Betty a young woman is going steady with Terry but falls for an exciting new comer to town Steve. Betty's father wants her to marry Terry but she doesn't see that she actually is in love ... See full summary »
Casey and Babe are sisters who work in a department store and each year the store puts on a show. As expected, things are going wrong with every act until Casey comes out to help Babe with ... See full summary »
The story takes place in medieval France. Poet-rogue Francois Villon, sentenced to hang by King Louis XI for writing derogatory verses about him, is offered a temporary reprieve. His ... See full summary »
This was a screen version of the 1925 operetta by Oscar Hammerstein II, Otto Harbach, Herbert Stohart, and George Gershwin. The story of the movie is about a peasant who is known as "The ... See full summary »
Selina lived well until her father Simeon died. Her aunts sold the estate and put her in a boarding school. As an adult she wants to be a teacher in farming country. She falls in love with ... See full summary »
William A. Wellman
Two days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for ... See full summary »
Alfred E. Green,
Betty a young woman is going steady with Terry but falls for an exciting new comer to town Steve. Betty's father wants her to marry Terry but she doesn't see that she actually is in love with him. With the help of Betty's mother Emily and her sister Mary Jane Terry is able to show Betty that they are meant for each other. Written by
The musical play opened on Broadway in New York City, New York, USA at the Alvin Theater on 11 March 1929 and closed 8 June 1929 after 104 performances. The opening night cast included Inez Courtney, who originated her movie role in the play, Charles Ruggles as Peter Braley and Maidel Turner as Emily Braley. See more »
SPRING IS HERE is a breezy, yet undistinguished early sound musical. A hit on Broadway, it suffers from the overproduction of musicals at the time (meaning it received no special consideration during its making) and from a director who brings no visual flair to the medium. What we're left with are pleasant performers and pleasant, if not memorable, tunes. The standout performance here is given by Louise Fazenda, a ubiquitous figure in these early sound musicals made at Warners. Her portrayal of a character who is simultaneously embarrassed and titillated at the innuendo surrounding her is delightful and captures the necessarily frivolous tone needed in such a piece. Incidentally, Fazenda was the first in the sound era to portray the dumb blonde, an archetype that still pleases to this day.
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