Yankee Doodle Dandy (1942)

Written by Robert Buckner & Edmund Joseph

Directed by Michael Curtiz

1998 List Ranking: 100

2007 List Ranking: 98

Quick: Think of different patriotic songs you know that aren’t “The Star-Spangled Banner”. What did you think of? “You’re a Grand Old Flag”? “Over There”? Or, even “(I’m a) Yankee Doodle Dandy”? If you did, then you thought of the works of George M. Cohan, the subject of Yankee Doodle Dandy, the first biopic of this list. It’s an entertaining film, but one that also doesn’t leave a very lasting impression.

George M. Cohan, ever the patriot, played by James Cagney

Yankee Doodle Dandy follows the life of George M. Cohan, often considered the father of the American musical comedy and, in his lifetime, as “the man who owned Broadway”. The film depicts his birth into a show-business family, his somewhat-turbulent rise to fame, and his successes (and rare failures) without his family’s act. Along the way, the audience is continually shown that Cohan is something of an uber-patriotic genius, finding success in nearly everything he does.

Perhaps that’s part of the problem with this film: as entertaining as it is, nothing really HAPPENS. Or, rather, nothing really bad happens. Every thing that could start to pose a problem for our hero is instantly resolved by good luck or Cohan’s brilliance. The film just spends its time glorifying Cohan without ever generating any real drama. I get that, perhaps, maybe Cohan just led a charmed life, but is that an interesting story to put on film? The closest the film gets to drama is the death of his father, but it happens late in the film, when Cohan himself was older, so it’s not…unexpected? Like…yeah, dude, he probably wasn’t going to make it much longer anyway (yes, I know, not that it isn’t sad regardless, but it’s not like some interesting circumstance. It’s…literally what happens to us).

Cagney as Cohan

As Cohan, James Cagney gives a fine performance, full of energy and gusto, playing Cohan with an ever-present impish grin and a gleam in his eye. This is my first time seeing a Cagney performance, and I find it very interesting that this film seems to be a departure for him; before this, Cagney was typecast as tough guys in crime films. I can only imagine the reaction of seeing this tough guy break out into song and dance…I imagine it was like the first time we all saw Hugh Jackman, famous as Wolverine, do the same.

The Four Cohans

As has been the case, this film is clearly a star-vehicle for one actor, and the other roles are not given as much consideration. There are good performances, but like the rest of the film, they don’t really leave an impact. Less than 24 hours after watching the film, I struggle to recall who certain people were or why they were important; I’m exaggerating a bit, but not by much. There is also a chemistry problem: none of these people should like Cohan, who, despite being given a great performance by Cagney, is exhausting in his righteousness and utter conviction of his own brilliance.

Joan Leslie and James Cagney

One major example of this is the scene in which Cohan lovingly shares a piano duet with his soon-to-be-wife Mary. He’s written her a song (a very sweet song, actually), and after playing it to her, she begins to sing it from memory. He sits next to her, reminding her of the beginning of various lines, and the whole time it just feels…wooden. There is zero chemistry between these two, so much so that I never once believed in their relationship. Add to this that Mary’s characterization is all over the place: she starts off wanting to be a performer and is an eager go-getter, then she’s content to just fawn over Cohan and stay at home while he works, and then later is scolding him to get back into the business. She’s swinging wildly between these whatever-is-convenient plot motivations, but I pin that on the writing, not on Joan Leslie, who gives a very sweet performance.

That plot point about the song is also another great example of this film’s lack of drama. Cohan writes the song for his wife. Then, he has to convince an actress to star in his next show. Plot happens, and he has to agree to let her sing that song in the show. He goes home to tell his wife the bad news…and she basically says “I know!” and moves on with her life. Supportive and understanding and realistic? Yes. Is that what I go to the movies for? NO. I fully recognize my hypocrisy in wanting some sort of dramatic scene to emerge from this when I know, had it happened, I would have derided the film for being predictable. There’s no logic in that, but it’s my review, so whatever.

In short, I found myself more entertained than not, but the lack of anything of significance happening just made the film feel like an overly-long worshiping session for a man who was, admittedly, a genius. I’d love to see this story retold with a bit more of a warts-and-all feel to it, or, even better, to examine just why George M. Cohan holds the vaunted place he does in theater history.

FINAL GRADE: B-