Judy O'Brien is an aspiring ballerina in a dance troupe. Also in the company is Bubbles, a brash mantrap who leaves the struggling troupe for a career in burlesque. When the company ...
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Judy O'Brien is an aspiring ballerina in a dance troupe. Also in the company is Bubbles, a brash mantrap who leaves the struggling troupe for a career in burlesque. When the company disbands, Bubbles gives Judy a thankless job as her stooge. The two eventually clash when both fall for the same man. Written by
Daniel Bubbeo <firstname.lastname@example.org>
Lucille Ball met her future husband, Desi Arnaz, while she was shooting the picture. On the very day she first met him, she was made-up to look like she had just emerged from a catfight with scratches, a black eye and bandages which resulted in Arnaz not paying much attention to her. The next time he saw her, she was not in costume and he was instantly smitten. See more »
Go on, laugh, get your money's worth. No-one's going to hurt you. I know you want me to tear my clothes off so you can look your fifty cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here with your silly smirks your mothers would be ashamed of? We know it'd the thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at the lot of you, only we're paid to let you sit there ...
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A fine film by a great early female Hollywood director!
A really fun film that I found in my Maureen O'Hara TCM 4-pack that I highly recommend if you enjoy films from that era. I like the two films I've seen so far from Arzner, who was one of the earliest and most successful of female directors and I believe the first openly lesbian one--the other work I've seen of hers is the great pre-Code look at alcoholism, 'Merrily We Go to Hell'.
This is great if you either like musicals from the era, are a Maureen O'Hara or Lucille Ball enthusiast (holy, she was unbelievably a knockout in her early filmic days!) or are simply curious about the works of early female and/or lesbian directors. Arzner--at least in the two films I have seen from her thus far--showed she truly deserved to be successful in the industry.
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