Tag Archives: Danny Kaye

The “White Christmas” Ethics Guide (REVISED And UPDATED)

I’m looking at some holiday movies to add to the Ethics Alarms library of annotated classics—no, ethics and “A Christmas Story” are irrelevant, it being a child’s remembrance and hardly literal–but I might as well begin with  revising and revisiting the “White Christmas” guide, which first appeared in 2012. 

I still like the film—my wife hates it—being a fan of all four stars, especially Bing and Danny, as well as the director, Michael Curtiz.  I do like it a bit less each time I see it, mostly from an ethics perspective, and the successive revisions reflect that.

I still get misty when the old general, played by Dean Jagger, gets saluted by his reunited army unit, which has gathered at his struggling, snowless, Vermont inn on Christmas Eve to remind him that he is still remembered and loved. Nonetheless, “White Christmas” is by far the strangest of the Christmas movies, and also the most unethical. Though everything works out in the end, the characters in the sloppy plot spend the whole movie lying, extorting, betraying, manipulating and generally mistreating each other, always with no recriminations at all, and usually with no consequences either.

In his addendum last year to my original post, Michael West found the film foundering from the second the opening credits ended. He began with the script for the opening scenes—General Waverly* is played by Dean Jagger; Captain Bob Wallace is Bing Crosby, and Private Phil Davis is Danny Kaye:

Opening Scene in the Jeep as they hear the Entertainment show.

GEN CARLTON (To Adjutant): What’s this all about, Captain?

ADJUTANT: A little entertainment for the men, sir. Tonight’s Christmas Eve.

GEN CARLTON: These men are moving up tonight, General Waverly. They should be lined up for full inspection!

GEN WAVERLY (To Carlton): You’re absolutely right. (To Adjutant): There’s no Christmas in the Army, Captain.

ADJUTANT: Yes, sir.

GEN WAVERLY (To Carlton): There’s always a slip-up or two during a change in command. The men get a little loose. But I know I’m leaving them in good hands.

GEN CARLTON: (To Waverly): Thank you, General. (To Driver): Sergeant, take me to headquarters immediately! We’ll have those men turned out on the double!

The Sergeant looks at General Waverly.

GEN WAVERLY: Goodbye, Sergeant. Take the short cut.

SERGEANT: Yes, sir!

The jeep pulls off and makes a half circle. The Adjutant makes a gesture, as if to stop it. Waverly stops him. The Adjutant turns to him.

ADJUTANT: That’s not the way back to headquarters!

GEN WAVERLY: Joe, you know that, and I know that, but the new General doesn’t know it. Or he won’t for about an hour and a half.

ADJUTANT: That Sergeant’ll be a private tomorrow!

GEN WAVERLY: Yes… isn’t he lucky?

SCENE CHANGE TO ENTERTAINMENT SITE:

CAPTAIN BOB WALLACE and PRIVATE PHILIP DAVIS are doing a number on stage to entertain a mass of 200 or so soldiers. GENERAL AND ADJUTANT just starting to take seats, off to one side where they are not noticed by the performers. ABOUT 6 SOLDIERS seated in audience. They look off, see General, start to rise. The General notices them – motions for them to sit down again, indicating he doesn’t want attention called to himself. Captain Wallace sings “White Christmas”.

CPT WALLACE: Well that just about wraps it up, fellas. It’s certainly too bad General Waverly couldn’t be here for this little yuletide clambake ’cause we really had a slam bang finished cooked up for him. I guess by now you know the Old Man’s being replaced by a new Commanding General fresh out of the Pentagon…it’s not a very nice Christmas present for a division like us that’s moving up. The Old Man’s moving toward the rear. That’s a direction he’s never taken in his entire life. Well all I can say is we owe an awful lot to General Waverly and to the way…

GEN WAVERLY: ATTENTION!

Every man is at attention and every head has turned to where General Waverly has taken up a position near the front of the platform.

GEN WAVERLY: Captain Wallace, who’s responsible for holding a show in this advanced area?

CPT WALLACE: Well sir as a matter of fact it was…

PVT DAVIS: …me Sir! It was my idea sir. Uh, I mean when you gotta entertainer sir of the caliber of Captain Wallace, sir…I mean sir…it’s Christmas Eve, sir. And well, sir, I mean that if you were in New York, Sir, you’d have to pay six sixty or even eight eighty to hear a great singer like Captain Wallace, sir.

GEN WAVERLY: I’m well aware of Captain Wallace’s capabilities. Who are you?

PVT DAVIS: Er…Phillip Davis, sir. Private First Class, sir.

GEN WAVERLY: Well, at ease, Davis.

DAVIS: Yes, Sir!

WAVERLY: I said, At Ease!

DAVIS: Oh, uh, Yes, sir, thank you sir.

WAVERLY: This division is now under the command of General Harold G. Carlton, and I don’t want anyone to forget it — not that he’ll let you. He’s tough — just what this sloppy outfit needs. He’ll have you standing inspection night and day — you may even learn how to march. And if you don’t give him everything you got, I may come back and fight for the enemy. Merry Christmas!

ASSEMBLED MEN: Merry Christmas!

GEN WAVERLY: Well, I guess, all I can say is, how much I…what a fine outfit…How am I going… (to Wallace) don’t just stand there, how am I going to get off…?

CPT WALLACE: We happen to have a slam-bang finish…He turns to the musicians, gives the downbeat.

They play “THE OLD MAN,” which is sung by the entire outfit.

ARTY FALLS IN VICINITY…Soldiers crouch…then finish singing.

GENERAL AND ADJUTANT DEPART.

MORE ARTY FALLS, ON SITE…Men scatter. Captain Wallace and Private Davis try to get men to cover. Private Davis man handles the Captain to cover as a wall collapses where he had just been standing.

For starters, we see a mass of soldiers in an open air situation within effective range of enemy artillery fire. A single well-placed artillery round could eliminate approximately 200 soldiers — more than an entire World War 2 Infantry Company (whose authorized strength is about 190-195 men; but given this stage of the war and attrition, this could easily be 2-3 companies of EXPERIENCED soldiers). Someone in the chain of command KNOWS this to be true and authorized this gathering despite the obvious danger. We know for certain that the Adjutant knows what the gathering is, as he answers in line #2 precisely what is going on. But an Adjutant has no command authority, so someone else authorized the gathering. We have to assume General Waverly didn’t know until the Adjutant answered General Carlton’s inquiry based on General Waverly’s later questioning of Captain Wallace. We can’t ever be sure who actually made the decision to have the entertainment occur at that location since Private Wallace, breaking an incredible number of military bearing protocols, interrupts a Captain, to answer a General. This Private, Private Davis, accepts all responsibility for the decision to expose upwards of 2 companies-worth of men to devastating artillery fire.

This information leaves us with two options: Either it really was Private Davis’s idea to have the venue at that location, in which case, Private Davis’s commanding officer and the various commanding officers AND EVERYONE ELSE in their chain of command are colossally INEPT for agreeing to the idea. The second option is that Captain Wallace DID indeed make the decision to have the venue at that site, and now he’s standing there like a lump allowing a subordinate to cut him off mid-sentence, a military no-no, and then allowing the subordinate to take the heat of any potential censure that was forthcoming. Of course, since he’s a Private trying to cover for his boss, he’ll say anything, so I won’t even ding him for the horrible excuse that 200 men should be exposed to German artillery fire because CPT Wallace is a famous singer – we all know it’s worth dying to hear Bing sing…

But of course, even General Waverly doesn’t seem to mind that 200 of his soldiers are idling around with a population density rivaling that of Bombay, just one artillery strike away from having more in common with mist than with humanity. When HE discovered what was going on by the Adjutant’s answer in line #2, he should have immediately ordered the soldiers disperse and had about two dozen commissioned officers who had every ability to stop the farce standing in his headquarters receiving the most royal dressing down of their careers and maybe a few firings.

What possibly does General Waverly think outweighs the need to disperse a mass of soldiers within effective range of artillery? Why, a Christmas music concert of course! It is Christmas Eve, after all!  Now, the Army does a really good job bending over backwards for the morale, welfare, and recreation of soldiers, much more than was ever considered a military precedent. BUT, we learn from the dialogue, the entire division is on orders to “move up tonight.” This somewhat vague description could range anywhere from simply occupying a section of the line to relieve a unit coming back or it could mean they are initiating a major offensive operation. We learn, however, that this movement, whatever it is, is occurring in mere hours. Having experienced large movements of soldiers myself, I know that if a Division is stepping off in a few hours, the men down to the platoon level are ALREADY in their assembly areas doing final preparations. This is apparent to the new commander, General Carlton, who is astonished that the men aren’t doing their final checks of equipment and gear.

Which leads us to the next bit: General Waverly is none too concerned about the unjustifiable exposure he’s tolerating of his…well, now General Carlton’s men…as we know Waverly has just been replaced by General Carlton, who, trope-tastically, we learn is one of those wretched new leaders who is probably horribly incompetent. The movie lets us know early on that he’s a despicable piss-and-vinegar type when he is mad that the men are having Christmas entertainment. Never mind that we now know that Carlton is severely concerned about a huge mass of men within artillery range open and exposed as well as not anywhere near where they ought to be to initiate movement of the entire Division.

The movie also lets us know he’s a jerk because it pushes the whole “fresh out of ________” trope. The usual way this plays out is the “fresh out of West Point” or “fresh out of ROTC” smear applied to new Lieutenants who assume Platoon Leadership with little to no actual experience. Unfortunately, this doesn’t exactly play out on the General level. Yes, the General ranks expanded rapidly during World War II, but an individual didn’t become one by being a complete buffoon (and yes there are always exceptions — but General Carlton, who seems to have a sense of urgency that no one in Waverly’s sphere of influence seems to possess, does not seem to be the exception).

Never mind, we’ll go on with the traditional “smearing of the new guy who replaces the beloved experienced leader.” In the original script I copied and analyzed, the dialogue was OVERTLY insubordinate and actively undermining of the men’s confidence in their new commander. In the corrected dialogue, though cleaned up a lot, there are still hints of undermining the new guy’s authority before he even makes a decision as the commander. There’s General Waverly’s smart-ass “There’s no Christmas in the Army” jab as a response to Carlton’s concern about the location and timing of the entertainment event — which he says “knowingly” to the Adjutant, who, we must remind ourselves no longer works for the Waverly but for Carlton.

There is the extra-rotten move when Carlton, recognizing the imminent danger as well as the horrifying breach of schedule in implementing the plan of operations, indicates he plans to move to Headquarters immediately to begin rectifying the situation and is undermined either by the Sergeant driving Carlton or by General Waverly himself. The driver decides to undermine Carlton’s ability to fix the problem by taking an extra long route back to headquarters. Between a driver and a singing-private, this division is apparently full of the lowest-ranking guys thinking they know best when to leave a behind-the-schedule division exposed to enemy fire just so they can catch a few tunes from Bing. The only other possible explanation is that General Waverly, himself, with a nod-nod wink-wink, authorized the driver to follow the reckless plan to take an hour-and-a-half detour, which we assume will require another hour-and-a-half correction before Carlton can get to Headquarters. Just as with the Adjutant before, let’s again consider that this driver no longer works for Waverly, but for Carlton The Sergeant is being openly insubordinate.

Even if Waverly was not responsible for the three-hour diversion, he immediately became complicit when the Adjutant, in an apparent realization who his new boss is (Carlton), moved to correct the driver but was stopped  from doing so.by General Waverly

The last bit of insubordination and undermining  the chain of command comes from the subtle digs Captain Wallace makes during his speech. His “Fresh out of the Pentagon” disdain undermines faith that Carlton may be a good commander, followed by the snide “not a nice Christmas present” for the division is enough to get any soldier censured. Soldiers and peers WILL whisper about their leaders, but an open act of insubordination like that? Stamped out like a spark in a dry forest… I won’t even address the fact that it’s a COMMISSIONED OFFICER making the openly insubordinate comments and a CAPTAIN no less. He would be dismissed and transferred immediately.

But hey, I suppose Waverly recognized all their rotten conduct when he feebly tried to make things right by saying “hey guys, he’s a good commander, never mind all the stuff we said before and our attitudes we displayed before!” A few moments later, just to do Carlton some justice, the artillery shelling arrives.

Then the movie moves into its funny guilt extortion phase. Army private Phil Davis (Danny Kaye) rescues his smooth-singing captain, Bob Wallace (Bing Crosby) from being crushed by a falling wall in a World War II bombing raid, and injures his arm in the process. (It’s not a plot feature, but the battlefield set for the entire opening sequence is itself unethically unprofessional by being chintzy even by musical standards: it looks like they are filming a skit for a Bob Hope Christmas Special.  I thought it was lousy when I saw it as a kid. Michael Curtiz deserved better; the man directed “Casablanca.” Show some respect.) Phil then uses Wallace’s debt of gratitude to coerce him into accepting the aspiring comic as a partner in Wallace’s already successful civilian act. This is obviously unfair and exploitative, but Bing accepts the ploy with good spirits, and the next we see  the new team of Wallace and Davis knocking ’em dead and rising in the ranks of stage stars.

The act looks terrible. Bing was never much of a dancer, a game hoofer at best, and you don’t feature the greatest voice in the history of American popular music by having him sing exclusively duets. Nevertheless, all we see of the team’s rise is both of them singing and corny dancing inferior to what Bing did with Bob Hope in the “Road” movies.

Never mind. They have a show on Broadway, and as a favor to a mutual army buddy, they agree to watch the boonies nightclub act of “The Haynes Sisters” (Rosemary Clooney as Betty, and Vera-Ellen, of wasp-waist fame, as kid sister Judy. Did you know that in the “Sisters” number, Clooney sang both parts? ). Bing is immediately smitten with older sister Rosemary, but there is a tiff over the fact that younger sister Judy fooled them into seeing their act: she, not her brother, had sent the letter asking for a “favor.”

This is the first revealed of many lies woven into the script. This one is a double beach of ethics: Judy uses her brother’s name and contacts without his permission or knowledge, and lures Wallace and Davis to the night club under false pretenses.

Bing dismisses Judy’s cheat by noting that everyone “has an angle” in show business, so he’s not angry. Rosemary is, though, and reprimands Bing for being cynical. That’s right: Vera/Judy uses their brother’s name to trick two Broadway stars into watching their little act, and Rosemary/ Betty is annoyed because Bing/Bob (Bing’s bandleader, look-alike, sound-alike brother was also named Bob) shrugs off the lie as show business as usual. True, Betty is technically correct to flag the Everybody Does It rationalization, but shouldn’t she be grateful that Bob isn’t reaming out the Haynes sisters and leaving the club in a huff? OK, nice and uncynical is better than nice and cynical, but Bob is still giving her and Judy a break. As the beneficiary on Judy’s angle, Betty is ethically estopped from complaining that Bing/Bob’s reaction was “I don’t expect any better.” I can, she can’t. He should expect better: accepting unethical conduct allows it to thrive.

As we soon find out, however, Betty often flies off the handle.

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Comment Of The Day: Poll-Fest: Is This Ethnic Humor Offensive?

First, the poll results!

 

Now here is Charles Green’s Comment of the Day on the post, Poll-Fest: Is This Ethnic Humor Offensive?

They’re all pretty funny to me. However, this is making me think.

The term “offensive” is more meaningfully understood as being about the offendee, not about the offending material.

There are some things that are so universally experienced as offensive, across most cultures and most history, that we can easily lapse into using “offensive” as an adjective to describe the subject matter.

But that’s a mistake. Continue reading

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Poll-Fest: Is This Ethnic Humor Offensive?

I was going to include these in the previous post, but decided to let it stand alone.

Please review these comedy clips, and vote on whether or not each is potentially and legitimately offensive to the ethnic group portrayed, parodied, or stereotyped.

1.  Danny Kaye: “Anatole of Paris”

 

2. Cleavon Little: “Blazing Saddles”

 

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An Act Of Kindness, Danny Kaye And Me : An Ethics Case Study

Brian Childers

This isn’t a Christmas tale exactly, but it is a deeply personal one that will always make a big difference in how I make decisions in my life. It is episode that taught me, once and for all, that when you do the right thing, the amount of good that can come from it is unpredictable and sometimes unimaginable.

Maybe it will inspire you too.

In 2001, my friend Bob McElwaine handed me a script and a CD of a musical he had been working on about his long-time friends and clients, entertainer Danny Kaye and his wife, song writer Sylvia Fine. Bob was in his 70s, retired, a former Hollywood publicist and later an association executive who had taken up writing musicals with his childhood buddy, legendary movie score bassist Bob Bain (that’s Bain you hear playing the famous bass instrumental on the “Bonanza” theme…

…and the melody line in “The Munsters” intro too.)

McElwaine knew I was a long-time Danny Kaye admirer. He had been a wealth of information for me about Kaye when I was directing “Lady in the Dark,” the Broadway show that had made Danny a star in 1941, for the American Century Theater years before. One day, Bob asked me, as a favor, if I would agree to workshop the new piece, direct it, and see how it turned out in front of an audience.

I was not enthusiastic about the project, not at all. I had my ethics business as well as the theater to oversee; I had just finished directing a show, requiring me to be out of the house every weekday night and all day Saturday, and I thought the piece itself was too old-fashioned and formulaic to work. Mostly, however, I didn’t see how anyone could be a credible Danny Kaye, since Kaye was a unique performer—he wasn’t exactly a comedian, or a singer, or a dancer, yet  all of these and more—that has never had a close equivalent since. I was trying to find a way to turn Bob down nicely when I watched a performance of the show I had just gotten up and running. A young man named Brian Childers who was only in his second professional role played the romantic lead, and that night, for some reason, he handled a scene differently than I had ever seen him do it before—and for maybe three seconds, probably because Bob had just put the late performer’s image in my short term memory, reminded me of Danny Kaye.

After the performance I asked Brian if he would be interested in playing Kaye in this new musical, and he enthusiastically agreed, saying he was a huge Danny Kaye fan. (Later I learned that he barely knew who he was). Continue reading

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“White Christmas” Ethics (UPDATED)

White-Christmas

I just watched“White Christmas” again when my wife wasn’t around (she hates it), and was again struck by how entertaining it manages to be while making no sense at all and containing one ethics breach or gaffe after another. Ethics Alarms did an ethics review of the film in 2012, and reading it now, I realize I was too kind. This is an update.

Yes, I still get a lump in my throat when the old general, played by Dean Jagger, gets saluted by his reunited army unit, which has gathered at his struggling, snowless, Vermont inn on Christmas Eve to remind him that he is still remembered and loved. Nonetheless, it is by far the strangest of the Christmas movies, and also the most unethical. Though everything works out in the end, the characters in the sloppy plot spend the whole movie lying, extorting, betraying, manipulating and generally mistreating each other, always with no recriminations at all, and usually with no consequences either.

The movie starts out with guilt extortion. Army private Phil Davis (Danny Kaye) rescues his smooth-singing captain, Bob Wallace (Bing Crosby) from being crushed by a falling wall in a World War II bombing raid. (It’s not a plot feature, but the battlefield set for the entire opening sequence is itself unethical by being chintzy even by musical standards: it looks like they are filming a skit for a Bob Hope Christmas Special.  I thought it was lousy when I saw it as a kid.) Phil then uses Wallace’s debt of gratitude to coerce him into accepting the aspiring comic as a partner in Wallace’s already successful civilian act. This is obviously unfair and exploitative, but Bing accepts the ploy with good spirits, and the next we see  the new team of Wallace and Davis knocking ’em dead and rising in the ranks of stage stars. Now they have a show on Broadway, and as a favor to a mutual army buddy, they agree to watch the boonies nightclub act of “The Haynes Sisters” (Rosemary Clooney as Betty. and Vera-Ellen, of wasp-waist fame, as kid sister Judy. Did you know that in the “Sisters” number, Clooney sang both parts? ). Bing is immediately smitten with older sister Rosemary, but there is a tiff over the fact that younger sister Judy fooled them into seeing their act: she, not her brother, had sent the letter asking for a “favor.”

This is the first revealed of many lies woven into the script. This one is a double beach of ethics: Judy uses her brother’s name and contacts without his permission or knowledge, and lures Wallace and Davis to the night club under false pretenses.

Bing dismisses Judy’s cheat by noting that everyone “has an angle” in show business, so he’s not angry. Rosemary is, though, and reprimands Bing for being cynical. That’s right: Vera/Judy uses their brother’s name to trick two Broadway stars into watching their little act, and Rosemary/ Betty is annoyed because Bing/Bob (Bing’s bandleader, look-alike, sound-alike brother was also named Bob) shrugs off the lie as show business as usual. True, Betty is technically correct to flag the Everybody Does It rationalization, but shouldn’t she be grateful that Bob isn’t reaming out the Haynes sisters and leaving the club in a huff? OK, nice and uncynical is better than nice and cynical, but Bob is still giving her and Judy a break.

As we soon find out, however, Betty is prone to flying off the handle.

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The Ethics of Outing the Movie Star

My least favorite website, the ethically challenged Gawker, became the latest media source to publish rapidly spreading tales of the gay sexual escapades of a well-known Hollywood leading man who is also married, has children, attracts a great deal of positive publicity because of his family life, and, to cap it all off, is a high-profile member of a church (the Church of Scientology) that has in the past treated homosexuality as a curable malady. A book is coming out, and the author is pumping up interest in the tabloids.

The ethical question: is this legitimate news? Should it be reported? If it isn’t news, but rather a vile and mean-spirited invasion of privacy, then Gawker, as usual, is wading in slime. If, however, it is news, then why is the mainstream media ignoring the story?

This is a messy ethical conflict. Continue reading

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Oprah and the Icons: the Ethics of Lying to Make a Difference

Kitty Kelley’s unauthorized, rip-the-mask-off-the-icon bio is out, and now Oprah Winfrey must weather the inevitable de-construction of some of her meticulously self-created image. Oprah is pretty much untouchable now; I was a guest at her “O” Magazine Expo last Fall in Kansas City, and it was clear that her status with he legion of followers is somewhere between a guru and a goddess. There aren’t many revelations, short of proving that she is secretly Dick Cheney in an elaborate disguise, that could do much to reduce her cultural influence or undo her popularity.

Still, it used to be that heroes, celebrities and cultural icons could count on the whole truth about their personal and career embellishments to surface only late in life, or more often, long after death. Thus it has been a standard tool of rising figures in America to carefully craft an inspiring story and an appealing persona that excite and engage the public, and the truth has had little to do with it. It’s worked, too. Continue reading

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