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Las Vegas Nights (1941)

Approved | | Comedy, Music | 28 March 1941 (USA)
A vaudeville act inherits an old, beat-up building and decides to try to turn it into a hip new nightclub.

Director:

Writers:

(original screenplay), (original screenplay) | 1 more credit »
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Nominated for 1 Oscar. See more awards »

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Cast

Credited cast:
...
Bert Wheeler ...
...
Norma Jennings
...
Patsy Grant
Lillian Cornell ...
Mildred Jennings
Betty Brewer ...
Katy
Hank Ladd ...
Hank Bevis
Henry Kolker ...
William Stevens Sr.
Francetta Malloy ...
Gloria Stafford
William 'Red' Donahue ...
'Red' Donahue (as Red Donahue)
...
Tommy Dorsey & His Orchestra ...
Tommy Dorsey's Orchestra (as Tommy Dorsey Orchestra)
Rest of cast listed alphabetically:
Billy Bletcher ...
Horse (voice)
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Storyline

A member of a New York City vaudeville troupe inherits property in Las Vegas and, upon arrival, is thrown in jail for bringing livestock into Nevada without a license. THe livestock consists of a crate of pigeons---trained birds with which one of the girls does her variation of a fan dance. Upon release, they learn the property is a ramshackle building, but decide to make a nightclub out of it. Hitting the jackpot in one of the casinos provides the needed money...but many, many complications ensue. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

THEY'RE WILD AND WOOLY! THEY'RE GAY AND GORGEOUS! THEY'RE MAD AND MERRY! (original poster-all caps) See more »

Genres:

Comedy | Music

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

28 March 1941 (USA)  »

Also Known As:

Canção ao Amanhecer  »

Filming Locations:


Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

One of over 700 Paramount productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »

Connections

Featured in Sinatra: All or Nothing at All: Part 1 (2015) See more »

Soundtracks

That's Southern Hospitality
(uncredited)
Written by Sam Coslow
Performed by Virginia Dale and Bert Wheeler
See more »

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User Reviews

 
Haunted by the ghost of Robert Woolsey
11 July 2008 | by (United States) – See all my reviews

Though many seem to view this now as a Dorsey/Sinatra effort, the top billed man in the film was Bert Wheeler, so he was the one the audiences were coming to see. The Wheeler/Woolsey partnership is now an acquired taste (thank you TCM for giving me the chance to acquire it!), though in the 30's they were one of the top ranked comedy duos. But their humor was more risqué than other teams of the times, so their films didn't get a chance to find new audiences through TV replay.

According to the filmography this is Bert Wheeler's second solo effort after the death of Woolsey. His role here has grown up a bit: he's now a married man instead of a young lover, but his charm still has the same boyish quality as in his previous films.

But the interesting thing for those who have seen the previous films is to note how much the writers here must have had Woolsey still in mind. Hank Ladd serves as Bert's foil in this film and tries to put his own stamp on the part by being slick and oily, but one can easily imagine Woolsey delivering the lines, and his style and timing fitting them better.

If you've seen many of the W/W films then you'll also notice the re-use of a number of their old routines, though Ladd isn't the partner in all of them. It's interesting to see them pop up, and note the alterations.

Wheeler has good chemistry with Virginia Dale, and also with Moore and Cornell. Their song "Mary Mary Quite Contrary" is a pleasure. And Dale's "Dove Dance" is a hoot (sic).

Connie Haines joined the Dorsey band at about the same time that Sinatra did. This may be her first film appearance: it predates anything else currently listed in IMDb. She's a charmer, singing (uncredited) on "The Trombone Man Is The Best Man In The Band".

.... Which tune also has the obligatory Buddy Rich solo.

No, not the best of Woolsey's work, nor particularly inspired Dorsey, but still pleasant enough viewing.


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