"City Island' continues to kick serious indie ass at the national box office, remaining in the top 20 for its TENTH WEEK and
keeping its per screen averages nicely solid. Some of the trends are interesting. Our per screen average was up versus previous weekend and our core theaters are holding in strong, many showing increases versus previous.

#1 – 49
#2 – 35
#3 – 23
#4 – 15
#5 – 28

Our top 10 theaters are: Bethesda Row (DC/Maryland), Beekman (NYC), Angelika (NYC), Farmingdale 14 (Farmingdale NY), Chelsea 9 (NYC), Bronxville Triplex (Bronxville NY), Plaza Frontenac (St Louis), Roosevelt Raceway 10 (Westbury NY), Laemmle Town Center 5 (Encino/LA), Scottsdale 101 (Phoenix DMA).

7 of the Top 10 were up versus previous weekend and 2 more were down only slightly. Overall, 84 of our holdover screens were up or flat versus previous weekend and another 21 were down less than 10%.

And the cities that are trending above our average are New York, Los Angeles, Chicago, Philadelphia, San Francisco, Washington DC, Detroit, Phoenix, Tampa, St. Louis, San Diego, Baltimore, Milwaukee, Memphis, New Orleans, Albuquerque/Sante Fe, Buffalo, West Palm Beach, Las Vegas, Austin, Palm Springs.

And now back to the not very urgent subject of Lena Horne and "Stormy Weather". As I said two and half years ago (and reprinted three and half days ago), "Stormy Weather" is a landmark musical that manages to be both historic and not very good. Below I'll reprint my "rewrite" of this movie, a polish that I believe would have turned it into a definite candidate for the AFI "top musicals" list (or whoever the hell makes these lists up.

So then. "Stormy Weather". Click that last link and you'll read an unusually good wikipedia entry on this movie, giving you all the background you might need. Or read my last post...

The plot, such as it is, has to do with Bill Robinson (uninventively named Bill Williamson in the movie) returning home from World War 1 and launching a career as a dancer. Along the way he falls in love with beautiful, young "Selina" (Lena Horne--doesn't this stuff with the names feel very first-drafty?) who's a singer and who won't "settle down". They run into each other over the next twenty (?) years and finally get together. Fade out.

The first problem with the film comes from the very obvious age difference between the stars. Robinson was born in 1878, making him sixty-five at the time the film was shot. Horne was born in 1917, making her twenty-six. Forty years age difference between the leads would certainly not have been tolerated in a white persons movie--it would be akin to having Lionel Barrymore play Ava Gardner's lover. For this I blame the "they all look alike anyway" racial sensitivity of the era. Unfortunately, it robs the movie of even the most remote emotional reality--even as a kid I never understood why the old tap dancing guy kept bothering the sleek young woman and why she put up with it.

It also brings up, though, a stylistic difference in the music and dance that sends the film out of balance. Robinson, great tap-dancer though he was, came from a very different era of tap--much more subtle, less showy, more emphasis on the rhythmic meter, less on the flashy moves. Unfortnuately, he is simply overwhelmed by the Nicholas Brothers--and for the matter by the massive charisma of Cab Calloway--both of whom belong firmly to the Harlem/30's swingtime explosion.

In my rewrite, I cast Robinson as a great tap-dancer from another era whose fallen on hard times. He works as a waiter (just as he does in the below Fats Waller section) and sees a young girl come into the tavern. He gets a look in his eye: she looks just like a girl he knew way back when. Yes, Lena Horne is HIS LONG LOST DAUGHTER. ("And we don't have to reshoot the 'Aint Misbehavin'n sequence, Darryl!") The movie could use a flashback to Bill's younger days--any thoughts on who plays Lena's mother?--and the romance that produced "Selina", allowing Robinson to tap in his unabashed 1920's style. Bill putters around Selina, trying to break the news. She thinks her father was long dead. (In fact, Bill left the family because his career as a dancer took him on the road and he didn't want to be the "father who wasn't there", so the mother told Selina he was dead...all right, you think up something better.)

Anyway, below is the great Fats Waller sequence from Stormy Weather--and it works (sort of) as the moment where "father" first sees daughter. She knows him only as her mother's old friend, "Bill Williamson". Thus she wants to give him a hand--never realizing that he's her father. Except for a few gratuitously leering shots, I think we're getting somewhere...

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