A small radio station is saved of getting bankrupt by a backer, who invests money for a TV equipment, if the owner allows, that his dancing daughter Annabelle can dance and sing on the ... See full summary »
Freddy Martin and his band go on a trailer vacation, taking along Rochester as a handy man. They run out of gas in a ghost town and have to spend the night in the deserted Palace Hotel. The... See full summary »
Eddie 'Rochester' Anderson,
While doing her tight-rope act in a local circus, Daisy Hawkins (Judy Canova), sees the owner shot by gangsters. The gangsters are after her to eliminate the only eye witness and the police... See full summary »
The action takes place in Ephesus in ancient Asia Minor, and the story concerns the efforts of two boys from Syracuse, Anthipholus and his servant Dromio, to find their long-lost twins who,... See full summary »
A small radio station is saved of getting bankrupt by a backer, who invests money for a TV equipment, if the owner allows, that his dancing daughter Annabelle can dance and sing on the screen, but due to her voice, her singing had to be dubbed by the owner's girl friend Pat Abbott.But problems start, when the owner starts dating Annabelle. Written by
Stephan Eichenberg <firstname.lastname@example.org>
This picture's plot has shocking similarities to "Singing in the Rain", (particularly ironical since Ann Miller was almost cast in that MGM film as well).
As it stands, "Hit Parade of 1941" is a pleasant, slickly mounted minor musical, not unlike those being turned out by Universal Studios during the same period, (one keeps expecting the Andrews Sisters to appear).
In their place, we have radio songstress Frances Langford who harmonizes beautifully with Kenny Baker in the film's best song, "We Shall Meet in the Cool of the Evening," as well as her own bluesy solo: "Swing Lo Sweet Rhythm." The latter tune is also used to back Ann Miller's first dance routine which is presented in a night club setting. Miller's final contribution is a Pan American samba. Miss Miller's routines are superb, but as "Variety" noted at the time, are not photographed to her advantage, (the camera is too far away from her).
Comic honors easily go to dithery Mary Boland and Hugh Herbert, (though the film pushes credulity by pairing them off romantically.) The music is excellent though the film's principal interest to today's viewers will be for Ann Miller completists.
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