Artist Jimmy Hudson (Cary Grant) is stuck in Mexico unable to pay his hotel bill. Meanwhile, Louise Fuller (Grace Moore) opera singer is stuck in the same town unable to return to the US ... See full summary »
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In post-WW2 France, U.S. Army hospital private Hogan and Captain Locke try to outwit one another on issues such as wooing pretty nurses, accounting for missing medical supplies, organizing unauthorized dances and influencing their C.O.
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Louise, a young seamstress, has fallen in love with Julien, her neighbor, a composer who lives a Bohemian life with his friends, artists like him. Her over-possessive working class parents ... See full summary »
Theater manager James Guthrie's career depends on famed soprano Elsa Terry singing in his Buenos Aires opera house, however, Elsa breaks the contract in favor of a more lucrative deal in Paris. Desperate, James begins showering her with flowers and candy in an attempt to woo her to the Argentinian opera house. When Elsa overhears James confess to his friend Pancho that he'd be willing to resort to kidnapping to get Elsa to Argentina, she mistakenly believes his motives to be solely romantic. Written by
If you only know Grace Moore from *One Night of Love*, you should definitely check out this movie. It's much better.
First, Moore is much more at ease acting in front of the camera. In ONOL she often delivered her lines in a stilted way. Here, she is much more natural, and really seems to be having fun.
Second, and even though they do repeat it rather often, this movie does have a dynamite title song, which bears repeated listening.
Third, Moore is surrounded by a uniformly fine cast, starting with Melvyn Douglas and including Stu Erwin, Helen Westley, and Margaret Hamilton (yes, the Wicked Witch of the West, two years before TWOO), all in top form.
The weak point, frankly, is the three fully-staged operatic scenes. The first and the third, from Traviata Act I and the Love Duet from the end of the first act of Madama Butterfly, are well-performed. (The middle one, the Act III finale from Martha, is not as well done.) The problem is that they just sit there, and are not in any way integrated into the plot. If you think of a movie like Moonstruck, which does such a magnificent job of incorporating various scenes from La Boheme into its plot, you have some idea of what could have been done. Instead, the action just stops, and the audience is asked to sit back, watch, and listen, not even as if they were at the opera, because we are given no idea whatsoever of what is going on in those three scenes. If scenes had been chosen with situations similar to what was going on in the movie, and if the parallels had been indicated, the operatic scenes wouldn't have acted as dead weights in what is otherwise a nicely paced romantic comedy. (There is some effort to incorporate the scene from Manon into the action, but not much.)
Still, don't let those three scenes keep you away. Moore comes off as vivacious and fun-loving, Douglas is his usual easy-going and agreeable self. The result is an enjoyable 90 or so minutes.
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