This warm and engaging [2] film was one of Astaire's favorites,[3] possibly because of the nostalgic vaudeville connection. "Three Little Words" takes fewer liberties with the facts than many Hollywood biopics, and Astaire and Skelton's portrayal of the songwriting partnership is considered psychologically accurate.[2] Adding to the film's appeal is the quality acting and mutual chemistry between Skelton and Astaire, as well as some fine comedy touches from Skelton.[3]
Unusually for songwriting biographies of this period, "Thinking of You" and "Nevertheless" became major hits on the US music charts when the film was released, reaching #1 and #2, respectively.
This film provides an object lesson in how to integrate numerous songs and dances seamlessly and naturally into the script, a principle Astaire introduced as far back as 1934. Astaire's choreography takes the opportunity provided by Vera-Ellen's technical prowess [3] to showcase dance routines notable[2] for leg kicks, lifts and (Astaire's innovative combination of the two) the hurdling lift, invented for "The Yam" number in Carefree (1938). These routines are contrasted with some choreographically primitive numbers typical of vaudeville c. 1920. The spirit of the partnered dances expands on the theme of marital contentment previously explored in The Story of Vernon and Irene Castle (1939) and the prior year's The Barkleys of Broadway (1949). Vera-Ellen's singing voice was dubbed[2] by Anita Ellis.
"Where Did You Get That Girl?": Decked out in top hat, white tie and tails, Astaire and Vera-Ellen impersonate the vaudeville duo of Kalmar and Brown with this genial song and dance duet set around 1919. (The 1913 song was written by Kalmar and an earlier partner, Harry Puck.) Fred and Adele Astaire greatly admired the Kalmar-Brown partnership: "We used to stand in the wings and watch Jessie and Bert with thrilled envy, wondering if we could equal their finesse and reach their headline billing."[3] The routine is straightforward, and when contrasted with the creations of Astaire, Gene Kelly and others, illustrates the profound evolution of popular dance in the intervening period. Incidentally, Ruby, working as a song plugger,[2] once played for the Astaire siblings.
"Mr. and Mrs. Hoofer At Home": A hectic and high-kicking comic dance duet for Astaire and Vera-Ellen set in a suburban living room which portrays [2] the various challenges of contented domesticity. The routine, which in contrast to the previous one is thoroughly modern [2] in conception, is nonetheless shown performed at the Keith's Theatre (which later became the K in RKO) in Washington, D.C. in the presence of noted vaudeville fan President Woodrow Wilson.
"My Sunny Tennessee": Astaire and Skelton deliver a version of this 1921 hit.
"So Long, OO-Long": Astaire and Skelton perform Kalmar and Ruby's 1920 Oriental-themed ditty.
"Test Solo": Danced by Astaire, initially to a spare piano accompaniment by André Previn and then to the music of "Where Did You Get That Girl?". This was his fifth tap and cane solo, the first being "Top Hat, White Tie and Tails" from Top Hat (1935), followed by "I Can't Be Bothered Now" from A Damsel in Distress (1937), the "Audition Dance" from You Were Never Lovelier (1942), and "Puttin' On The Ritz" from Blue Skies (1946), - all remarkably dissimilar in execution. At the beginning, Astaire places his hat atop a light stand and then waves to it. One year later, in "Sunday Jumps" from Royal Wedding (1951), he would famously execute a routine with a hat rack as his partner.
"Come On Papa": Vera-Ellen and a chorus of sailors perform another high-kicking song and dance routine to a 1918 song by Ruby and Edgar Leslie.
"All Alone Monday": Gale Robbins delivers Kalmar and Ruby's 1926 ballad.
"I Wanna Be Loved by You": Debbie Reynolds, in one of her earliest film appearances, performs this 1928 number with Carleton Carpenter. Reynolds is dubbed by the original "boop-boop-a-doop" girl, Helen Kane (uncredited).
"Thinking of You": One of the dance highlights[3] of the film is this romantic partnered routine for Astaire and Vera-Ellen, which follows Ellen's (dubbed) performance of this 1927 standard. The dance begins quietly and affectionately in a lounge area, and gradually builds, becoming progressively more extrovert until the music changes into a rumba - the Latin dance of love - and Astaire embarks on a further exploration of the possibilities of blending Latin and ballroom dance styles, which he had first been inspired to undertake during his celebrated partnership with Rita Hayworth. After this departure, illustrating the passion that can flourish long after the honeymoon, the dance subsides into a tender coda, recalling its opening mood.
"I Love You So Much": Arlene Dahl, accompanied by a chorus of top-hatted men, sings and dances her way through this number originally written[2] for the 1930 film version of The Ramblers (later retitled The Cuckoos).
"Medley" (incl. "Three Little Words"): In this closing "and then we wrote" scene, Astaire and Skelton perform a medley of most songs featured in the film, ending with "Three Little Words" - Kalmar having finally found a suitable lyric for Ruby's melody, a running gag throughout the film.
Contemporary reviews
The New York Times, August 10, 1950: "There is a special quality about the new picture...which deserves immediate mention in detail. That is the polished performance of Fred Astaire as Bert Kalmar... Mr. Astaire has been wearing out thin-soled dancing shoes at a great pace over the years while most of us have grown a little heavier and somewhat slower of foot. But, he hasn't changed. Still lithe in appearance, Mr. Astaire has drawn rich dividends from time and is dancing in peak form...In talking of the fine dancing contributed by Mr. Astaire we forgot to mention how engagingly they carry off the romantic interest and bust into song when the script demands it."[4]
Variety, July 12, 1950: Stal.:"For Astaire, it's unquestionably his best picture in some time. His terping, as always, is tops, his singing is adequate and his characterisation of Kalmar, while never deeply-etched, does full justice to the late songwriter's many talents...Vera-Ellen, with this picture, becomes the undisputed premiere danseuse of the screen. She matches Astaire tap for tap...and looks to be the best partner he's ever had."[4]
Box office
According to MGM records, the film earned $3,019,000 in the US and Canada and $1,507,000 elsewhere, resulting in a healthy profit of $1,252,000.[1]
