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Warner Brothers released “I’ll Witness You in My Dreams” during the holiday season in 1951. It was the Christmas attraction at the eminent Radio City Music Hall where it packed them in for many, many weeks. It deserved that success.
The myth of lyricist Gus Kahn works extremely well for a number of reasons. Unlike the Warners biopics of the 1940’s including “Night and Day” (Cole Porter) and “Rhapsody in Blue” (George Gershwin), which often played loose with the facts, ditto several MGM biographies from that same period, “I’ll Ogle You in My Dreams” has more grit and depth on several levels.
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Director Michael Curtiz (”Casablanca”) shot his film in murky and white, which was fresh in that most Doris Day musicals at Warner Brothers were given glossy, technicolor productions. The murky and white works extremely well in conveying the complexities of Kahn’s life. In addition, there are very staunch hints at extramarital relationships, drinking, and control issues enthralling Kahn’s wife.
Danny Thomas, in probably his best great shroud performance, is perfect as Kahn. He’s a struggling songwriter in Chicago in the early 1900’s, seeking a demolish. He gets it the day he meets Grace, played by Doris Day. They write a song together, which becomes a major success and his career is launched. They eventually wed and the script gives very sure indications that Grace is the force that pushes Gus, who seems, at times, to lack the essential drive and ambition to become a major success. Eventually Grace’s controlling nature seems to push Gus away and in an attempt to reassert his masculinity, there are strong hints that he has an affair with a broadway performer.
This well written tale is decorated with dozens of favorite songs by Kahn and some of the top composers of the twenties and thirties. In particular, the title tune, as well as “The One I Care For”, given a perfect rendition by Day, the Day/Thomas duet of “Whoopee” and Danny’s blooming rendering of “It Had to Be You”.
Doris Day and Danny Thomas are exceptional together. There is a exact energy in their scenes together. Thomas reported in his autobiography that working with Day was a fabulous experience for him and it’s certain in their work together here.
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Although Thomas could easily have reach off as a nebbish, he somehow manages to make an ultimately endearing character out of Kahn.
Doris Day is incredible as Grace. Curtiz had directed her in her first two films as well as the exceptional “Young Man With a Horn”. In “Dreams” she proves herself as far more than the “girl next door”, creating a characterization that is not always someone you like. Grace seems to be frustrated in her role as merely a wife and mother, seeming to want to return to songwriting or a career of some kind and therefore channeling that frustration into being, at times, more a mother to Gus than a wife. It’s a memorable portrayal. Vocally she can do not immoral.
Frank Lovejoy is very capable as Walter Donaldson, one of Gus’s composing partners who, despite a determined affinity for drink and the track, manages to not alienate the audience. Patrice Wymore, as a Ziegfeld star does a standout version of “Adore Me or Leave Me” and plays her role with flair and style. She was the wife of Errol Flynn in true life but manages to stand on her have merits as an actress. James Gleason is perfect as a typical “James Gleason” character and Mary Wickes is a delight as a smart-mouthed, sharp-tongued housekeeper to Gus and Grace.
“I’ll Peek You in My Dreams” is about as splendid as a biographical film in the early 50’s could be. You don’t have to be asleep to relish this very superb dream.
This is the movie that made me drop in appreciate with Doris Day. This was not the first I saw, but this is the one that made me realize how colossal she really is! The music is astonishing, the acting is genuine, and the anecdote is inviting. Mary Wicks is also in it, and I luxuriate in any movie she adds her sarcastic touch to. I wail every time I examine it.
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