Movie star Brooks Mason tries to avoid his fans and spend some weeks on vacation. When Hawaiian plantage-owner George Smith is mistaken by Mason's fans for Mason and brought to Mason's home... See full summary »
Movie star Brooks Mason tries to avoid his fans and spend some weeks on vacation. When Hawaiian plantage-owner George Smith is mistaken by Mason's fans for Mason and brought to Mason's home. They decide to change their identitiess for a few weeks. But George Smith is mobbed by Mason's fans again on a personal appearance tour in New York, Mason falls in love to dancer Dorothy March, who also is on her way to Hawaii. Problems for Mason arise due to the fact that Smith is engaged with Cecilia Grayson, and her wealthy father believes, that Smith has double-crossed him. Mason isn't able to establish a connection with Smith in New York due to his agent's orders... Written by
Stephan Eichenberg <email@example.com>
The entire "Hola E Pae" number of the Hawaiian Medley was inserted into the movie I Dood It (1943). See more »
[Millie has just spotted movie star Brooks Mason on the deck of a cruise ship]
Millicent 'Millie' De Grasse:
My dream man! I'm gonna meet him in person. And I'm warning you, if he makes one false move, I'm his!
Miss Dorothy 'Dot' March:
I suppose you think it'll do you a lot of good to throw yourself at him.
Millicent 'Millie' De Grasse:
Throw myself at him? If I thought it would do any good, I'd have myself shot at him out of a cannon!
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(Spoilers, sort of) Why do I use the word enigma? Because MGM never seemed to know exactly what to do with the great Eleanor Powell. Not unlike the swimming Esther Williams, Powell's films were a kind of specialized musical entertainment where the most uncanny situations had to be dreamed up to show off her tap-dancing skills. And while she was a premier tap dancer- and a better dancer than an actress, she usually danced alone- unlike her male counterparts (Astaire, Kelly, et al) who were usually given dancing partners who doubled as their love interests. In this film, Powell's co-star is the non-dancing Robert Young, who's given a rather foolish subplot in a dual role as a movie star and his double who create havoc when they switch identities. And that's all there is to it. George Burns and Gracie Allen, billed as the second leads, play more apart than they do together. Powell's dance numbers, of course, are sensational: A stair-step routine paying homage to Bill Robinson (while the blackface makeup is startling, the dancing itself is terrific); a shipboard dance with a skipping rope as a prop; and the piece-de-resistance: an all-out grass skirt hula done in two parts: first as a barefoot native dance, then as an ultra-smooth tap sequence done with silver tap shoes. Powell may have been the only woman dancer to dance with her whole body: lots of arm movements, knee bends, splits, high kicks, and puree-speed turns. It's a fun film to watch just for this incredible number.
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