Greatest Song and Dance
Musical Moments and Scenes

I - J

Greatest Song and Dance Musical Moments and Scenes
Film Title/Year and Brief Musical Scenes Description

Idiot's Delight (1939)

Clark Gable made his musical debut in this MGM film (a version of Robert Sherwood's Pulitzer Prize-winning play) as American entertainer Harry Van, with a slightly inferior song-dance rendition of Puttin' on the Ritz, with a straw hat, white cane and bevy of dancing girls (his traveling all-girl troupe of "Les Blondes") behind him.

I'm No Angel (1933)

Mae West was headlined as a floozy lady lion tamer in a small-town circus act named Tira in this bawdy comedy classic; quotable wisecracks and one-liners, and racy double entendres in her promiscuous dialogue, suggestive songs and body language added to the film's comical plot; in an early scene, Tira shook down an admiring, visiting suitor in his hotel room, a Chump named Ernest Brown (Wm. B. Davidson). After learning he was from Dallas, she played a record with the song: No One Loves Me Like That Dallas Man (originally titled No One Does It Like That Dallas Man), choosing the appropriate city title from among similar records for Frisco and Memphis Men. The song's racy lyrics had a number of suggestive lines: "Why, brother, he's a wild horse trainer, With a special whip - Gals you'll go insaner When he gets you in his grip..." She sang and danced seductively in front of him as he warmed up to her: "You're certainly givin' me the time of my life, baby" with her quick reply: "Don't say givin'. I don't like that word givin'". She then gave him a long kiss.

Indiana Jones and the Temple of Doom (1984)

The brilliant, incongruous opening credits to this Indiana Jones action-adventure film, with American singer/dancer Wilhelmina "Willie" Scott (Kate Capshaw) singing (in Chinese!) the 1930's hit song Anything Goes ("Yi wang si-i wa ye kan dao / Xin li bian yao la jing bao / jin tian zhi Dao / Anything goes!") in crime lord Lao Che's "Obi-wan" Night Club in Shanghai China of 1935; the number blossomed into a full-fledged Busby Berkeley-styled production number with curly blonde-wigged, hatted chorines in silver rhinestone-studded outfits tap-dancing in unison, performing splits, and pulling out red-handkerchiefs that transformed into large billowing red banners of cloth

It's Always Fair Weather (1955)

This Cinemascopic, widescreen MGM musical (a Betty Comden and Adolph Green collaboration that was co-directed by Gene Kelly and Stanley Donen) reprised the story line of On the Town (1949) (although ten years later and more cynical); its male stars Gene Kelly, Michael Kidd (the famed choreographer in his first on-screen role) and Dan Dailey portrayed wartime buddies who performed an amazing opening dance sequence - a trash-can-lid ballet (that would later be recreated by the Yes/No Group and their hit musical STOMP); also memorable was Kelly's solo musical number I Like Myself (pictured) in which Kelly roller-skated (and tap-danced on the skates) on a New York street; it also featured Cyd Charisse (as advertising girl Jackie Leighton) solo dancing to Baby, You Knock Me Out (pictured) for Stillman's Gym boxers.

Jailhouse Rock (1957)

In this MGM production, the title song and production number was the memorable, wonderfully-choreographed Jailhouse Rock (pictured), with rebellious behind-bars Vince Everett (Elvis Presley in his first major dramatic singing role), musicians and dancers dressed in black leather jackets and striped prison uniforms; the other memorable numbers included I Want to Be Free, Treat Me Nice, You're So Square (Baby, I Don't Care) (pictured), and the two tender ballads: Young and Beautiful (pictured) and Don't Leave Me Now.

The Jazz Singer (1927)

This Warner Brothers film by director Alan Crosland - lauded with an honorary statuette at the Academy Awards as "the pioneer outstanding talking picture, which has revolutionized the industry" - starred singer Al Jolson as cantor's son Jakie Rabinowitz, who chose a career as a singer (with new name Jack Robin) and alienated his Jewish father, while romancing Mary Dale (May McAvoy); the musical included singer Al Jolson's two most memorable numbers - Toot Toot Tootsie, preceded by Jolson's scratchy-sounding warning to his audience: "Wait a minute, wait a minute. You ain't heard nothin' yet!" (with added bird sounds during the number), and the lengthy scene of a natural conversation between Jack and his mother Sara (Eugenie Besserer) during the singing of Irving Berlin's Blue Skies at the piano in his home; also memorable was Jolson's curtain-closing blackface performance of My Mammy - dedicated to his mother in the audience. In actual fact, more audiences saw the film as a silent film rather than as a talkie, due to the non-proliferation of Vitaphone sound systems in theatres.

The Jolson Story (1946) and Jolson Sings Again (1949)

These musical films made up a two-part biopic of the famed show-biz performer Al Jolson (played by Larry Parks in both films), with Jolson's own voice effectively dubbed over the voice of the actor singing many of his favorite tunes; the first immensely-popular Technicolored film The Jolson Story (1946), received six Academy Awards nominations, including Best Actor and Best Supp. Actor (William Demarest), but won only for Best Musical Scoring and Best Sound Recording. In the second film Jolson Sings Again (1949), Jolson (Larry Parks) agreed to have his life story committed to film in a major Columbia Pictures film - The Jolson Story. In a bizarre, remarkable scene, Al Jolson (Larry Parks) watched a portion of the "film within a film" that was to be made of his life - in the film room when the lights were turned on, he stood up and exclaimed that he loved the impersonating actor: "Wonderful! Who was that?", and was introduced to actor Larry Parks (the real Larry Parks) - causing a few double-takes of glances! The sequel, directed by Henry Levin, replacing Alfred E. Green, was nominated for three Academy Awards: Best Story & Screenplay, Best Color Cinematography, and Best Scoring of a Musical Picture.

The Jolson Story (1946)

Jolson Sings Again (1949)

The Jungle Book (1967)

This high-spirited animated Disney musical, loosely based upon the tales of Rudyard Kipling, included the carefree, Oscar-nominated Bare Necessities sung by Baloo the Bear (voice of Phil Harris), and the I Wanna Be Like You sung by King Louie (voice of Louis Prima) to Mowgli - the human child raised by wolves.

Greatest Song and Dance Musical Movie Moments and Scenes
(alphabetical by film title)
Introduction | A - 1 | A - 2 | B - 1 | B - 2 | B - 3 | C - 1 | C - 2 | D - 1 | D - 2 | E | F - 1 | F - 2 | G - 1 | G - 2
H - 1 | H - 2 | I - J | K | L - 1 | L - 2 | M - 1 | M - 2 | N - O | P - 1 | P - 2 | R - 1 | R - 2 | S - 1 | S - 2 | S - 3 | T | U - V | W | X - Z

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