The Sannin Musume girls are growing up by the time we reach 1957’s On Wings of Love (大当り三色娘, Ooatari Sanshoku Musume). In fact, they each turned 20 this year (which is the age you legally become an adult in Japan), so it’s out with the school girl stuff and in with more grown up concerns, or more specifically marriage. Wings of Love is the third film to star the three Japanese singing stars Hibari Misora, Chiemi Eri, and Izumi Yukimura who come together to form the early idol combo supergroup Sannin Musume. Once again modelled on the classic Hollywood musical, On Wings of Love is the very first Tohoscope film giving the girls even more screen to fill with their by now familiar cute and colourful antics.
On Wings of Love does not have very much going for it in terms of plot (even compared to previous So Young, So Bright and Romantic Daughters). This time the three girls each work as maids in swanky households and have their eyes on the same guy who they think looks like James Dean (again played by Godzilla heartthrob Akira Takarada). Luckily, another two guys pop-up from somewhere so no one gets left on the shelf at the end when the completely non serious romantic difficulties work themselves out in time for the color coded waterskiing finale.
Like the other films in the series, On Wings of Love is not an integrated musical but one which is punctuated by musical numbers either given a real world context or portrayed as a fantasy sequence. In the previous two films the girls all went to the theatre and ended up watching themselves perform in one way or another, but this time the production number excuse is either a nap or a daydream whilst out on the river on a sunny day. Awkwardly, they each fantasise about Akira Takarada. Hibari goes all Madame Butterfly in an elegant sailor themed number, whereas Chiemi’s is all forlorn love with a melancholic, gothic ballad inspired by On London Bridge, but Izumi breaks all protocol here with a riotous cover of Bee-Bop-a-Lula which is sung entirely in English and becomes a high octane dance number (including the less successful involvement of Takarada).
There are fewer musical numbers included in On Wings of Love than in either of the other two movies though there are two trio sequences including the longer opening which sees the girls again color coded and drying dishes together as well as the finale which features the girls waterskiing while their boyfriends drive the boats. Each of the girls gets two numbers each, one solo and one production plus the trio stuff though interestingly there is a more “integrated” love song towards the end and Chiemi’s early song as she walks into town isn’t quite a fantasy sequence either.
Somehow, On Wings of Love isn’t quite as charming as either of the other movies in the series despite the kitch appeal of the opening number. The girls don’t actually spend much time together and the tone is a little rougher than the cutesy approach that had previously dominated with fewer humorous episodes to boot. That isn’t to say the film isn’t successful, but it doesn’t have the same kind of comforting fluffiness that dominated the previous instalments. The switch to Tohoscope gives series director Sugie a different canvas to play with though the most obvious change he makes is a split screen sequence to cover a telephone call. This time the colours appear a little muted too (though this may be down to the quality of the DVD which doesn’t seem as high as the transfers of either So Young, So Bright or Romantic Daughters which are both excellent) limiting the effect of the full on sugar rush the film seems to be aiming for. Nevertheless ,even if it doesn’t live up to the promise of either So Young, So Bright or Romantic Daughters, On Wings of Love is another suitably entertaining outing for the Sannin Musume girls only one a little less filled with laughter and song.
Hibari Misora’s Madame Butterfly inspired routine featuring her song Nagasaki no Cho Cho-san:
Also Izumi Yukimura’s quite wonderful Bee-Bop-A-Lula in its release version: