That was an excellent one.

Overrated

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

1938's "Happy Landing" marked Darryl Zanuck's third serving of Sonja Henie on ice, Olympic skating champion-turned Hollywood sensation, her vehicles filled with light froth, musical numbers, and, of course, elaborate skating routines carefully choreographed by the star herself. Already quite wealthy, Sonja appeared to have more leeway with Zanuck so far as salary goes, but demands for dramatic material met with understandable resistance. At over 100 minutes it's just too much for one sitting, despite likable players such as Cesar Romero, Ethel Merman, and Don Ameche, who apparently despised Sonja as much as she hated him. Audiences didn't care about offscreen squabbles so long as they got to see plenty of skating, quite well done as expected, but the numbers leave much to be desired, Ethel Merman soon to abandon Hollywood for her first love, the stage. Among the unbilled newspaper reporters are Herold Goodwin, Robert Lowery, and Lon Chaney, the latter still struggling to make a name at Fox, essentially wasted in bits like this for two years and 30 films. Seen only at the 90 minute mark, Chaney gets a few inconsequential lines before rushing off to his next assignment, rarely credited on screen during this forgettable period (he'd already encountered Sonja Henie in her previous film, "Thin Ice," in an even more worthless reporter bit).

Even in her lesser films ('It's a Pleasure', 'Katina', 'Everything Happens at Night' and 'One in a Million'), Sonja Henie was always watchable and there was a good deal to like about her weaker outings. The bright spots were often her, the ice skating sequences and the music, while the weak link was often typically the story.Along with 'Sun Valley Serenade', 'My Lucky Star', 'Second Fiddle' and 'Lovely to Look At', 'Happy Landing' generally is one of her better films. While it has been well established by now that one doesn't see a Sonja Henie film for the story, it will be quickly pointed out that it's particularly weak here, very daft, sometimes over-complicated and in some stretches with little to it.Despite wonderful singing by Ethel Merman and Leah Ray, the songs are of the pleasant kind but also the sort that won't stick in the head very long or make one want to listen to it over and over. "Hot and Happy" and "A Gypsy Told Me" fare best, while "You Appeal to Me" is clever once and if you get the references (that are very of their time here) and "Yonny and his Oompah" is too much of an acquired taste novelty act. If you dislike El Brendel (indifferent personally), you'll struggle to sit through it most likely though Henie's skating dazzles. Don Ameche is charming and amiable if perhaps a bit too subdued, while Jean Hersholt is wasted in a thankless role.So much can be recommended however. 'Happy Ending' is exquisitely photographed and sumptuously designed. The skating sequences are brilliantly choreographed and danced with so much energy and grace, while one may feel like Merman's talents are not fully lived up to Henie's talents are used to the hilt. The film is wittily scripted and is always easy to watch with energetic pacing and bags of charm.Henie is pert, spunky and charming, and the camera clearly loves her. Her ice skating is also out of this world. Cesar Romero is both dashing and zany, offering more enthusiasm than Ameche does, while Merman thrills with her big brassy voice even if worthier of better songs. Billy Gilbert is also a scene stealer, and Roy DelRuth directs more than competently.On the whole, entertaining film that doesn't have the happiest of landings but in no way can a thud be heard. 7/10 Bethany Cox

HAPPY LANDING (20th Century-Fox, 1938), directed by Roy Del Ruth, is an agreeable musical with an impressive cast headed by Olympic ice skating champion, Sonja Henie, in her third and longest (103 minutes) film in her career. It reunites her with ONE IN A MILLION (1936) co-stars, Don Ameche and Jean Hersholt, as well as pairing her for the first time opposite Cesar Romero. Romero, an icon of 20th-Fox, appears more on the level as Henie's co-star than Ameche, at least until later on where the actors team up equally as rivals of her affection.Plot summary: Benjamin Sargent (Cesar Romero), better known as "Duke," is scheduled to pilot his plane from New York to Paris, accompanied by Jimmy Hall (Don Ameche), his manager and best friend. A band-leader and songwriter by profession, Duke carries on a romance with Flo Kelly (Ethel Merman), a gold digging vocalist whose suspicious nature has her capturing his every word on a phonograph record for blackmail purposes. After Duke and Jimmy fly over the Atlantic, their plane makes a forced landing in Nordenscnolde, a Norwegian village where they meet up with an ice skater named Trudy Erickson (Sonja Henie). Being the only one of four daughters to not be married, Herr Erickson (Jean Hersholt) expects Trudy to marry Olaf (Louis Aldon, Jr.), a man she doesn't love. Trudy becomes immediately charmed with the arrival of a tall, dark handsome stranger in the manner of Duke, as told to her by a gypsy fortune teller (Marcelle Corday). When Jimmy learns of Trudy's interested in Duke as her future husband, especially after dancing with her twice, he takes Duke back to his airplane where they fly out to their destination in Paris. Trudy, on the other hand, comes to New York after Duke's return, only to learn through Jimmy that he's nothing but a cad. With no other place to go, Trudy, with Jimmy's help, turns her into an ice skating attraction at Madison Square Garden. By the time she's beginning to show interest in Jimmy, Duke comes back into her life only to complicate matters.HAPPY LANDING plays like a travelogue with surroundings from New York to Norway to Paris to Florida (Miami) and finally New York again. During this venture, the bright but forgettable score by Jack Yellen and Samuel Pokrass consist of: "You Are the Words to the Music in My Heart" (a slow song cut from final print, existing only with Ethel Merman's rendition through its brief conclusion); "Skating Number" (performed by Sonja Henie); "A Gypsy Told Me" (sung by Leah Ray); "Hot and Happy" (sung by Ethel Merman); "The War Dance of the Wooden Indian" (by Raymond Scott, tap dance performance by The Condos Brothers); "Yonny and the Oompah" (by Walter Bullock and Harold Spina/sung by El Brendel/skated by Henie); Skating Montage: "One in a Million," "We're Back in Circulation Again," "My Secret Love Affair" and Johann Strauss's "Tales of the Vienna Woods"; "A Gypsy Told Me" (sung by Don Ameche); "You Appeal to Me" (sung by Ethel Merman); Skating sequence: "You Appeal to Me," "A Gypsy Told Me" and "Hot and Happy" (all performed by Henie); and "Hot and Happy" (finale). Having two female vocalists in the cast, Leah Ray, who gives "A Gypsy Told Me" a nice rendition, Merman, best suited for belting out great Irving Berlin tunes, fails to make these new songs live up to such hits as "Blue Skies" or "Heat Wave." "You Appeal to Me" does have clever lyrics with dated references to Al Jolson, Greta Garbo, Franklin D. Roosevelt and Edgar Bergen, but in spite of her delivery, song overall works out better as an instrumental ice skating number than a Merman solo. Tunes aside, plot makes way for comedy bits by character types as Wally Vernon (who can easily be confused with Sid Silvers) as Al Mahoney, the third member of Duke's troupe who at one point performs a striptease to entertain reporters (one of them being Lon Chaney Jr.) while awaiting for an interview at the airport; Billy Gilbert playing the counterman in his amusing bit of confusion with "Pot roast vs. hamburger supreme" routine with Ameche; and finally El Brendel appearing briefly as a Central Park music conductor.  There's no question of HAPPY LANDING's overall success, through today seen as hampered by slow pacing in spots and overlong specialty acts. Highlights rank those being the well staged ice skating numbers along with Heinie's personality more than her acting ability. Technicolor would have been a big asset for this production. Distributed on home video in the 1990s about the same time American Movie Classics used to show it, HAPPY LANDING (not to be confused with the Don Ameche 1943 drama, HAPPY LAND), turns up occasionally on the "hot and happy" Fox Movie Channel. (*** cheap skates)

After making a HAPPY LANDING in Norway, a flying bandleader and his manager both find themselves fascinated by a lovely young figure skater.Sonja Henie was Norway's ice queen when she won Olympic gold medals in 1928, 1932 & 1936. Quickly going professional, she began a celebrated movie career at 20th Century Fox in 1936 with ONE IN A MILLION, which was her American film debut. Beautiful & talented, as well as being a natural in front of the cameras, she carved out her niche during Hollywood's Golden Age. Although Henie's ice routines may look antiquated by comparison to modern champions, there was nothing antique about her dazzling smile or sparkling personality. In this regard, some of today's snowflake princesses could still learn a great deal from her.As her career progressed, it became increasingly difficult for Fox to find decent stories for Henie and the excuses for the lavish ice dancing numbers were often implausible. No matter. Audiences did not flock to her films to watch Sonja recite Shakespeare. The movies were meant to be pure escapist fantasy, plain & simple.HAPPY LANDING is no exception and its story is often quite silly - any film which relies on a striptease by comic Wally Vernon to supply a few chuckles seems a bit too eager to plunge into burlesque. However, the moments on the ice never bore and the co-stars are rather interesting.As the manager, Don Ameche is stolid & faintly dour throughout, as though he rather disapproved of the entire proceedings. More fun is raffish Cesar Romero as the zany bandleader, who gives his natural proclivity for frivolity full rein - especially when teamed with brassy singer Ethel Merman. And although her songs are rather lackluster, there is nothing shy or demure about the way Merman steamrollers her way through her scenes.Gentle Jean Hersholt usually provided an aura of quiet dignity to his films, but here, as Sonja's rather foolish papa, he does himself no favors. He must have been grateful to have been allowed to disappear from the film early on. Much funnier are Billy Gilbert as a diner owner desperate to serve pot roast, and dialect comedian El Brendel as an ice rink band conductor. In their single scenes each shows how to effortlessly steal the attention of the audience for a few moments.Movie mavens will recognize an uncredited Lon Chaney Jr. as a reporter near the end of the film.Ultimately, though, this is Sonja's show. She glides effortlessly into the viewer's heart, while balancing on a thin edge of silver suspended over frozen water.