{"title":"Bing Crosby’s Stardom and the Depiction of Legend in Paramount’s A Connecticut Yankee in King Arthur’s Court","authors":"M. Woller","doi":"10.1093/oso/9780197511022.003.0002","DOIUrl":null,"url":null,"abstract":"This chapter discusses the 1949 film A Connecticut Yankee in King Arthur’s Court, starring Bing Crosby. This later film does not adapt the Rodgers and Hart musical; instead, it acts as a star vehicle for Crosby and features new songs by Jimmy Van Heusen and Johnny Burke. Less influential and enduring than the other works featured within this book, this 1949 film nonetheless provides an interesting counterpoint to the Rodgers and Hart revival of a few years before. The film was a commercial success, and this chapter considers it in that light. Furthermore, the author examines the role of Bing Crosby and considers the purpose of this musical film as a star vehicle. With Crosby singing in four of the five surviving songs within the film, the music utilizes the crooner’s voice and star persona in order to tell the story and sell the film.","PeriodicalId":130473,"journal":{"name":"From Camelot to Spamalot","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"From Camelot to Spamalot","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780197511022.003.0002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This chapter discusses the 1949 film A Connecticut Yankee in King Arthur’s Court, starring Bing Crosby. This later film does not adapt the Rodgers and Hart musical; instead, it acts as a star vehicle for Crosby and features new songs by Jimmy Van Heusen and Johnny Burke. Less influential and enduring than the other works featured within this book, this 1949 film nonetheless provides an interesting counterpoint to the Rodgers and Hart revival of a few years before. The film was a commercial success, and this chapter considers it in that light. Furthermore, the author examines the role of Bing Crosby and considers the purpose of this musical film as a star vehicle. With Crosby singing in four of the five surviving songs within the film, the music utilizes the crooner’s voice and star persona in order to tell the story and sell the film.