The best Ann Blyth’s music movies

Torch singer Helen Morgan rises from sordid beginnings to fame and fortune only to lose it all to alcohol and poor personal choices.

Loosely traces the life of tenor Enrico Caruso (1873-1921). He loves Musetta, in his home town of Naples, and then Dorothy, the daughter of one of the Metropolitan Opera's patrons. Caruso is unacceptable to both women's fathers: to one, because he sings; to Dorothy's, because he is a peasant. To New York patricians, Caruso is short, barrel chested, loud, emotional, unrefined. Their appreciation comes slowly. The film depicts Caruso's lament that "the man does not have the voice, the voice has the man": he cannot be places he wants to be, because he must be elsewhere singing, including the day his mother dies. Throughout, Mario Lanza and stars from the Met sing.

The Merry Monahans is one of the higher-budgeted Universal musicals of the 1940s, even though the storyline is strictly grade-B material. During the first two decades of the 20th century the film concerns a family vaudeville troupe headed by patriarch Pete Monahan (Jack Oakie). Because of his love affair with the bottle, Pete manages to get himself and his family blacklisted from every major vaude house in the country. Though Pete's kids Jimmy (Donald O'Connor) and Patsy (Peggy Ryan) love their dad, they're forced to break away from the act and go off on their own to survive. Eventually, the whole gang is reunited in a shamelessly lachrymose musical finale. Producer-scripters Michael Fessier and Ernest Pagano, whose other works include such offbeat comedies as San Diego I Love You, Frontier Gal and That's the Spirit, manage to keep the proceedings relatively cliché-free, though it's an uphill climb.

A prince has a romance with a barmaid before he must give up personal happiness for duty.

The president of a settlement-house group puts on a benefit variety show.

The son of a strict Navy officer falls for the daughter of a musical-comedy star.