pre-recorded vocals. Aside: that couldn’t have been easy. But these alternate tracks were later recorded by Ray Heindorf in Italy. In one instance, ‘Two Lost Souls’ the slinky duet between Tab Hunter’s Joe and Gwen Verdon's Lola, the on-set chemistry proved so deliciously erotic, the decision was made to retain its freewheeling style.  As with all movie musicals, a modicum of suspension in belief is required to sustain and garner our appreciation, the most obvious ‘overlook’ – Joe (represented as paunchy, middle-age Robert Shafer), reincarnated as a younger man, made unrecognizable to his long-standing wife, Meg (Shannon Bolin). Surely, Mrs. Hardy has not forgotten how the man she is wed to for twenty-five years ‘used’ to look. What? No family photographs to jog the memory?!? One of the distinct disappointments of Damn Yankees – the movie – is its staging of its musical sequences. Virtually all are played ‘dead center’ to the audience ‘out there’ in the dark, much as they would appear in a live show, instead of being integrated with ingeniously created camera movements, complimentary to the storytelling.

The oddity is even more amplified when one considers Stanley Donen, having begun his own career as a Broadway dancer, before morphing into a formidable choreographer, was also a seasoned film director in his own right by the time Damn Yankees went before the cameras. Donen knew better – having proven it countless times on celluloid. Thus, the flatness of the numbers here has led some to speculate George Abbott, who could – and often did – prove a force to be reckoned with on the set, likely staged these himself, although there is nothing ‘official’ to suggest as much. Regardless, the results are very static. What is known for certain is Abbott had his way in directing Tab Hunter’s performance. Evidently, if Abbott could not have Douglass as his Joe, he was going to remake Hunter as his spitting image, frequently denying Hunter any and every opportunity to explore the character on his own terms. Understandably, this did very little for Hunter’s morale, and, in hindsight, at times one can sense Hunter fighting his own conscience and unique flavor for the part, merely to live up to Abbott’s expectations. I’ll stop just short of suggesting Hunter is stilted. But he is not altogether fluid or even convincing at times in the part.

As noted, much of Joe’s musical moments were cut from the movie version, leaving the character of his ever-devoted wife underdeveloped. To compensate, Richard Adler wrote a new song expressly for Shannon Bolin, the eloquent ‘There's Something About an Empty Chair’.  Five more numbers were also given the axe before filming began, including ‘Not Meg’ and ‘The American League’: two numbers that did not make the actual Broadway production, but were a part of the score during Damn Yankees out-of-town tryouts. While one may argue pro or con for the movie vs. its stagecraft, in retrospect most of the subtler changes made to Damn Yankees did not negatively impact the storytelling, although, on the flipside, they did little to improve it either. And while Verdon’s performance remains, undeniably, the ‘standout’ – full of zest and lusty temptations aplenty – the rest of the show squarely rested on Tab Hunter’s shoulders as the guy for whom we are meant to give a cheer. Hunter is okay, in a jejune and nondescript way, but utterly colorless when compared to Verdon’s Lola or Ray Walston’s wily satanic puppet master, Mr. Applegate. Damn Yankees is really their show, with Hunter’s tepid stud otherwise, undistinguished among the cast. The movie has Abbott’s inimitable touch of class and imagination to recommend it, and Stanley Donen’s unobtrusive directorial ‘style’ that, occasionally is pleasant, but on the whole, never let loose in all its adroit flourish. Instead, much here plays as though it were a photographed document of the stagecraft. Even Harold Lipstein’s cinematography seems hermetically sealed as a time capsule homage; ditto for William and Jean Eckart’s production design. The other shortcoming, ironically, is the score. Musicals are oft judged by the hummable nature of their songs. Damn Yankees has some fine tunes. Alas, none stick in our head or the heart for very long once the footlights have come up.

Our story begins with Joe Boyd (Robert Schafer), a middle-aged fan of the Washington Senators. His obsession with the team, and its failure to get on a winning streak, has driven Joe’s wife, Meg to wild distraction. After all, there is more to life than sports – yes? After yet another crippling loss, Joe recklessly proclaims he would sell his very soul to the devil to see his team beat the Yankees. Be careful for what you wish for, pal. As the devil suddenly appears in the guise of suave conman, Mr. Applegate who promises first, to restore Joe's youth, and also make him a ballplayer, guaranteed to wins the Senators’ the pennant. Joe agrees on one condition – he has an escape clause factored in. Applegate wholeheartedly concurs. Joe can back out of their arrangement at any moment leading up to the last game of the season. After that, Joe’s soul belongs to Applegate for all eternity. Joe trades in the life he knew for a chance at immortality. Alas, upon joining the team for practice, he realizes how utterly hopeless they are to even make a valiant stab at the pennant. Manager, Ben Van Buren (Russ Brown), gives the team a pep talk, interrupted by Applegate, posing as a scout with Joe in tow. Afforded the super-human ability of a seasoned pro ballplayer, Joe impresses both Van Buren and sportswriter, Gloria Thorpe.

The season commences, and Joe leads with one tremendous feat after the next. Fame doesn’t go to Joe’s head, however, and, in the interim between games he misses Meg terribly. Realizing Joe might easily forsake their arrangement to return to his wife, Applegate summons his demonic right-hand, Lola, a seductress who traded her hideous looks to Applegate for eternal youth and beauty. Now, Applegate sets Lola to land Joe. Alas, the scheming pair quickly discover Joe’s loyalty to Meg is unbreakable. Outraged, Applegate banishes Lola. As the season nears its end, the Senators are poised for victory…that is, until Applegate intervenes, hinting to Gloria, Joe is actually a corrupt minor leaguer playing under a pseudonym. Ordered to appear before the baseball commissioner on the eve he otherwise would have bowed out of his deal with Applegate, Joe is backed by Meg and her friends, all of whom attest to knowing Joe when he was living in Hannibal, Missouri. Acquitted of fraud, Joe is too late now to back out of his contract with Applegate. Only Lola takes pity on Joe, drugging Applegate so he will sleep through the last game of the season. Awakening midway through the game, an outraged Applegate transforms Lola back into an old hag. Determined the Senators should lose, Applegate turns Hardy back into a middle-aged Boyd. But Joe’s passion for baseball prevails. He catches a long drive by Mickey Mantle, thereby securing the pennant for Washington. Unable to spot Joe in the crowd, he withdraws to the home he once shared with Meg. She tearfully welcomes him back. Applegate has lost and he knows it. Unable to convince Joe to become young again in time for the World Series, even with Lola – young and sexy once more, flaunting her charms – Applegate withdraws in a frenzied huff.

Damn Yankees certainly has its moments. Regrettably, they never quite come together as they should. Shortly after its premiere, the divine Ms. Verdon effectively retired from the screen. In point of fact, her stardom was never assured in the movies, despite some fairly solid support, a killer smile and acting chops to illustrate what a sensation she truly might have become had even one of the moguls of yore sat up to take notice. Reverting to her first love – the stage – Verdon went on to win numerous Tony’s. She continued to work with her husband, Bob Fosse, their most memorable outing together, 1966’s Sweet Charity. Alas, when it came time to make the movie version three short years later, Verdon was again passed over for the role she had made iconic on Broadway, though Fosse was invited to direct it with Shirley MacLaine in the lead. The Verdon/Fosse connection would begin to crumble shortly thereafter. And although estranged, partly due to Fosse’s sybarite sex life, Verdon would continue to aid the visionary choreographer in his work, staging the dances for 1975’s Chicago, and Fosse's semi-autobiographical return to pictures, All That Jazz (1979) with Fosse's latest ‘partner’, dancer Ann Reinking coached by Verdon to give a very Verdon-esque performance in the picture. In her later years, Verdon made her TV debut on the popular daytime soap, All My Children in 1970, and thereafter divided her time in minor, but steady work, both in movies and on other television shows. Tragically, Damn Yankees provides us with the only real/reel opportunity to experience the full faculties of Gwen Verdon’s inimitable, razor-back charm; a gentle, sweet lady in life who knew how to turn up the heat as a raucous sexpot on the screen.

Damn Yankees debut on Blu-ray via the Warner Archive (WAC) is a definite improvement, sure to thrill fans who have had to contend with the tired old DVD transfer from 2002. Is it perfect or even up to WAC’s usual high standards? Well…not exactly. The original elements used for a new 4K scan here look slightly dated. Although Technicolor (not 3-strip), what is most evident upon a first viewing is the slightly faded quality of everything. Could it have been better? Arguably, yes – with a full-blown, multi-million-dollar restoration to painstakingly restore the color frame by frame. Has WAC neglected their duties on this long-awaited deep catalog title? Hardly. The new scan yields a level of clarity and overall fidelity to the image that the aforementioned DVD could only guess at with lush grain levels perfectly preserved. And while it is rather obvious more could have been done, it is nevertheless certain, much that needed to be done, has been done, and the results are on display here for the asking. The warmer color palette is impressive at times, and contrast is excellent – ditto for fine details. Age-related artifacts? Gone.

The 2.0 RCA mono sounds magnificent too. No complaints. None at all, although some will poo-poo the fact the original soundtrack album was, in fact, recorded in true stereo, dumbed down to mono for the movie release. Odd choices being made then – more of the cost-cutting than artistic ilk. I suppose Warner could have offered us a ‘blended’ stereo alternative mix to the mono for this Blu-ray release, as they have done on other titles. But it is important to note, unlike some of the other vintage musical Blu-ray releases, for which the work to integrate original stereo stems into a mono feature was performed decades earlier, in some cases, for Laserdisc, Damn Yankees was never afforded such consideration in the past. And, as WAC’s mantra today has always been to put their best feet forward on stunning new hi-def scans, the audio considerations are being maintained as they were, rather than re-invented for a whole new generation. No complaints, folks. And none suggested herein. WAC is doing its best work as usual! Extras are limited to two 2 theatrical trailers, one for the US release, the other for the UK release, where the movie was rechristened ‘What Lola Wants’. Bottom line: while Damn Yankees looks a tad worse for the wear than some of the other curated classics in the musical mélange that have since come to light via WAC on Blu, it certainly is no slouch in 1080p. Good stuff, here. Just not as refined, visually and comparatively, as some of the others. Enough said. Don’t think. Just buy it, and be very glad that you did!  

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

3

VIDEO/AUDIO

4

EXTRAS

0