Watch Wonder Man (1945)

 

Watch Wonder Man (1945)
American Film, Comedy, Fantasy, Musical

Cannes Film Festival, 1946- Official Selection
Academy Awards, 1946- Winner: Best Effects, Special Effects, 3 nominations including: Best Sound, Recording 
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 The 1945 supernatural musical-comedy Wonder Man, directed by H. Bruce Humberstone and produced by Samuel Goldwyn, stands as a vibrant showcase for the manic genius of its star, Danny Kaye. A confection of Technicolor escapism, madcap mistaken identity, and impressive special effects for its era, the film delivers a joyous blend of song, dance, and sheer silliness, all built around a dual performance by its leading man. More on Wikipedia or Mubi

The Nutty, Ectoplasmic Brilliance of Wonder Man (1945)

The convoluted, yet utterly charming, plot revolves around two twin brothers who are "super-identical" in appearance but diametrically opposed in personality. First, there is Buzzy Bellew (Kaye), a flamboyant, fast-talking nightclub entertainer scheduled to testify against notorious mob boss "Ten Grand" Jackson. Before Buzzy can fulfill his civic duty, however, Jackson's henchmen "rub him out," dumping his body into a river. The story then shifts to Edwin Dingle (also Kaye), Buzzy's timid, bookish twin—a scholarly man of total recall and a dedicated patron of the library.

Before his spirit can find rest, Buzzy returns as a wisecracking ghost, visible and audible only to Edwin. The incorporeal Buzzy then pressures his bewildered brother to assume his identity, testify against Jackson, and bring the killer to justice. Edwin, a mild-mannered fellow smitten with a sweet librarian named Ellen Shanley (Virginia Mayo), is forced to navigate the chaotic world of his deceased brother, dodging gangsters and placating Buzzy’s vivacious fiancée, dancer Midge Mallon (Vera-Ellen).

The core comedic engine of the film is the clash between the two personalities, often through Buzzy's possession of Edwin's body. The reserved Edwin is transformed into an outrageously goofy performer, leading to one of the film's most famous sequences: a show-stopping number where the Buzzy-possessed Edwin impersonates an allergic Russian baritone, his grand opera frequently interrupted by riotous, honking sneezes. The film is an indulgence in Kaye's distinct brand of humor, featuring his famous tongue-twisting dexterity and physical comedy.

Beyond the antics of its star, Wonder Man is notable for its technical achievements. The stunning visual effects, which won an Academy Award, allow Kaye to seamlessly interact with himself in numerous scenes, a challenging feat in 1945. The rich, saturated Technicolor palette is beautifully employed, enhancing the extravagant musical numbers choreographed by Vera-Ellen, whose dazzling dance routines provide dynamic highlights throughout the picture.

While the gangster subplot provides the narrative impetus, the true pleasure of Wonder Man lies in its relentless, effervescent comedy. It is a prime example of the light afterlife fantasy-comedies popular during the 1940s, using the supernatural premise as a playful springboard for a star vehicle. The film served as a perfect tonic for audiences weary from the war, offering a bright, utterly wacky escape that cemented Danny Kaye's status as a top-tier Hollywood star. His energetic, dual performance—the nervous intellectual and the brazen showman—is the heart of this enduringly madcap film.

The Good and the Bad of Wonder Man (1945)

Wonder Man is a prime example of high-energy, postwar Hollywood entertainment, offering a mix of dazzling spectacle and broad comedy, though not without a few elements that show their age.

The Good

Danny Kaye's Dual Performance: This is unequivocally the film's greatest strength. Kaye plays the fast-talking nightclub star Buzzy and the shy, scholarly twin Edwin, creating a hilarious dynamic. The contrast between the suave ghost and the nervous intellectual, especially when Buzzy possesses Edwin, is the engine of the film’s comedy. His physical comedy, elastic facial expressions, and rapid-fire patter are on full display, solidifying his star power.

Groundbreaking Special Effects: The film won the Academy Award for Best Special Effects, and deservedly so. The techniques used to allow Danny Kaye to interact seamlessly with himself in the same shot—often with the ghostly Buzzy giving instructions to Edwin—were highly sophisticated for 1945. These effects are beautifully executed and entirely convincing, propelling the story rather than merely serving as a gimmick.

Vibrant Technicolor and Production Value: Produced by Samuel Goldwyn, the film boasts a high budget, evident in the lush, saturated Technicolor cinematography. The colors are magnificent, enhancing the elaborate sets, extravagant costumes, and overall sense of escapism and fantasy.

Musical and Dance Highlights: The movie features several memorable musical numbers. Vera-Ellen, as Midge Mallon, provides electrifying, athletic dance sequences that are a delight to watch. The show-stopping number where the possessed Edwin impersonates an allergic Russian opera singer is an iconic piece of physical and vocal comedy that perfectly encapsulates Kaye's unique talents.

Lighthearted Escapism: Following the intensity of World War II, the film offered audiences pure, joyful escapism. Its supernatural premise is handled with a light, witty touch, delivering continuous laughs and spectacle without taking itself too seriously.

 The Bad

Overly Convoluted Plot: The narrative, which involves identical twins, a ghost, a murder plot, and a case of mistaken identity in the middle of a love quadrangle, can feel needlessly complex. The central conceit takes a while to set up, and the focus occasionally shifts away from the more interesting comic interplay between Buzzy and Edwin to the more routine gangster subplot.

Formulaic Supporting Characters: While the supporting cast is talented (Vera-Ellen and Virginia Mayo are charming), their characters—the cynical dancer, the sweet librarian, and the stereotypical mobsters—are largely one-dimensional. They primarily exist to react to Kaye’s antics or to move the murder mystery forward, lacking the depth that might anchor the wilder elements of the story.

Pacing Issues: Given its nearly 100-minute runtime, the film occasionally drags, particularly during some of the less dynamic dialogue scenes between the principal actors when Kaye is not actively performing his dual role. The reliance on the mystery plot slows down the pace between the big special effects and musical numbers.

Reliance on Kaye's Energy: The success of Wonder Man is almost entirely dependent on the audience's enjoyment of Danny Kaye's specific, frenetic brand of humor. If a viewer is not charmed by his fast-talking patter, exaggerated physical comedy, and specific vocal talents (like the Russian baritone sequence), the film will likely fall flat. The other elements, while good, are secondary to his star performance.
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