User reviews

"Damn Yankees" is old-fashioned entertainment, a bit too talky and literal-minded, but great songs and great dancing never get old. It's worth plodding through the more mundane aspects of this film to relish the classic numbers. "Who's Got The Pain?" has nothing whatsoever to do with the plot, but it proves beyond question that Gwen Verdon is the prime interpreter of the Fosse dance style. "Whatever Lola Wants" is actually rather tame in comparison. The highlight is the smoky, seductive duet "Two Lost Souls," where Verdon lets loose with the greatest of ease. The surprise here is Tab Hunter, who holds his own and handles all the Fosse moves just fine. Jean Stapleton's Sister Miller is an early rehearsal for Edith Bunker. I personally prefer the other George Abbott/Stanley Donen collaboration "The Pajama Game," which is livelier. See them both.

This musical, when revived about a decade ago with Jerry Lewis as Applegate, was referred to as a fable for the Eisenhower Years. It is set in a faintly comfortable period (once the McCarthyite Persecutions were finished), because the concept of this musical was the preoccupation of the American public with the national pastime of baseball, and it's singular domination (between 1947 and 1962) by the New York Yankees. Although the Yankees had had other periods of greatness, with Ruth, Gehrig, "Murderers Row" in the late 1920s and early 1930s, they had to share the domination of the World Series with other teams in that period (the Philadelphia Athletics, the Detroit Tigers, and the St. Louis Cardinals, to name three). But the Yankees in this period started with Joe DiMaggio, entered into the period dominated by Mickey Mantel, Whitey Ford, Billy Martin, Yogi Berra, Phil Rizzuto, Don Larsen, Roger Maris, and presided over by Casey Stengel. They did not always win (one memorable defeat was by their perennial enemy the Brooklyn Dodgers in 1955), but they won so often that to non-baseball fans it was monotonous to follow the sports news: you knew what should finally happen.

So the background of this baseball era is important to understand the musical (one of the few times the actual historical background of the time the musical was created becomes that important). Joe Boyd (Robert Shafer) is a fanatical baseball lover and fan of the woebegone Washington Senators (the saying for many years about the Senators was, "First in war, first in peace, and last in their league."). The team had only one great moment: in 1924 they won the World Series when the team had one of baseball's greatest players on it - Walter Johnson. But it never really was in competition again after that. But Boyd is a fan, and he makes the mistake of being willing to sell his soul to allow the Senators a chance to win the series again. Enter Mr. Applegate (a.k.a. the Devil) played fiendishly well by Ray Walston. He offers Joe a contract that will make Joe the greatest baseball player of all time - and lead to the world series - in return for his soul. Hesitant at first, Joe agrees. He is transformed into Joe Hardy (Tab Hunter), and proceeds to try to join the Senators (with Applegate as his agent).

The Devil can never be trusted in any agreement. Applegate hopes to cause a wave of hope and hysteria by the anti-Yankee baseball public, letting Joe lead his team to the World Series. He plans to pull the rug from underneath the team at the final moment. Unfortunately Joe is a good salesman on his own, and has insisted on an escape clause for himself. Applegate has to accept it for the sake of his own plans. The escape clause is there because Joe loves his wife Meg (Sharon Bolin) and does not want her to be hurt. So Applegate decides to recruit his best female agent, Lola (Gwen Vernon) to vamp Joe and make him forget Meg. But Joe is too faithful, and succeeds in overcoming Lola's "irrisistable" personality (as she sings, "Whatever Lola wants, Lola gets" - except here). Lola, shaken by the experience, becomes a type of groupie for Joe - and eventually starts a mini-revolt on her own against Applegate.

The score of the show is memorable. Besides the key song "Heart" (sung by the Washington team players), and Lola's "Whatever" number, there is also "Two Lost Souls", "Goodbye Old Girl" and Walston's wonderful "Those were the good old days!" (when he fondly recalls all the tragedies he created in the history of mankind - including the day Jack the Ripper was born). Walston was not nominated for any awards for the movie performance*, but his Applegate is one of his best film performances, with his Gillis in SOUTH PACIFIC. He had played both on Broadway first, so we are lucky to have his film performances here.

*(But won the Tony Award for the role on stage.)

Stanley Donan co-directed this film with George Abbott. Abbott was usually a stage director (he had done the musical on Broadway). There is a moment when it is apparent that he is directing. There is a small dance done by one of the three ball players in the "Heart" number, and the close-up of the player as he smiles shyly and steps forward is out of place in the film - but would have worked on stage.

A nearly perfect movie musical with one flaw that brings my rating down to an 8. Several songs were omitted or shortened from the Broadway version, mostly because they were too long for a movie or too risque for a 1950's audience. One number, however was dropped because it was out of Tab Hunter's vocal range: "A Man Doesn't Know." In my opinion this was the best song in the Broadway musical. The reprise was a powerful closer for the show. Sheldon Harnick wrote the replacement, "There's Something About an empty Chair," solo (collaborator Jerry Bock had died a few years earlier), and the difference was painfully obvious. Abbot, Donen and the producers made a grave mistake in not retaining the original song for the reprise which would have been sung by Robert Shafer, not Tab Hunter.

Whenever "Damn Yankees" is staged these days (it's less dated than most musicals of its day) "A Man Doesn't Know" is in its proper place and "Empty Chair" is justifiably and mercifully forgotten.

The superb Gwen Verdon sings and dances and mugs through this very good adaptation of the smash Broadway musical. Verdon is a cross between Shirley MacLaine and Carol Burnett with a dash of Carol Haney (another Bob Fosse protégé) tossed in. She's a total delight and one of the best dancers EVER! Here she plays Lola, the temptress used by the devil (Ray Walston) to lure Joe Hardy (Tab Hunter) from going back to his wife and breaking his satanic deal in which middle-aged Joe becomes a 22-year-old baseball star and catapults the Washington Senators to 1st place.

Tab Hunter replaces Stephen Douglass from the Broadway show. The rest of the cast recreates their parts for the movie. Verdon, Walston, and Russ Brown (the manager) all won Tony awards. Hunter seems rather stiff and uncomfortable through much of the film (though he looks great) but that's the part of Joe.... Hunter is, however, just terrific in the "Two Lost Souls" number with Verdon. He sings, dances (not too bad) and seems to be having a ball. Verdon is just astounding in this number and laughs all the way thru it. Great song.

Verdon is also a showstopper in "Whatever Lola Wants" and "A Little Brains, a Little Talent." It seems these songs were written for her and no one else can do them the way she does. Verdon, like Ethel Merman or Carold Channing, was a total original. The voice is slightly nasal; the inflection is odd. But it works. And her dancing is totally awesome.

Ray Walston seems to have been typecast in weirdo roles after Damn Yankees and My Favorite Martian. He was a better actor than these roles allowed him to show. Russ Brown is solid as the manager, Jean Stapleton plays the friend (and sings), Rae Allen is Gloria (the reporter), Shannon Bolin is the wife, Jimmie Komack is the goofy ballplayer, Nathaniel Frey is Smokey, Bob Fosse has a cameo in "Who's Got the Pain," and Robert Shafer plays old Joe.

Good songs by the same team that did The Pajama Game. Many of the songs were hits of the later 50s. My only beef is that most of the songs are truncated (I had the Broadway soundtrack) and at least one "I Thought About the Game" is used only as background music. Verdon's "A Little Brains, a Little Talent" is cut in half as is Bolin's "Six Months Out of Every Year." Certainly worth a look to see Broadway superstar Gwen Verdon in her prime and Tab Hunter at his hunkiest.

As musicals go, DAMN YANKEES was a highly popular Broadway hit because it gave the audience GWEN VERDON's way with a song and dance and Bob Fosse's choreography. It may not have been as filled with hit tunes as some, but "You Gotta Have Heart", "Whatever Lola Wants," and "Two Lost Souls" were good enough to make theater patrons happy.

When Verdon (and Ray Walston) won their Tony's, it was a good thing Warner Bros. decided to lure both of them to Hollywood for the screen version. For box-office insurance they had hunky TAB HUNTER to ensure that movie fans would show up--and, surprisingly, it all works very well. Hunter is no great shakes as a vocalist, but he's pleasantly unassuming and gets by on his duet with Verdon.

GWEN VERDON lights up the screen whenever she goes into one of her routines, and her "Whatever Lola Wants" is worth the price of admission alone. RAY WALSTON has a devilish time in his rib-tickling role and it's all easy to take as a merry mixture of music and comedy.

The only drawback is that its stage origins are immediately apparent and there's a certain static quality about some of the scenes. But overall, George Abbott and Stanley Donen keep it fresh and lively whenever the music takes center stage.

I bought this movie not knowing what to expect. The only things I knew were that I LOVED Bob Fosse's choreography from films I had seen previously (Sweet Charity, Cabaret) and I loved to hear Gwen Verdon sing (Sweet Charity soundtrack). This movie was in no way, shape or form a waste of my 14 dollars and 99 cents! Ray Walston (reprising his Broadway role) is delightfully evil as the Devil himself (cleverly disgusing himself as a "Mr. Applegate") who has a warped mind and twisted sense of humor, which is evident in his song "The Good Ol' Days." Tab Hunter is superb as Joe Hardy (or "Shoeless Joe From Hannibal Mo."), the man who sells his soul to become the best long hitter there is, and help his favorite team, the Washington Senators, win the pennant and beating the "damn Yankees." To me, the real star here though, is Gwen Verdon as the seductress, Lola. Not only can this woman act wonderfully, but she has a beautiful singing voice (with a throaty, grainy yet girlish quality) and she is an absolutely FANTASTIC dancer (she's the living embodiment of Fosse's work)! She is the most wonderful dancer/singer/actress ever to grace the Broadway stage and films... it's such a shame they didn't let her play Charity in 1969's Sweet Charity (though Shirley MacLaine did do a good job in the role). She has absolutely become my hero, role model, and favorite actress of all time. Go Gwen! Go Damn Yankees!

"Damn Yankees" is not a musical I'm particularly fond of. It's all American pervasiveness what with the baseball milieu and the ever reliable good vs. evil theme seems somewhat calculated. Apart from two or three pleasant songs, the score is not really of much interest. Still, it certainly could have fared better on the screen, despite some of the legendary talents involved.

Hollywood has often wrestled with the decision whether or not to cast original Broadway stars in screen adaptations of hit musicals. It's not an always an easy choice. There's an apparent unfairness in overlooking those who contributed so much to a musical's success. But the studios have more often than not been right in their choices. Sensational stage stars are not always as magical on screen. The most controversial case was of course Audrey Hepburn chosen over Julie Andrews for "My Fair Lady", which in retrospect, seems to me to have been a smart choice.

Gwen Verdon's status as a stage performer is legendary. While we should be grateful for "Damn Yankees" in allowing us an opportunity to witness Verdon's talents; on screen there's much lacking. My immediate impression was that she was too old for the role. I was stunned to find out she was only 33 at the time. Despite the sexy moves, it's a little hard to swallow her so called seductive powers. Verdon would come into her own on the screen in her latter years. As intriguing as it is to imagine a screen version of "Chicago" with Verdon and Chita Rivera reprising their original roles, one cannot help but wonder how kind the big screen would have been to them.

At the time there was apparently opposition in the casting of Tab Hunter who it was hoped would lure teenage audiences. Co-director Stanley Donen is quoted as calling Hunter a triple threat; can't sing, can't dance, can't act. While he was not much of a dancer, he turned in a convincing and touching performance and certainly was physically perfect for the part. As to his vocals, they are in no way inferior to the others on display. Verdon has an attractive rasp, but the others are uniformly mediocre.

There are a couple of enjoyable dance sequences, but at this point, Bob Fosse was still early in his career and his choreography is nowhere as inventive as his later works.

There are many points of interest especially for fans of the musical, but "Damn Yankees" remains ultimately a second rate screen musical.

Damn Yankees was one of two Broadway shows written by the team of Richard Adler and Jerry Ross, the other being The Pajama Game which got made into films almost immediately upon the cessation of the Broadway run. Damn Yankees ran in the 1955-1957 season for 1019 performances and both Gwen Verdon and Ray Walston continued their roles from Broadway.

However the protagonist Joe Boyd/Joe Hardy part, the middle aged real estate salesman who is a fanatic baseball fan of the lowly Washington Senators, was played by Tab Hunter in the Joe Hardy persona. As in that other Broadway film My Fair Lady it was felt that one of the leads should go to a bona fide movie name in that case Audrey Hepburn in this one Tab Hunter.

In his memoirs Hunter said that he was apprehensive about taking over a musical lead because he admitted he was no singer. But the arrangements were certainly done to accommodate his limited range and he acquits himself well. He certainly does look well in the baseball scenes and even keeps up with Gwen Verdon.

Gwen Verdon like Mitzi Gaynor came along in the Fifties just when Hollywood was slowing down with the making of musicals due to the decline of the studio system. Gwen did such other leads on Broadway as Sweet Charity, New Girl in Town, and Redhead, but only with Damn Yankees was she allowed to go to Hollywood and repeat her stage performance. Gwen like Mitzi was a fabulous dancer and in the Thirties and Forties she would have become acclaimed film name.

Ray Walston got his career break in the part of Mr. Applegate the devil's identity for this film. Back when I was a lad and first saw Damn Yankees in the theater, I was enthralled by Walston's performance and became a fan until the day he died. Walston plays the devil like a spoiled child and there might just be some theological justification for that.

The big hit songs from Damn Yankees was Gwen Verdon's seduction number and dance, Whatever Lola Wants. Few people ever on stage and screen could move like her.

The second and even bigger hit was Heart, sung her by Russ Brown and some of the other actors playing hapless Washington Senator players under their eternally optimistic manager Brown. The song was a big million seller for Eddie Fisher who was at the height of his vocal career then.

Damn Yankees the film was released in 1958. In 1960 the original Washington Senators played their last year in Washington, DC. For the poor fans of the Senators it was a double blow. The team was just beginning to jell as a contender and in 1965 they did in fact in their new home in Minneapolis/St.Paul as the Minnesota Twins did win the American League pennant as the Yankee dynasty crumbled at last.

In their place came another new Washington Senator franchise which continued in the second division ways that Washington knew so well and that fans like Joe Boyd were used to. They played their last season in the capital in 1971 and the capital was without Major League baseball until 2005 when the Montreal Expos moved and became the Washington Nationals. I'm afraid we may never see the name Senators attached to a Washington team again. The Texas Rangers have the name copyrighted.

Still the Nationals in the other league are doing their best to hold up the Washington tradition of first in war, first in peace and last in now the National League East. Washington saw three pennants in 1924, 1925, and 1933 and one World Series winner in 1924.

They might just need another Joe Hardy to move the team. Let's hope someone doesn't have to make an arrangement with Mr. Applegate to make it possible to beat those Damn Yankees.

The 1953 musical Fred Astair musical "The Band Wagon" depicts an unsuccessful attempt to stage a Broadway Musical based upon Faust. However, in 1955 George Abbott did exactly that, successfully, with "Damn Yankee". This, the subsequent movie version, replicates that Broadway hit. In this case, one thing that the producer did right was to retain the original stars of the stage version, Gwen Verdon and Ray Walston, both of whom stole the show on stage and do so again on screen.

The story involves a middle-aged die-hard fan of a losing baseball team who sells his soul to the Devil for the chance to win the pennant for his beloved Washington Senators (a real baseball team in the 1950s, although they no longer exist today).

Most of all, "Damn Yankees" provides an opportunity to see the great Gwen Verdon in her prime. Although Gwen Verdon was a major star on the Broadway stage for many years, she rarely appeared in motion pictures and this is one of the few instances where she can be seen, including a memorable number with Bob Fosse, her future husband and one of Broadway's greatest choreographers and directors. For that alone, "Damn Yankees" is definitely worth a look.

If you ask me - and I'm a "jazz" man as you can see from my moniker - Damn Yankees is the best musical ever. The subject matter is classic, the story is entertaining, the music is scintillating, and the lyrics are clever to the Nth degree with layers upon layers of internal rhyming that reveal new intricacies with each listening.

Okay, the movie has some weaknesses. Anybody BUT Tab Hunter would probably have been better as Joe Hardy. Also one of the best numbers from the play, "I Thought About The Game" was cut because it was considered too lewd for the movie.

But that's quibbling. Gwen Verdon and Ray Walston lift this movie into the upper echelons of all time greatest musicals.

Damn Yankees wasn't at all like I expected it to be. I honestly didn't know that the story was centered around baseball. I had supposed it was going to be something regarding the north versus the south. I also didn't expect the plot, songs, and dance numbers to be so goofy. However, it's an enjoyable kind of goofy. I was particularly amused by the choreography, which, of course, was done by the legendary Bob Fosse. This musical is a unique take on Faust, though this story doesn't take itself too seriously. It's a stage production on film, set in an innocent era, with a devilish sense of humor.

Gwen Verdon was a Broadway legend with long gorgeous legs and an undeniable stage and screen charisma. Her legendary stage career earned her four Tony Awards, thanks in no small part to her long time Svengali and ex-husband Bob Fosse. Sadly, the only time Verdon was allowed to bring a role she created on Broadway to the big screen was in DAMN YANKEES, a sparkling film adaptation of the Richard Ross-Jerry Adler musical about a middle-aged baseball fan named Joe Boyd (Robert Shafer)who sells his soul to the devil for his favorite team, the Washington Senators, to win the pennant. The devil, apparently in desperate need of converts, appears in Joe's living room in the form of a Mr. Applegate (Ray Walston)and changes Joe Boyd into Joe Hardy (Tab Hunter), a young and unbeatable baseball player who helps lead the Senators to the pennant until he starts to get homesick and Applegate sends in his # 1 agent/witch named Lola (Verdon) to distract Joe. The film is well-mounted by Broadway legend George Abbott and Verdon and Ralston effectively reprise their Tony-Award winning stage roles and Fosse is even showcased, dancing in a rare duet with wife Verdon on "Who's Got the Pain?" and trust and believe, seeing Fosse and Verdon dance together is worth the price of admission alone. Other great songs in the score include "Whatever Lola Wants", "Heart","Those Were the Good Old Days", and "Shoeless Joe From Hannibal Mo". Not the greatest musical ever made, but Verdon, Ralston, and Fosse's brilliant choreography make it worth watching and re-watching.

DAMN YANKEES is pure confectionery and Gwen Verdon is the cherry on top. Her dancing is perfection and she steals every scene from her co-stars. Still, Ray Walston is a damn great devil and Tab Hunter is appealing as the potential Faust at the center of the story.

the late 50's was a weird yet interesting time for the musical film genre. after 25 years musicals hadn't really advanced very much. and this is apparent in damn yankees. there are some excellent fosse dance numbers, and gwen verdon is great, and the guy who plays the devil (cant remember his name) is great too. Jean stapleton (edith in "all in the family") is awesome. Its just the jokes are too far and few between and i sometimes get the feeling that the main actors would rather be elsewhere and are in their own different movie. There aren't enough show stopper dance numbers and the ones they have are just half way there..'whatever lola wants number' just doesn't do it all the way but the drunken club number at the end is pretty cool in a tongue and cheek sorta way. But the best number by far is Gwen Verdon and Fosse doing the mambo number. That is HOT!! But on the whole, the film just feels like it's over itself..been there done that..and if you're a purveyor of musicals, you'll have the same feeling as well.

This is another film which would probably be better rated if it wasn't so slavishly compared to its stage original. It does its job just fine, thank you, but you must remember that stage and film are two different media in terms of what is allowed to be shown to the masses in the first place. In the conservative, postwar 50's there was very little controversy shown (or allowed to be shown) in the film and TV media; a Faustian book made into a film musical probably scared the Hays moral office to death! That said, the Abbott-Donen collaboration does a more than competent job of telling the story, and scores an extra base hit in my opinion by retaining most of the Broadway cast of the show in the first place. The casting rumors are legendary: I've read that the studio tried to get Cyd Charisse and possibly even Marilyn Monroe for Lola (assuring box-office returns), but the producers were smart enough to know that the role needed a real dancer-singer-actress combination. In short, it needed Gwen Verdon exclusively. And it got her. If you're still not convinced, take a second look at the exquisite midnight cafe' number, "Two Lost Souls."

Not the best acting (or signing) I've seen from this decade, but a classic nonetheless. If not for the star power names (fosse/verdon) this movie would have sunk to bottom of the history's film vault.

For me there are two kinds of musicals: ones where the music grabs me, and ones where the music doesn't grab me. The music for this one grabbed me from the very big inning. (get it?)

Most musicals have a story like Boy Meets Girl, Girl Doesn't Like Boy for some Reason, and Everybody Sings About It. The musicals I tend to like best are the ones like Fiddler on the Roof, Oliver!, or Joseph and the Amazing Technicolor Dreamcoat, that don't have so much of a love-story type plotline.

Damn Yankees contains a love story, but the real Love Story of this movie is Joe's love for the Washington Senators, which then conflicts with his love for Home and Hearth. Lola comes in a distant third.

If you ever wonder where Jean Stapleton came up with the voice of Edith Bunker, in "All In The Family", watch this movie. She steals the show!

Tab Hunter was not the first choice to play Joe Hardy ... but the studio boss demanded he play the part! Frankly, though Tab was acceptable in the role ... I would have used a blond Elvis and Ann-Margret, in the lead roles ... however, Tab and Gwen did fine jobs, especially Gwen ... but neither were a huge box office draw, not compared to the alternatives. Now, I will admit that Gwen was excellent in the part ... but, if you are talking about a sexy woman that men cannot ignore ... you're talking Marilyn Monroe and/or Ann-Margret! Gwen's problem was that she was never a huge beauty ... and her body was rather boyish, compared to what the most desirable woman should look like! They actually did consider Marilyn Monroe for the part ... but Marilyn was not a dancer, and rehearsals would have been lengthy and strenuous! However ... Ann-Margret would have been a whole different story! Mitzi Gaynor was first choice, but Mitzi turned the role down. Mitzi would have been a hit in the part ... however, Mitzi was smart enough to know that playing the devil's stooge would not be good for her career as a wholesome girl next door ... whereas Ann-Margret could have cared less!

When it comes to Tab Hunter ... nice guy, but the director didn't like him in the part ... perhaps the director was homophobic, as he did complain that Tab was too "faggy!" I will agree that Tab was a bubblegum actor ... good looks, little talent. There are parts in the movie when he does become comfortable in the part ... but, those moments are far too little to make a huge difference. But lets talk about Gwen Vernon! This is a woman that had to wear corrective shoes, after a childhood accident, to straighten her legs, and she wound up with a pair of legs that could dance their way into the hearts of millions of fans! Unfortunately, her posture was a disaster area, even in this film. If you keep an eye out, you'll see what I mean when you see her profile ... her back was bowed, why no one let her know that is beyond me ... because it could have been corrected. Gwen hunched over quite a bit. Even so ... you will see some of the finest dancing ever in her three main numbers ... "Two Lost Souls", the Lola strip number, and her mambo number. By the way, most of the Broadway cast was used in the film, which was a great idea!

I've never cared much for Ray Walston ... excepting for his role in South Pacific, which was a memorable performance.

Someone I am always drawn to, when I see him in a movie, or on television, is James Komack (Rocky), this is a man with the "IT" factor that never became a legend. Having the "IT" factor is not a guarantee of success, unless you seek that type of success. Many of us are scared to death of that kind of success ... seriously, look what happened to Judy Garland, Marilyn Monroe, Elvis Presley, three tragic stories of three wonderfully talented people that are loved worldwide ... still ... but they all died young ... tragic!

Poor scripting ... poor lyrics ... were the downfall of this movie ... nut it is still fun to watch ... especially the "Two Lost Souls" production ... great number, with the exception of a couple of Tab Hunter moments that stunk!

Rumor has it that someone is talking about doing a remake ... sounds like a waste of time to me. However, if it is being thought of ... seriously ... some huge changes need to be made. Change the female leads first song ... change the devil's bedroom by removing the cherubs, they are everywhere in the movie ..... either make the newspaper woman an enemy of the team, or make her a supporter, she can't be both! Also ... a devil doesn't talk about the blessings in his life ... he is anti-everything good! Make some sense of the female lead wearing a costume that she never performs in. Create better backdrops. In the home scene, you can see that the walls are phony pieces, which also is evident in the devil's bedroom. Oh, and use Nicole Kidman in the lead (Gwen Vernon) female role! I'd like to see George Clooney as the devil, even better yet, John Leguizamo(?) ... and Ewan McGregor may make a good Joe?! He and Nicole have great chemistry.

Just viewed DAMN YANKEES on DVD for 1st time in years...i saw it first on TV in the late sixties as a young teen. Gwen Verdon made an impact then and still does.

Since all movies become dated and therefore flawed, i won't dwell on how time has affected it. It's still fun! Most of the musical numbers still ring true and i like the fact that everyone does their on singing...you're looking for an emotion to be conveyed (the weakest points of say WEST SIDE STORY are hearing dubbed in voices for Tony and Maria's songs). It's a true musical, i was keeping track of the timer as i watched, there's a song every 8 minutes or so.

All the performances are fine...there are a few points to the Joe Hardy/Boyd character i'll bring up. First, after he disappears...how come he doesn't at least write to his beloved wife...at least let her know he's okay? Secondly...since she's certainly not elderly, and Joe stays as a boarder to be near her, how come he never feels anything romantic for her? it'd been interesting if he had...

It's still breezy, mindless entertainment...fun to watch the Mick take those massive swings in a cameo, great to hear some of the Devil, Mr. Applegate's quips (he's curiously bumbling...we assume that he suffers some for being in human form...and Ray Walston does look like a not to be trusted used car salesman). One reviewer here, wasn't quite sold on Gwen Verdon as a seductress...but as she coyly strips during her WHATEVER LOLA WANTS, LOLA GETS number, the end result, her standing in a black tutu, flashing her glamorous gams...i, for one would be ready to follow her, anywhere.

A frustrated older guy is a fan of the baseball team the Washington Senators. He makes a deal with the Devil (Ray Walston) to sell his soul if the Senators win the league pennant. The Devil transforms the old guy into a young hunky guy (Tab Hunter) who joins the team and helps them become winners. He also tries to use the beautiful Lola (Gwen Verdon) to seduce him.

Boring musical with so-so music and hilarious dance numbers--the number with baseball players singing and dancing had me laughing! Also Hunter was a VERY handsome man but a lousy actor. The only saving graces are Walston and Verdon. Their singing and her dancing save this movie from being totally unwatchable. Just for them I give this a 7.

Perhaps I liked this film a bit more than a lot of folks because I grew up cheering for the hapless Washington Senators--a team that hadn't been in the World Series since 1933 (and they lost!). All I know is that I enjoyed the film.

The film begins with middle-aged Joe Boyd doing what he loves most--watching his beloved Senators on television. Like any Senators fan, he's miserable because, as usual, the team's losing and they haven't a prayer. Out of frustration, Joe blurts out that he'd sell his soul if the team could win the American League pennant. And, just like that, the Devil (Ray Walston) appears and offers him just that. He'll make Joe the greatest player in history for only a minor price...his soul! But Joe is too smart to just agree to this and negotiates an escape clause--a clause his new friend has no intention of honoring. Although Joe (now called Joe Hardy and is played by Tab Hunter) IS a sensation and the team does seem destined to win it all, this is when the dirty tricks begin--and the first dirty trick is Lola (Gwen Verdon)--a vamp who will destroy him. Can Joe survive with his soul intact and/or the team win it all?

The plot of this musical is a reworking of the old Faust story (by the likes of Marlow and Goethe). And, if you're familiar with these tales, you might anticipate how it all ends. Regardless, the film is a lot of fun with a silly and enjoyable performance by Walston (who not once is referred to as Satan--just Mr. Applegate). The musical numbers are mostly very good, though several of the singers really could not sing--and is a bit reminiscent of "Paint Your Wagon" in that department. While most of the songs are great, "Who's Got the Pain" is irrelevant to the plot--completely irrelevant. "Two Lost Sheep" is not as irrelevant but a bit weak. Better songs are "Whatever Lola Wants" and "A Little Brains, A Little Talent" (both by Gwen Verdon). Overall, a very enjoyable film that kept me entertained from start to finish. Not great but very good.

Damn Yankees is a sometimes amusing but ultimately disappointing camp 50s musical. Who would have thought a musical could be made about baseball? But a deal with Satan is made which allows a middle aged loser to become the greatest baseball player since Ohtani. Unfortunately the movie is cast with second rate actors and overly long musical numbers. I mean really really long musical numbers. Gwen Verdon just isn't at all sexy as the temptress Lola. Maybe she moves well. I'm no dancer. But Gwen's no Mitzi Gaynor or Cyd Charisse. Still there's some good laughs and fun if you fast forward through most of the numbers.

This is a largely uninspired movie. There are a few memorable musical numbers - "You gotta have heart", "What Lola wants" - but even they aren't staged in a memorable way. The musical ran for years on Broadway, so there must have been something to it. But whatever it was didn't transfer to this movie.

Some of it may have had to do with casting the then-popular Tab Hunter in the male lead. He wasn't a dancer, so that leaves Gwen Verdon, who was a fine dancer, to dance largely by herself. And that, in a movie musical, is a problem. It's one of the things, for example, that separates the Eleanor Parker movies from the Astaire-Rodgers movies.

But the script is also flat. Compare this movie to Music Man, for example, which also only has 3 memorable musical numbers. But that has a great script, incredible energy, wonderful lines. This is simply not at the same level.

And no, it really has next to nothing to do with baseball.

There's nothing actually wrong with this movie. No one gives a bad performance. It just doesn't have much energy, and doesn't get us to care about any of the characters.

Again, I suspect the Broadway show was a lot better.