WHAT: Yankee Doodle Dandy (1942, DCP)
WHEN: June 11, 2025 1 PM & 7 PM
WHERE: Pickwick Theatre, Park Ridge, IL
WHAT ELSE: Radio Host Steve Darnall of “Those Were the Days” (90.9 FM) will be our guest in the lobby starting at 6 PM.
Pre-show organ music by Jake McDonagh at 6:30 PM. Plus, a Warner Bros. cartoon.
HOW MUCH: $12/$10 advance or $10 for the 1 PM matinee.
Advance Tickets: Click Here and select date and time (7 PM).
George M. Cohan: I wouldn’t worry about this country, if I were you. We got this thing licked. Where else in the world can a plain guy like me come in and talk things over with the head man?
The President: That’s about as good a definition of America that I ever heard.
There are several reasons to be patriotic now. This screening follows Memorial Day, and Flag Day is June 14. We are also honoring the U.S. Army’s 250th anniversary on that same day. And, of course, the Fourth of July is just around the corner. But patriotism these days is often distorted into an aggressive nationalism that pushes political agendas and slogans and is far removed from the values of those who had served this country generations before. But if there was ever a film to unite us and remind us of the values and aspirations this democracy is built on, it’s Yankee Doodle Dandy (1942)– the quintessential July 4th movie starring James Cagney as Broadway legend, George M. Cohan. We’ll be screening this definitive slice of Americana on June 11, 2025. Steve Darnall, host of radio’s “Those Were the Days” (Saturdays 1-5 PM on 90.9 FM) will say a few words about this very special motion picture at 7 PM. He will also be in the lobby at 6 PM with copies of his Nostalgia Digest available for purchase.
George M. Cohan was one of the legendary names of the musical theatre. In fact, he was known as “The Man Who Owned Broadway.” He first made a name for himself performing with his parents and sister in vaudeville. It was said that he learned to play the violin by the age of 5. They were “The Four Cohans.” Eventually, George went on a solo career, although he maintained his ties with his family. He was multi-talented; he acted, sang and danced. He wrote his material and produced many of the plays he appeared in. Some of the more famous of the 300 songs he published in his lifetime include “The Yankee Doodle Boy,” “Give My Regards to Broadway,” “You’re a Grand Old Flag,” and “Over There.” (All of which would be heard in Yankee Doodle Dandy.) He was known for a “flag-waving” style that became typical of his work, but it was a style that struck a cultural nerve.
Being the showman that he was, Cohan had the idea of telling his story on film as a sort of lasting tribute. He took his life story to producer Sam Goldwyn with the idea of Fred Astaire starring. Astaire, however, passed on the proposal mainly because his more fluid dancing was at odds with the stiff-legged style of Cohan. As a result, Goldwyn rejected the project as well. Jack Warner of Warner Bros. was interested, however, and suggested their own film version of Cohan’s life with James Cagney in the lead. Cohan was initially hesitant about Cagney’s casting.
James Cagney had recently faced accusations of being a Communist by the Martin Dies Committee, which was a forerunner of the House on Un-American Activities Committee (HUAC). Although Cagney had given to liberal organizations and charitable causes at a time when most Americans supported President Franklin D. Roosevelt, there was absolutely no truth to the allegation of him being a member of the Communist Party. Nevertheless, Cagney’s businessman/producer brother, William Cagney, thought it might be a good idea for his brother to star in something patriotic. There was nothing more so than the life story of George M. Cohan– a man who claimed to have been born on the Fourth of July!
With the proviso that Cohan would have final approval of the film– an unprecedented move for the time– the cinematic version of the Cohan story moved forward. The story was written by Robert Buckner with Edmund Joseph contributing to the screenplay. Buckner had worked on several Warner hits, most notably Dodge City (1939) for Errol Flynn. However, James Cagney would bring in Julius and Philip Epstein to work as script doctors. They would add more humor and nuance to Buckner’s story.
At the beginning of World War II, George M. Cohan (James Cagney) comes out of retirement to portray President Roosevelt in the play, I’d Rather Be Right. He is summoned to the White House by the real Roosevelt, who intends to present George with the Congressional Gold Medal. First, though, Cohan recounts his story, which flashes back to the early days of vaudeville when Cohan performed with his parents (Walter Huston, Rosemary DeCamp) and sister (Jeanne Cagney). George eventually goes off on his own to forge a career as a star. With Sam Harris (Richard Whorf), a former playwright turned business partner, George M. Cohan becomes the biggest name in musical theatre. Along in his life’s journey is Mary (Joan Leslie), his partner and inspiration. There are trials as the years go by, such as a failed attempt at serious drama as well as the death of his father, but George carries on, embodying the true spirit of America.
Warner Brothers’ production #387 began on December 3, 1941, and ended on March 12, 1942– 68 days later. The film was directed by Michael Curtiz– perhaps the most accomplished director on the Warner lot. Nevertheless, there would be concerns throughout production that Curtiz was moving too slow. The studio sent memos during shooting insisting that his pace pick up. The film was shot by the legendary James Wong Howe. Throughout Howe’s career, he would be nominated ten times for Best Cinematography, winning twice. One of the more remarkable shots that Howe would accomplish in Yankee Doodle Dandy is a crane shot from the back of a quiet theatre towards Cagney onstage as he works out the melody of “Over There” on a piano.
Five days before James Cagney’s first day on the studio set, Japan struck Pearl Harbor. The cast– those who were scheduled that day– gathered in silence while listening to the news on a small radio. After the impact had settled in, Curtiz said a few words about the endeavor ahead of them and the necessity of telling a great story about America at this time. The film, set in the early days of the 20th century, would parallel events happening in 1941-42. The sinking of the Lusitania at the outset of World War I would have its counterpart with the Pearl Harbor attack that forced America into World War II.
James Cagney set the tone for the entire shoot. He was a dynamo, and his performance elevated everyone on the set. Though he was best known to movie audiences for being a tough guy and playing gangsters in films such as The Public Enemy (1931) and Angels With Dirty Faces (1938), Cagney was also a song and dance man who had learned his trade in vaudeville. In fact, at one point (according to film historian Rudy Behlmer) Cagney was turned down for a George M. Cohan production because he was a little too good and Cohan feared the younger performer might replace him! But Cagney’s opportunities to dance on film were few and far between. The best showcase of his talents prior to Yankee Doodle Dandy was in the film Footlight Parade (1933), which featured him dancing alongside Ruby Keeler.
James Cagney is in almost every scene. Besides his perfectionism in wanting to mimic the real George M. Cohan’s style and mannerisms onstage (while being himself in the non-musical scenes), the film showcases his abilities at improvisation. Throughout the film there are little bits of business that were not in the original script but which Cagney added himself. The best example is the scene near the end in which Cohan is leaving FDR’s office and is coming down the grand staircase. Cagney improvised a dance step as he descended, which Curtiz made sure to leave in the finished film. Moments like these were shot off the cuff.
Though the film benefits immensely from Cagney’s performance and Curtiz’ solid direction, there are other elements that make Yankee Doodle Dandle an exceptional film. First and foremost is the supporting cast headed by Walter Huston as George’s father. His death scene with Cagney is one of the more poignant moments in the film. Ironically, Huston turned down an early draft of the script. However, when it was re-written to include a death bed scene for his character, he accepted. Jeanne Cagney (Jimmy’s sister) is equally good and should’ve had a more lasting career beyond working with her brother. Joan Leslie holds her own as George’s winsome love interest, Mary. Though Leslie was only sixteen years old when cast– she would celebrate her seventeenth during production in late January– she was a seasoned pro whose film career went back to 1936’s Camille at MGM.
In memorable supporting parts are Irene Manning as actress Fay Templeton (with little resemblance to the real Fay Templeton) and Eddie Foy, Jr., playing his father Eddie Foy in a scene with Cohan. This episode was inspired by a real-life encounter between the two Broadway legends. Cagney would later appear in a movie about Eddie Foy, The Seven Little Foys (1955), in which he reprised his role of George M. Cohan. Also in support is S.Z. “Cuddles” Sakall, a scene stealing Hungarian actor that Cagney never wanted to work with again!
The filmmakers took some creative license with the character of Mary. In fact, the real George M. Cohan was never married to a “Mary.” One of Cohan’s stipulations was that his current and ex-wife not be depicted. As a result, the fictional Mary is sort of a blending of the two and represents the best attributes of both. Yankee Doodle Dandy is by no means a historical document on Cohan. Though some important details were maintained, other aspects of Cohan’s life were fictionalized for dramatic purposes, particularly in the timeline that is conveyed in the film. (Rudy Behlmer points out some of these discrepancies in his audio commentary for the film’s DVD release.) In other instances, these liberties are done to simply advance the story a certain way. This was Hollywood, after all. Yankee Doodle Dandle does not dwell on the factual record; it is about the legend of George M. Cohan.
James Cagney’s signature number in the film is the “Yankee Doodle Boy” sequence. Clips of which are almost always shown when the film is referenced in any way. This sequence was shot over the course of four days beginning February 16, 1942. It took 43 camera set-ups and 138 takes to complete the number. “Yankee Doodle Boy” is from Cohan’s Little Johnnie Jones (1904), which was his first starring role outside of The Four Cohans. It was based on Cohan’s friendship with an English jockey. Johnny Boyle, who had choreographed some of Cohan’s shows, staged the dance sequences. Cagney was grateful to be working with Boyle during this production. Also of note, the sets and art direction depicting the Liberty Theatre were very much true to the original Broadway designs of the time.
Yankee Doodle Dandy spans a great many years and as a result, a lot of time is condensed. The film benefits from an excellent use of montage. Future director Don Siegel worked on the editing of these sequences. He was the head of Warners’ montage department from 1933-1942. This is an aspect of production that doesn’t get a lot of fanfare, but in Yankee Doodle Dandy, it’s truly an effective way to bridge time and maintain the pace. One of the numerous examples in the film is the “war is declared” sequence.
If there was ever a film that should’ve been photographed in Technicolor, it’s Yankee Doodle Dandy. It was, after all, an “A” production in every way. Original lobby cards at the time give a hint of what the film might’ve looked like, but it’s unfortunate Warner Bros. did not designate this one for color, given all the red, white and blue flag-waving. Then again, these were the same executives who wondered, at least initially, whether they should use a voice double in scenes where Cagney sings!
Yankee Doodle Dandy premiered in New York City on May 29, 1942, and was released nationally on June 6. Earning over $6 million worldwide, the film was a hit at the box office with audiences and critics. It even won over George Cohan who, after seeing Cagney’s performance, reportedly said, “What an act to follow!” The film won James Cagney his only Academy Award for Best Actor in a Leading Role. The film also won awards for Best Music, Scoring of a Musical Picture (Ray Heindorf and Heinz Roemheld) and Best Sound Recording (Nathan Levinson). Other categories in which it was nominated include Best Director (Michael Curtiz), Best Writing, Original Story (Robert Buckner), Best Film Editing (George Amy) and Best Actor in a Supporting Role (Walter Huston).
Generations have grown up with this film. One of our film series supporters was telling me that while growing up in New Jersey many years ago, he watched the “Million Dollar Movie” on television, which broadcast this film every day of the week– and every day of the week he was watching it. The older crowd recognizes and appreciates the talents of those involved. This was in the old days of classic Hollywood when stars were multi-talented. As mentioned, Cagney had grown up being on the stage, and in rare instances, brought that singing and dancing talent to the screen. There is no one like that today with that kind of a background, nor are there really actors associated with the musical genre. There are musicals still, like La La Land (2016) and so forth, but audiences don’t associate the stars in them with the musical genre. These are modern re-creations of what once was, but Yankee Doodle Dandy is the real thing. From the staging of its choreography to the execution of its dance steps, you see real talent on the screen.
Yankee Doodle Dandy reflects the idealized patriotism of days gone by. We could all use some legitimate patriotism these days in our troubled and confused times. One wonders what George M. Cohan would make of America these days. But thanks to the great movie-makers at Warners, we have this lasting tribute to the American spirit. It is one of the essentials of cinema; it is the definitive Fourth of July film; and it is a mythic portrait that gets to the truth of what this country is really all about.
~MCH
Jimmy’s sister onscreen and off, Jeanne Cagney.
The Four Cohans: Walter Huston, Rosemary DeCamp, Jeanne Cagney and James Cagney