The life of the renowned musical composer, playwright, actor, dancer, and singer George M. Cohan.The life of the renowned musical composer, playwright, actor, dancer, and singer George M. Cohan.The life of the renowned musical composer, playwright, actor, dancer, and singer George M. Cohan.
- Won 3 Oscars
- 6 wins & 6 nominations total
Patsy Parsons
- Josie Cohan - As a Girl of 12
- (as Patsy Lee Parsons)
Storyline
Did you know
- TriviaMany facts were changed or ignored to add to the feel of the movie. For example, the real George M. Cohan was married twice, and although his second wife's middle name was Mary, she went by her first name, Agnes. In fact, the movie deviated from the truth to such a degree that Cohan's daughter Georgette commented, "That's the kind of life Daddy would have liked to have lived."
- GoofsThe "You're A Grand Old Flag" number, supposedly takes place in the 1906 production of "George Washington Jr.," and uses multiple period flags to represent times before 1906. The Civil War flag, as an example, is correct for the time in question. However, in the final sequence characters carry, and an soft screen projection is made of, multiple 48 star flags. The 48 star flag was not introduced until 1912. In 1906, it should have been a 45 star flag. (Oklahoma was admitted to the Union in 1907, New Mexico and Arizona in 1912).
- Quotes
George M. Cohan: My mother thanks you, my father thanks you, my sister thanks you, and I thank you.
- Alternate versionsAlso available in a computer colorized version.
- ConnectionsFeatured in The Voice That Thrilled the World (1943)
- SoundtracksThe Yankee Doodle Boy
(1904) (uncredited)
from the Broadway Show "Little Johnny Jones"
Written by George M. Cohan
Played during the opening credits
Sung and Danced by James Cagney and Chorus
Featured review
Red White and Blue, Cagney for You
James Cagney won his only Oscar for his recreation of George M. Cohgan in Yankee Doodle Dandy. Already terminally ill, Cohan lived long enough to see the film and no doubt he would have approved of it because it sure is how he would like to have been remembered.
In 1942 when Yankee Doodle Dandy premiered there was a whole generations of people left alive who saw George M. Cohan perform. Watching the film today Cohan is like a figure from antiquity. But Warner Brothers was lucky to have James Cagney with the studio who's dancing style closely paralleled Cohan's. If it is ever run on Turner Classic Movies, make sure you see George M. Cohan's sound film The Phantom President. You will be astonished to see how closely Cagney captured his style. In the same way that Philip Seymour Hoffman captured Truman Capote and Joaquin Phoenix became Johnny Cash.
Cohan's contemporaries are also like names from antiquity. But a century ago when Cohan was just hitting the big time performers like Fay Templeton, Nora Bayes, and Eddie Foy were very big stars and in 1942 plenty of people saw them also. I wish we had some film of them to see how Irene Manning, Frances Langford, and Eddie Foy, Jr. did in their recreations. I'm sure Foy, Jr. did a smashing job with his Dad.
The background stuff is true enough. Cohan was born to a pair of vaudeville performers Jerry and Nellie Cohan played here by Walter Huston and Rosemary DeCamp. Later on a sister was added to the Cohan family and here Josie Cohan is played by Jeanne Cagney. They did do all the towns, big and small, in America. Cagney meets wife Joan Leslie at Shea's Theater in Buffalo, New York and Shea's survives to this day. And his first real success was Little Johnny Jones which score included American classics, Yankee Doodle Dandy and Give My Regards to Broadway.
What's left out is the fact Cohan had two wives. His second wife survived him and died in the early Seventies. As his songs became popular in patriotic/rightwing circles, Cohan's personal politics reflected that. He fought hard and lost in the battle for Actors Equity. Cohan thought a union of players was tantamount to Communism. But such was his standing among performers that Cohan was granted the unique privilege of being allowed to appear on stage without having to join Equity once the union was recognized as the bargaining agent for players.
Cohan is shown in Yankee Doodle Dandy as gracefully having retired when other trends in popular music took over. Far from it, he was a very bitter man and when he did that final comeback in I'd Rather Be Right he fought with Kaufman and Hart over the book and Rodgers and Hart over the songs.
But Yankee Doodle Dandy presents the public musical face of George M. Cohan and does it very well. To this day, some forty years after first seeing Yankee Doodle Dandy on television, I love the recreations of Yankee Doodle Dandy, Give My Regards to Broadway, and You're a Grand Old Flag as they were first seen on stage. Plus some of the snatches of the lesser known Cohan songs as performed by the players portraying the Cohan family and others.
When all is said and done, George M. Cohan was a great force of nature in the American musical theater. And we thank his father, mother, and sister, and George M. himself for what he left us.
In 1942 when Yankee Doodle Dandy premiered there was a whole generations of people left alive who saw George M. Cohan perform. Watching the film today Cohan is like a figure from antiquity. But Warner Brothers was lucky to have James Cagney with the studio who's dancing style closely paralleled Cohan's. If it is ever run on Turner Classic Movies, make sure you see George M. Cohan's sound film The Phantom President. You will be astonished to see how closely Cagney captured his style. In the same way that Philip Seymour Hoffman captured Truman Capote and Joaquin Phoenix became Johnny Cash.
Cohan's contemporaries are also like names from antiquity. But a century ago when Cohan was just hitting the big time performers like Fay Templeton, Nora Bayes, and Eddie Foy were very big stars and in 1942 plenty of people saw them also. I wish we had some film of them to see how Irene Manning, Frances Langford, and Eddie Foy, Jr. did in their recreations. I'm sure Foy, Jr. did a smashing job with his Dad.
The background stuff is true enough. Cohan was born to a pair of vaudeville performers Jerry and Nellie Cohan played here by Walter Huston and Rosemary DeCamp. Later on a sister was added to the Cohan family and here Josie Cohan is played by Jeanne Cagney. They did do all the towns, big and small, in America. Cagney meets wife Joan Leslie at Shea's Theater in Buffalo, New York and Shea's survives to this day. And his first real success was Little Johnny Jones which score included American classics, Yankee Doodle Dandy and Give My Regards to Broadway.
What's left out is the fact Cohan had two wives. His second wife survived him and died in the early Seventies. As his songs became popular in patriotic/rightwing circles, Cohan's personal politics reflected that. He fought hard and lost in the battle for Actors Equity. Cohan thought a union of players was tantamount to Communism. But such was his standing among performers that Cohan was granted the unique privilege of being allowed to appear on stage without having to join Equity once the union was recognized as the bargaining agent for players.
Cohan is shown in Yankee Doodle Dandy as gracefully having retired when other trends in popular music took over. Far from it, he was a very bitter man and when he did that final comeback in I'd Rather Be Right he fought with Kaufman and Hart over the book and Rodgers and Hart over the songs.
But Yankee Doodle Dandy presents the public musical face of George M. Cohan and does it very well. To this day, some forty years after first seeing Yankee Doodle Dandy on television, I love the recreations of Yankee Doodle Dandy, Give My Regards to Broadway, and You're a Grand Old Flag as they were first seen on stage. Plus some of the snatches of the lesser known Cohan songs as performed by the players portraying the Cohan family and others.
When all is said and done, George M. Cohan was a great force of nature in the American musical theater. And we thank his father, mother, and sister, and George M. himself for what he left us.
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- May 28, 2006
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Details
Box office
- Gross US & Canada
- $11,800,000
- Runtime2 hours 6 minutes
- Color
- Aspect ratio
- 1.37 : 1
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