Neptune’s Daughter (1949)
Directed by Edward Buzzell
Metro-Goldwyn-Mayer
Neptune’s Daughter was the third and final pairing of Esther Williams and Ricardo Montalban. The two previously starred together in Fiesta (1947) and On an Island With You (1948).
In Neptune’s Daughter, Williams plays Eve Barrett, a swimsuit designer, and Montalban plays a dashing South American polo player named José O’Rourke.
The film also stars MGM’s big comedic draw, Red Skelton, as masseur Jack Spratt, and the manic, wild-eyed Betty Garrett as Eve’s sister, creatively named “Betty Barrett.”
Neptune’s Daughter was the second time Skelton and Williams appeared together. The first was Bathing Beauty (1944). (They both appeared in the revue film Ziegfeld Follies, but in separate segments.)
I love Esther Williams. She’s beautiful, athletic, and charming. And the fact that she was a swimming star made her unique. I also like Betty Garrett, who plays essentially the same man-crazy role in Neptune’s Daughter that she played in Take Me Out to the Ball Game (1949). And Ricardo Montalban is Ricardo Montalban. He’s the smoothest Latin lover in Hollywood history.
But I’m not totally sold on Red Skelton. I just don’t find him that funny. Plenty of his bits in Neptune’s Daughter are amusing, but I didn’t find them particularly uproarious, and I really don’t enjoy all his mugging for the camera.
The musical high point of Neptune’s Daughter is the song “Baby, It’s Cold Outside,” by Frank Loesser. It was nominated for an Academy Award for best original song, but there was some controversy over whether it should be eligible for the 1949 Oscars, since Loesser wrote it in 1944 and had performed it at parties with his wife, Lynn Garland. Since it had never been performed “professionally” until its appearance in Neptune’s Daughter, it was deemed eligible and went on to win the Oscar. Loesser’s wife, however, was furious that her husband had sold it to MGM, since she considered it “their song.”
“Baby, It’s Cold Outside” is first performed by Montalban and Williams; he sings the “wolf” part and Williams sings the “mouse” part. It’s performed later by Betty Garrett and Red Skelton with the roles reversed; she is the aggressor and he is the shy one.
“Baby, It’s Cold Outside” was used in the film because MGM’s censors decided that the lyrics of Loesser’s song “I’d Love to Get You (On a Slow Boat to China)” were too suggestive. (Which explains its presence in a film that takes place in sweltering heat.)
This is ironic, since “Baby, It’s Cold Outside” has lyrics that are more more suggestive than the lyrics of “I’d Love to Get You (On a Slow Boat to China).” Parts of the song even border on suggesting date rape, an aspect of the song that was recently satirized by Key & Peele.
I think some of the lyrics to “Baby, It’s Cold Outside” sound worse now than they were intended to. For example, the line “Hey, what’s in this drink?” suggests roofies nowadays, but at the time Loesser wrote the song it was probably meant to imply the sentiment, “Oh my goodness this is a strong drink.”
I think it’s a playful and seductive song, and the fact that Skelton and Barrett reverse the roles when they perform the song adds to the acceptability.
What I found totally unacceptable in Neptune’s Daughter, from a gender standpoint, is the unquestioned assumption that Esther Williams’s character will have to give up her swimwear design business — which she built herself — if she gets married. The idea that she could remain head of a successful company and also be a married woman is unthinkable.
But for the most part, Neptune’s Daughter is a fun, vibrant Technicolor extravaganza. For my money, anything with Esther Williams is worth watching.
Neptune’s Daughter will be shown on TCM on April 6, 2014.
OCD Viewer 