Sent by her employers on an errand to the home of the wealthy Mrs. Vincent, Irene O'Dare meets Don, a friend of Bob, Mrs. Vincent's son. Attracted to Irene, Don decides to invest some money... See full summary »
Sent by her employers on an errand to the home of the wealthy Mrs. Vincent, Irene O'Dare meets Don, a friend of Bob, Mrs. Vincent's son. Attracted to Irene, Don decides to invest some money in Bob's latest venture, the "Madame Lucy" dress shop, in order to give Irene a job there as a model. She is very successful and Bob also becomes attracted to her. Smith, the manager assigns Irene and other models to display gowns at Mrs. Vincent's charity ball, but Irene ruins the gown she was to wear, and appears instead in a quaint blue dress that had belonged to her mother... and it is a big hit. A guest, Princess Minetti, places her as the niece of Ireland's Lady O'Dare, and Irene does not deny the relationship. Smith decides to set her up in a Park Avenue suite as the niece of Lady O'Dare, so that she can attend socially important gatherings wearing and displaying, of course, Madame Lucy gowns. A jealous model tells the truth to a newspaper columnist who writes an expose, which somewhat ... Written by
Les Adams <firstname.lastname@example.org>
Anna Neagle is a delight in this movie, & a lovely dancer...
OK--must confess that I have not seen the entire movie; only saw the last 40 minutes or so, and look forward to getting to see the whole thing soon (which is why I didn't vote yet, though what I saw of it would rate an eight or nine). It is one of those sweet, charming (without cloying--it has some wit to it) movies RKO did so well (Ginger Rogers' 5th AVENUE GIRL is another I recently saw--thank goodness for Turner Classic Movies).
Towards the end of this movie, Ray Milland's character discovers Anna Neagle's Irene dancing by herself, lost in thought and emotion. He and we watch, unperceived by Irene, and the dance was an unexpected delight. While the choreography could have used more variation (certain moves are repeated too much, and some of them have her shoulders up more than is ideal), Anna N. proves herself a graceful, expressive dancer; I hope to see more of her dancing, if it exists in films. The beginning of the dance also uses subtle slow-motion to good effect, which it occurred to me I haven't seen often, if at all, in musicals from this era. I wonder why that wasn't used more, as it would seem to be a relatively easy effect to employ. Anyway, I recommend IRENE, and look forward to taking my own recommendation to see the rest of it soon.
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