Million Dollar Mermaid

Entertaining biopic of Annette Kellerman, an Australian swimmer turned vaudeville and early Hollywood star. Esther Williams is a natural fit for the role and does a fine job. Of course, it's an old-school Hollywood biopic so there's more fiction than fact in their telling of Kellerman's story. That sort of thing never really bothers me but it does some so be advised ahead of time this isn't a documentary. Esther is lovely as ever and has some excellent aquatic numbers choreographed by the great Busby Berkeley. A couple of these numbers are classics that every Esther fan will want to see. The rest of the cast, including Walter Pidgeon, Victor Mature, and Jesse White, is solid. The only problems are that the movie is overlong and the romance with Mature is less than exciting. But it's Esther Williams swimming in Technicolor and that definitely needs to be the headline.

Million Dollar Mermaid (Mervyn Le Roy, 1952), which gave splashy star Esther Williams the title of her autobiography, is a standard Hollywood biopic lit by several stupefying water ballet set-pieces. Williams is Annette Kellerman, the Australian swim star who became an international celebrity after first tackling the Thames and then outraging American society with her one-piece swimsuit. Victor Mature is the rough diamond of a promoter who takes her close to the top, then bails – wanting to prove it's he, not she, who's the architect of that success. Walter Pidgeon plays Kellerman's supportive father, a music teacher who's dreaming of his own conservatory once more, while Jesse White is particularly strong in his sympathetic supporting part. Williams does quite well in a role that demands more than her usual pouting and foot-stomping, though to quote the script: "Wet, she's sensational; dry, she's just a nice girl who should settle down and get married." The main draw, as ever with Williams' work, are the swimming showpieces. The ones here are particularly good, including a gilded number commencing Kellerman's residency at the New York Hippodrome, and Busby Berkeley's 'Fountain and Smoke', which is just spectacular. Berkeley, who pretty much invented the kaleidoscopic musical number in films like 42nd Street and Gold Diggers of 1933 - each routine stuffed with surreal overhead shots of dancing girls moving in sync - is here employed as a sort of 'specialty director', contributing just one extraordinary number – perhaps because his eye-popping extravaganzas were so expensive to film.

The ending sucked. I literally hollered at the screen. Why Annette wanted to live the broke and always hustling lifestyle that Sullivan could offer is beyond me.

Directed by Mervyn LeRoy, with a screenplay by Everett Freeman, this above average Esther Williams vehicle is a biographical drama about Annette Kellerman who, despite being born with crippled legs, became a championship swimmer in her native Australia, achieved notoriety for being the first woman to wear a one-piece bathing suit at a public beach (near Boston), and made several movies in Hollywood. The film, which was Oscar nominated for its Color Cinematography (George Folsey's ninth of thirteen unrewarded Academy Award nominations), features several spectacular Busby Berkeley- choreographed aquatic ballet sequences, ostensibly performed at New York's Hippodrome. Donna Corcoran plays Annette as a ten year old child with a disability. Walter Pidgeon plays Annette's father Frederick Kellerman who, because he lacked the students and the funding necessary to continue his music conservatory, decided to take his daughter to London where he hoped to work as an assistant to another teacher. No mention of her mother is ever made (unless I missed it). On their voyage, the Kellermans met James Sullivan (played by Victor Mature) and his assistant Doc Cronnol (Jesse White), and their boxing kangaroo named Sydney. Sullivan, a carnival man and self promoter, recognized Annette's name immediately per her swimming successes, and tried unsuccessfully to hire her - he'd wanted to promote her as a mermaid from 'Down Under' but her father refused to consider it per his plans for his daughter in the ballet, or as a musician. However, Sullivan's persistence, and the Kellermans' poverty, eventually leads to a publicity stunt whereby Annette swam a 26 mile marathon down the Thames River to Greenwich. With her popularity soaring, Sullivan sells the kangaroo for their passage to New York where he attempts to sell an unprecedented water ballet idea to the Hippodrome's manager Alfred Harper (David Brian). Unable to convince Harper to take a chance, Sullivan takes Annette and her father up the coast to the Boston area where, while attempting to create more publicity, she's arrested (by Charles Watts) for indecent exposure for wearing a one-piece swimsuit in public. During her trial, Annette proposes a compromise design which the judge (James Bell) accepts despite the prosecutor's (Frank Ferguson) protestations. Interest in Annette soars and the four of them make a bundle of money during nine consecutive weeks of swim stroke and diving demonstrations by Annette; Doc is the bookkeeper. But when another promoter named Aldrich (Howard Freeman) proposes a lecture tour for her, Sullivan blows his top; in lieu of proposing to her, he insults her saying she's no more than a trained seal. In the days when airplanes are an untested fascination, he buys one from still another carnival promoter and he and Doc hit the road. Meanwhile, Annette receives a telegram from Harper who's finally willing to give her a change to perform at the Hippodrome, on the same bill as prima donna ballerina Pavlova (Maria Tallchief). Annette's success at the Hippodrome leads to a marriage proposal from Harper, and a movie offer from Hollywood. On their way West, Annette and Harper meet Sullivan, who's heading to Hollywood with Doc himself with their new act, Rin Tin Tin (obviously, this is a fictionalized biography)! An accident on the set of Annette's movie Neptune's Daughter (which was released in 1914, and not to be confused with Williams' own 1949 film), brings Sullivan and her together again. In real life, they were married, but this movie ends with Harper bowing out so that true love can run its course.

Glossy, colorful, and entertaining, "Million Dollar Mermaid" purports to relate the story of Australian swimmer Annette Kellerman, but functions primarily as a star vehicle for MGM's reigning mermaid, Esther Williams. Disabled as a child, Annette wore braces until she took up swimming, which strengthened her legs, and she went on to become a professional swimmer and entertainer during the early 20th century. An MGM production, Mervyn LeRoy's film glosses over any impediments or unpleasantries and focuses on Kellerman's triumphs and romances. From Australia to London to Boston to New York, Kellerman's career rises with the help of an ambitious promoter, James Sullivan, played by Victor Mature. Sullivan manages to ignite her success with a 26-mile swim along the Thames and a hyped faux scandal involving a one-piece bathing suit on a Boston beach. The expected bumps eventually separate the pair, a new suitor appears in the guise of Hippodrome owner Alfred Harper, and an unexpected mishap challenges the performer's future; but nothing occurs that is serious enough to derail viewers from the fantasy world of the movies, and the film is entirely predictable. Tthe focus is squarely on showmanship, and the glitzy extravaganzas that are purportedly staged at New York's Hippodrome are typical Busby Berkeley stagings that would never fit inside any theater. Fountains send jets of water into the air, a dozen swimmers dive from swings, a crown of sparklers emerges from the water atop William's head. The Berkeley sequences, which are familiar to anyone who has seen "That's Entertainment," are the film's highlights, and the movie is worth seeing just for them. Beyond Williams and Mature, the cast also includes Walter Pidgeon, David Brian, and Jesse White; while all are adequate, the film does not rest on acting laurels, but rather on a visual feast of period costumes by Walter Plunkett and Helen Rose, Busby Berkeley's geometric production numbers, and George Folsey's Oscar-nominated color cinematography. While Victor Mature may not be everybody's idea of a romantic lead and Kellerman's biography has certainly been rewritten, the film has few other flaws that impede the entertainment, if viewers are not expecting more. Although the ending is sappy and probably fictional, the climactic production numbers are outstanding, and the film is a must see for Busby Berkeley enthusiasts. Of course, fans of Esther Williams will definitely want to see the film that inspired the title of her autobiography, Million Dollar Mermaid.

A nice color film of a certain age. The plot is formula melodrama, but so were most dramas of the day. In this world of Meryl Streeps, it was interesting that the filmmakers made absolutely no effort at Australian or English accents in spite of the characters, or the settings. It seems that many liberties were taken with the story of Annette Kellerman, the Aussie swimming phenom, who became the first real international swimming star. Esther Williams, who owned swimming in Hollywood in those days was very good, her acting thoroughly credible, and her theatrical swimming unparalleled. Victor Mature and Walter Pidgeon round out the cast.

Esther Williams and that the water ballet sequences were choreographed by Busby Berkeley were my two main reasons for seeing 'Million Dollar Mermaid'. As well as that Annette Kellerman's story is an interesting one. While highly fictionalised as a real-life biography (not unexpected, this was true of a lot of film biopics made then and it's a trend that still hasn't gone away with a few exceptions), 'Million Dollar Mermaid' (aka 'The One Piece Bathing Suit') as a piece of entertainment or a film in its own right is a good film and one of Williams' better films by quite some distance. As for Williams herself, she is captivating and really does radiate a million dollars. Not just in the water, where her aquatic skills are second to none, but she gives a heartfelt and committed out of the water too. She is well supported by handsome Victor Mature (who really does try to inject charm and energy into a character written in a way not worthy of those attributes), very amusing and sympathetic Jesse White and endearing Walter Pidgeon. Berkeley is another star here, the aquatic sequences are wonderfully ornate, exquisitely shot and simply jaw dropping to watch, actually being better than the term "aqua spectacular". Anybody looking for a contender for the best aquatic sequences in an Esther Williams film, or even on film full-stop, 'Million Dollar Mermaid' is a definite contender. 'Million Dollar Mermaid' looks beautiful, with lavish cinematography (especially in the aquatic sequences), big, bold, rich colours and opulent costumes and sets, even if the studio's version of England has to be seen to be believed. The music is always pleasant to listen to, while the script avoids being too frothy, sentimental or cheesy and is actually tight, sometimes amusing and sometimes heartfelt. Even though fictionalised (with some glaring inaccuracies and omissions that one wishes were in the film), the story still has a high nostalgic value and emotional impact and is much more eventful and sincere than most of the usual stories in Esther Williams' films. Not without faults. 'Million Dollar Mermaid' does go on slightly longer than necessary and drags ever so slightly in places where the drama sags a little. More of a problem was that the chemistry between Williams and Mature could have been more believable and not as ill at ease, not Williams' fault nor Mature's but more to do with the very unsympathetic and caddish way that the latter's character is written in. Overall, a good film with Williams radiating a million dollars. 8/10 Bethany Cox

The idea of putting swimming star Esther Williams in a biography of champion Australian swimmer Annette Kellerman must have seemed like a can't-miss concept for a splashy matinée item which would pay-off no matter what the outcome. Unfortunately, the concept itself is underused, as Williams performs in a handful of extravagant water routines but does very little dramatic acting. Producer Arthur Hornblow Jr. and the requisite MGM brass do not appear to have any inspiration that goes beyond the standard glitz and glamour (the script being somewhat expendable). That's too bad, for Kellerman's life story had aspects of both high drama and nostalgic value (being the first woman to wear a one-piece swimsuit on America's shores!). Mervyn LeRoy's direction is quite capable, and Williams is amiable, however Busby Berkeley's lavish, gaudy production numbers are what most people end up remembering. **1/2 from ****

Even though (at the beginning of the story) pretty Esther Williams had to compete with the endearing charm of a cute, boxing kangaroo named Sydney - Soon enough, Million Dollar Mermaid (MDM, for short) became Esther's, and only Esther's, picture. And that's the way it continued to stay, right through to its final, closing credits. Being a typical glamour production from a 1950's Hollywood, MDM was clearly only a partially accurate account of the life of early-20th Century swimming sensation, Annette Kellerman, who was a native Australian (born in 1886). Of the half-dozen, or so, Esther Williams' vehicles which I've now seen. MDM was certainly one of the rare ones that used just about any old excuse it could to get our glamorous star into a form-fitting bathing suit and splashing around in the water. But, whether she was wet or dry, Esther could always be counted on the have a dazzlingly fresh, Pepsodent smile to flash at all of her adoring fans. It was famed, veteran choreographer, Busby Berkeley (definitely long past his prime) who was responsible for staging the elaborate aqua-musical numbers in MDM. As the story goes - In the final fantasy sequence, Williams was required to dive off a 115 foot tower into the water below. Having no stand-in to take on such a dangerous stunt as this, Esther, of course, did it herself. And, as a result, Williams ended up sustaining a fairly serious spinal injury which made it necessary that she wear a body cast for 7 months. Oh, well - There's no business like show business - Right? Born in 1921, Esther Williams' career as MGM's prize Aqua-star petered out by the end of the 1950s. In real-life - Williams lived to a ripe, old age of 91.

One of the best of the film series featuring Esther Williams' swimming talents, that usually included some choreographed 'water ballets'. It has one of the better screen plays for her films, being a tribute to the first international swimming star: Australian-bred Annette Kellerman. No doubt, much of the screen play is quite fictionalized. This is probably especially true of the details of Annette's relationship with her promoter and future husband , American James Sullivan, played by familiar leading man Victor Mature. Although most identified with his several roles in biblical-oriented films or ancient Egyptians, Mature had been paired with some of Hollywood's most glamorous ladies in musicals or romantic dramas for more than a decade, yet was still quite handsome, cocky, and personable, at age 40. Sullivan's participation in a race across the US in a very primitive plane is probably as fictional as his supposed promotion of the German shepherd Rin Tin Tin as a potential Hollywood star....David Brian serves as Sullivan's faithful partner(Alfred) in his various oddball enterprises and world travelings. Walter Pigeon plays Annette's father, who decides to move to the UK, where Annette gains further notoriety in her swimming feats. The real Annette made 3 unsuccessful attempts to become the first woman to swim the difficult English Channel. Donna Corcoran plays Annette as a girl, whose legs are weak from polio and thus she has been encouraged to swim much to strengthen her legs, which eventually fully recover. After consulting several sources, it's still unclear to me if polio was the actual cause of her problem. The polio scare was at its height around the time this film was made, shortly before an effective vaccine became widely available. When Annette was a girl, polio was a much less common cause of muscular paralysis in children, infants being much more commonly affected, and often dying. The film dramatizes Annette's trial for indecent exposure in wearing her customized one piece form-fitting bathing suit on a beach near Boston. She thereafter became noteworthy in serving as a model for the evolution of modern women's beach/swimming attire. Later, she starred in a series of Hollywood silent films, one of which featured her quite * at times: a first in Hollywood films, but not mentioned in this film. The film ends with Annette in a hospital, trying to recuperate from an incident in which she was propelled through a glass viewing section of a swimming tank, after the glass gave way, seriously injuring her spine. This is based on a true incident. However, it happened in Bermuda, not while making a Hollywood film. Also, the problem wasn't a spinal injury, but severe lacerations from the jagged glass. Interestingly, while making his film, Esther suffered a very severe injury in a broken neck from a high dive, necessitating a long delay in finishing the film. Thus, the nature of the reported injury and its circumstances much more resembled Esther's injury than Annette's. There are, of course, several spectacular 'water ballet' segments, appropriately choreographed by Busby Berkley, in one of his last such roles, having been most active in this regard in the '30s. Included are some signature overhead kaleidoscopic shots... Esther looks quite stunning in all of her outfits, in or out of the water. Present for one performance is Maria Tallchief,as Pavlova: world famous traditional ballet dancer. Maria was, in fact, acknowledged to be such: unexpected for the daughter of an Osage Native American! Various familiar period or classical music pieces are played as background music. "Let Me Call You Sweetheart" is periodically heard or sung, serving as the theme song. There is a formulistic rocky period in the Annette-Sullivan relationship, when she has a well-established high class suitor, in contrast to Sullivan's romantic wandering seat-of-the-pants persona.