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In the fever-stricken areas of Cuba a brave band of scientists, doctors and U. S. Marines fight a losing battle against the deadly plague of 'Yello Jack,' until the great heroic risk taken by an Irish sergeant brings victory.
George B. Seitz
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Movie star Brooks Mason tries to avoid his fans and spend some weeks on vacation. When Hawaiian plantation owner George Smith is mistaken by Mason's fans for Mason and brought to Mason's home. They decide to exchange their identities 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 with dancer Dorothy March, who also is on her way to Hawaii. Problems for Mason arise due to the fact that Smith is engaged to 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>
This film's television premiere took place in Los Angeles Friday 14 June 1957 on KTTV (Channel 11); it first aired in Chicago 9 July 1957 on WBBM (Channel 2), in Miami 19 July 1957 on WCKT (Channel 7), in Seattle 29 August 1957 on KING (Channel 5), in Cincinnati 3 October 1957 on WXIX (Channel 19) (Newport KY), in Honolulu 4 October 1957 on KHVH (Channel 13), in Philadelphia 2 November 1957 on WFIL (Channel 6), in Cleveland 9 November 1957 on KYW (Channel 3), and in San Francisco 21 January 1958 on KGO (Channel 7); in New York City it first aired 20 September 1960 on WCBS (Channel 2). See more »
(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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