Sailor Ted meets at the Lonely Hearts Club of his friend Gunny's wife, Jenny, a girl, Nora Paige, and falls in love. Nora wants to become a dancer on Broadway. Ted rescues the Pekinese of ... See full summary »
Roy Del Ruth
Steve Raleight wants to produce a show on Broadway. He finds a backer, Herman Whipple and a leading lady, Sally Lee. But Caroline Whipple forces Steve to use a known star, not a newcomer. ... See full summary »
Roy Del Ruth
June Evans, clothing model, and Tommy Bradford, travel agent, both dream of being rich. When they meet at millionaire, J. Westley Piermont's daughter's wedding, they both assume each other ... See full summary »
Edwin L. Marin
Alison Kirbe of London, receives a telegram from Texas, that she has inherited a livestock ranch. It is plastered throughout the London newspapers that Alison has become a rich heiress, and... See full summary »
Spoilt child Geoffrey Bramer teams up with a pair of small time crooks to pose as an aristocrat and steal jewelry from exclusive shops. During a a caper, Geoffrey is caught and is sentenced... See full summary »
Eddie sells his song to a Broadway producer and also lands a job dancing in the musical. He sends for his dance partner-fiancée Molly who brings her younger sister Pat. Upon seeing Molly ... See full summary »
In true Ziegfeld fashion the final number covered 60 acres of the Metro backlot plus 27 cameras and 2000 singers, dancers, and onlookers. eight pipe organs were included in a 60 piece orchestra accompanying 100 singing West Point cadets. See more »
During the 'drum dance' sequence there are three rows of huge drums all sounding together. The drum sticks on the front row are synchronized so that they all hit the drum at the same time. The drum sticks in the second and third rows are out of synch with the first row yet their sound is in synch. See more »
"Rosalie" is possibly the movie people are thinking of when they remark, "I hate musicals." This 1937 MGM extravaganza has the stars, the music, the costumes, the over-the-top sets, the silly filmscript and the giddy, romantic settings that have become synonymous with the big, Hollywood musicals of the 1930's and '40's. So... why doesn't it work? Director W.S. Van Dyke (also credited with box office musical hits such as "Naughty Marietta") certainly knew how to pace his material; he's ably assisted here by a Cole Porter score, two big box-office stars (Nelson Eddy and Eleanor Powell), a rafter of comedic supporting players (including Frank Morgan and Edna May Oliver doing their best Frank Morgan and Edna May Oliver imitations) and a gazillion dancing, singing extras.
Perhaps the movie's failure lies in the fact that there's very little romantic heat generated between Eddy and Powell. If you're making a foolish (and "Rosalie" is nothing if not foolish) boy-meets-girl movie musical, you'd better have sparks flying between your boy and girl. Golden-throated Nelson Eddy does his moon-calf best to gaze adoringly at Eleanor Powell, but the only time you believe Eleanor Powell's character is when she's telling Eddy that she hates him. Which she does repeatedly during the course of the movie's two hours. In a movie like "Rosalie," the lack of chemistry between the two stars is a death sentence. All of a sudden, the viewer notices the threadbare plot, the formulaic comedy, the ridiculous settings (from West Point and Vassar to a mythic, Balkan kingdom named 'Romanza' which is apparently so small that Eddy and sidekick Ray Bolger have trouble finding it on a map but which is still large enough to be able to turn out ten million gorgeously arrayed peasants for big musical numbers) and the basic silliness of it all. In a romantic musical where there is chemistry between the stars, the audience forgives and accepts all; where chemistry is lacking, the audience suddenly realizes the movie hasn't a brain in its head.
Still, there are moments in "Rosalie" that make it worth watching. Does it matter that all those moments are music and dance numbers? Nope. That's what a musical is for.
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