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Porter in Hollywood
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This chapter examines Cole Porter's Hollywood career, highlighting his contributions to Metro-Goldwyn-Mayer and Columbia musicals alongside his Broadway legacy. It details his early frustrations, when his work was overshadowed, and shows how films like
Born to Dance
,
Rosalie
, and
Broadway Melody of 1940
(1939) paired him with performers such as Eleanor Powell and Fred Astaire, yielding enduring standards. The chapter explores his later projects, including
The Pirate
(1948),
High Society
(1956), and
Les Girls
(1957), where shifting studio politics, troubled productions, and mixed critical receptions shaped his output. Porter's Columbia films,
You'll Never Get Rich
(1941) and
Something to Shout About
(1943), likewise blended wartime sentiment with musical invention, producing the classic “You'd Be So Nice to Come Home To.” Finally, the chapter concludes that while Porter crafted memorable songs for film, Hollywood remained a diversion rather than his true artistic home.
Title: Porter in Hollywood
Description:
This chapter examines Cole Porter's Hollywood career, highlighting his contributions to Metro-Goldwyn-Mayer and Columbia musicals alongside his Broadway legacy.
It details his early frustrations, when his work was overshadowed, and shows how films like
Born to Dance
,
Rosalie
, and
Broadway Melody of 1940
(1939) paired him with performers such as Eleanor Powell and Fred Astaire, yielding enduring standards.
The chapter explores his later projects, including
The Pirate
(1948),
High Society
(1956), and
Les Girls
(1957), where shifting studio politics, troubled productions, and mixed critical receptions shaped his output.
Porter's Columbia films,
You'll Never Get Rich
(1941) and
Something to Shout About
(1943), likewise blended wartime sentiment with musical invention, producing the classic “You'd Be So Nice to Come Home To.
” Finally, the chapter concludes that while Porter crafted memorable songs for film, Hollywood remained a diversion rather than his true artistic home.
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