Miss Kappelhoffer came a long way

It is fashionable to mock Doris Day. She presently lives on the Carmel Peninsula in California (for which I profoundly envy her) and has latterly devoted her life to animal welfare. It was my impression she'd filled her house with cats but I accept The Crow's correction (see below) that the cats were dogs. As to her singing she’s probably remembered for bouncy inconsequential numbers like The Deadwood Stage, and Ya-Ya Roly Poly Bear. She appeared in a suprisingly wide range of non-singing movies of which intellectuals were wont to complain about the sexual ambiguities implicit in those with Rock Hudson

With the “professional virgin” thesis disposed of, I thought the Day/Hudson movies were quite witty, but that’s another matter. What is criminal is that her voice might be forgotten. A very precise and lovely instrument indeed capable of handling dross (A Bushel and a Peck), trades union negotiations (Seven and a Half Cents), great thirties standards (Bewitched, A Foggy Day, I’m Beginning to See the Light) and much more. It was said she sounded too healthy, too happy to be a great singer but, for goodness sake, she did Hollywood films.

Away from rank commercialism she could move me as much as Ella, Sarah or Peggy and she was just as technically accomplished. Still think I’m a sentimental old twerp? Try Fools Rush In, exquisitely accompanied by the Andre Previn Trio – very slow with beautifully sustained, rock-steady tone control. Forget the anatomical impossibility line (“my heart above my head”) and dwell instead on those aching final words “and let this fool rush in.” Despite the richness of the voice the sentiment is expressed modestly, the gentlest of pleas.

Incidentally she is the subject of an excellent biography by A. E. Hotchner who, at the time, had just done Hemingway and thought he was above movie stars. But she said she’d tell him everything and she did.

A couple more lists

Seen at Borderline Film Festival
March 25 – April 10, Hereford.
Another Year (dir: Mike Leigh) – Middle-class couple view social/emotional failure among friends; first half tedious/repetitive, second more dramatic.
My Afternoons With Margueritte – Illiterate handyman, Gerard Depardieux discusses La Peste with aged woman doctor; completely charming.
Black Swan – Hilariously OTT; supposed ballerina Nathalie Portman is seen dancing, but only from the waist up.
Genius Within – Amusing but overlong documentary about pianist Glenn Gould; few musical insights.
Rashomon – Four views of murder; 60-year-old Japanese classic; still shines.
The Secrets in Their Eyes – Brilliant Argentinian mystery thriller/love story; amusing and profane.
Of Gods and Men – Austere, truth-based account of Algerian monastery monks, facing life or (literally) death decision about terrorist threat.
Biutiful – Overlong, over-miserable account of petty criminal/father of two in Barcelona; Javier Bardem superb.
The Illusionist – Jacques Tati screenplay in cartoon of musical hall musician ceding his profession to rock-n-roll and TV; authentic and beautiful fifties Edinburgh backdrops.
Blue Valentine – American couple marry too young, squabble, separate; much bonking; do not be tempted.

TEARS, BUT OF WHAT QUALITY? BBC’s classical music channel, BBC3, invited listeners to say which pieces made them cry. The choices (a Chopin étude, for goodness sake) raised the suspicion that the tearful were parading their intellect. But I’m just as bad with Strauss’s Four Last Songs and Mozart’s Soave il vento.

Let’s be more vulgar: the Free French singing La Marseillaise in Casablanca, Jo Stafford’s Blue Moon, the Pogues’ And the Band Played Waltzing Matilda, anyone singing My Luve is Like a Red Red Rose and/or Believe Me if all Those Endearin’ Young Charms, Elton John and Kiki Dee with Don’t Go Breaking my Heart (repeatedly on juke box during my first ski-ing holiday), Charlie Parker’s Embraceable You, the Z-cars theme. Salt water a’plenty.