Nice Girl? (1941) User Reviews

ALL that adulthood entails!

[mik-19 · 7/10 · 31 March 2005]

What is not to like about 'Nice Girl?'? It needs hardly be among the very best of Deanna Durbin's films to still warrant at least a viewing. And it certainly does.

Robert Benchley is wonderful as the father raising three daughters with the help of his housekeeper in a small American town. Durbin plays the middle daughter, Dana, and she has her sights set on sophistication, however improbable that prospect seems. Her boyfriend, hunky, blond Robert Stack, is often filmed, bless him, in a skimpy shoulder-less undershirt whilst busying himself under the hood of the beloved car that he seems to value more than Durbin herself. When a mature man of the world, the charming Franchot Tone, shows up to do business with Dad Benchley, all three sisters fall in love with him, and Durbin decides that now is the time to take that final step towards adulthood, with ALL that it entails! "Who wants to be just useful and contented? After all, I am not a cow", Deanna Durbin complains, as she is about to flirt with disaster, preparing to be ravished by Tone in his boudoir of exotic trophies. Durbin hardly looks the Jezebel she makes a stab at, but she does look like a million bucks in her borrowed turban and black evening dress.

The dialog is snappy, often surprisingly racy for its time, the songs are classics ('The Old Folks at Home', 'Beneath the Lights of Home' etc.) and felt as well as beautifully sung by Durbin. It may not have quite the giddy strength of other Durbin movies such as 'First Love', but it is still a delightful experience.

It Happened to Jane

[lugonian · 8/10 · 27 November 2016]

NICE GIRL? (Universal, 1941), a Joe Pasternak Production, directed by William A. Seiter, stars Deanna Durbin in one of her current attempts of changing her screen image from vibrant teenage soprano to attractive young woman. Still relatively a teenager and a soprano with a very fine singing voice, this product, based on the play by Phyllis Duganne, returns Durbin to earlier material from THAT CERTAIN AGE (1938) where her character finds herself interested in an older man (Melvyn Douglas) and ignoring a boy (Jackie Cooper) of her own age. Not quite original but an attempt to make something very special out of this material, and in true essence, works out quite favorably.

Following the glittering Universal logo, and before the opening credits reach the screen, a mailman is seen leaving the post office to start his daily duties. After the conclusion of the title credits, the story, set in Danbury, Connecticut, begins with character introduction: Hector Titus (Walter Brennan), the postman, heading towards the Dana household delivering their mail. The Dana home consists of Cora Foster (Helen Broderick), the housekeeper and Hector's romantic interest; Professor Oliver Wendall Holmes Dana (Robert Benchley), a widower with three daughters, Jane (Deanna Durbin), the eldest who not only studies the habits of rabbits, but tires of the stigma tagged to her name as a "nice girl"; Sylvia (Anne Gwynne), an ambitious actress wanna-be; and Nancy (Ann Gillis), the instigating youngest with two teenage boyfriends fighting over her affections. Jane loves Don Webb (Robert Stack), her childhood sweetheart, but plays second fiddle to his custom-made futuristic-style automobile. When Dana receives a telegram from the Van De Meer Foundation sending Richard Calvert to pay him a visit, Jane, expecting a bearded elderly gentleman, drives over to the train station to greet him. While there, she finds her imagined older gentleman Calvert (Franchot Tone) a 36-year-old distinguished gentleman. Originally planning to spend time in a hotel, Calvert is invited to stay over as their guest. After the 4th of July gathering comes to a close, Jane borrows Don's car to take Calvert to the train station bound to New York. Arriving too late to board the train, Jane drives Calvert to his home instead. Along the way with the top down, they get caught in a rain storm and are drenched. Calvert invites Jane into his home to dry off and change into his sister's clothes. Being very much alone, with the exception of Austin, the butler (Leoanard Carey), misunderstanding occur to have Jane leave rather than spend the entire night with a single man. As Jane drives back in the early morning hours alone, she is spotted by nosy neighbors assuming the worst, followed by talk of the town rumors about Jane's "nice girl" reputation. And how does Don feel about that?

NICE GIRL can be best described as Universal's delayed answer to Warner Brothers' dramatic story of FOUR DAUGHTERS (1938). For NICE GIRL?, there's only three daughters, a widowed father and a housekeeper in a small quaint town. While portions of the screenplay may sound dramatic, it's actually a leisurely paced, wholesome family-friendly production with doses of quaint humor.

With Durbin in the cast, there's song interludes added for her singing talents. Song interludes include: "Perhaps," "Beneath the Lights of Home," "Swanee River" (the old American classic by Stephen Foster); "Love at Last," "Beneath the Lights of Home" (reprise); and "Thank You, America." As much as "Swanee River" had been vocalized by other legends of song as Bing Crosby in MISSISSIPPI (Paramount, 1935) and Al Jolson in SWANEE RIVER (20th Century-Fox, 1939), Durbin's rendition is quite beautiful, as is the film's best song of all, "Beneath the Lights of Home." Interestingly, following the "Thank You, America" finale, there's an alternate ending to another patriotic song, "There'll Always Be an England" displayed on both 1999 home video release, DVD, and premiering on Turner Classic Movies November 20, 2016.

As with other Deanna Durbin movies of the thirties and forties, which were extremely popular at the time with critics and audiences alike, NICE GIRL? certainly has faded away to obscurity until brought back on public television on various public television stations in the 1980s after being out of commercial television in various states for nearly two decades. With Durbin as its star attraction, the supporting cast is secondary to none. Franchot Tone, formerly of Metro-Goldwyn-Mayer (1933-1939), offers no great demands in his role but properly cast as the visiting gentleman. Robert Stack, who gave Durbin her first screen kiss in FIRST LOVE (1939), returns the favor here once again, but this time off camera. Walter Brennan, unrecognizable and looking very German with his mustache and glasses, playing both postman and musical conductor. Helen Broderick, best known for her droll humor and wisecracks from the Fred Astaire and Ginger Rogers musicals as TOP HAT (1935) and SWING TIME (1936), offers little promise through her limited scenes. Others in the cast are: Elisabeth Risdon (Martha Peasley); Tommy Kelly (Ken Atkins); Nella Walker and Marcia Mae Jones, among others.

A reflection of the times long ago and far away from today, especially when family invites perfect stranger as their guest into their home, NICE GIRL?, at 95 minutes, a nice movie about a nice girl,and another winner from the Deanna Durbin movie gallery, is something to consider. (***).

A good small town America comedy before the U.S. enters the war

[SimonJack · 8/10 · 22 July 2021]

"Nice Girl?" is a very good comedy set in a small town where Prof. Oliver Wendell Holmes Dana is the principal of the high school. He is a widower with three daughters and a housekeeper-cook. He also is doing research with rabbits at his home. The girls are growing up under the wings of a correct grammarian and language parent. And the banter between the family members is deliciously funny. Theirs is a home with humor, as the one rule of the Dana house is that all jokes are funny.

Although Robert Benchley is in a supporting role as Prof. Dana, his role stands out. He's at the heart of much of the dialog humor. Others contribute their share in incidents, situations and some lines. Deanna Durbin is Jane, the middle and older teenage daughter. She's also a local celeb of sorts who sings at community events. That's what qualifies this also as a musical, but it's mostly a comedy with some drama.

Jane's sisters are Anne Gwynne as Sylvia and Ann Gillis as Nancy. Helen Broderick is the housekeeper, Cora Foster; Walter Brennan plays Hector Titus, the mailman and community band leader who also is fond of Cora; and Robert Stack is Don Winthrop Webb, the next-door neighbor, genius of a car mechanic and boyfriend of Jane. Franchot Tone plays Richard Calvert, the advance man for a foundation that has just awarded Prof. Dana a two year research grant.

All the Dana household expect the advance man to be an old, pudgy guy with a beard. So, when Calvert arrives, the three girls vie for his attention initially. And, his arrival leads to most of the mayhem that ensues.

The story isn't particularly unusual. It is a comedy and part drama with a somber segment. But the humor and the small town portrayal give it a feel of wholesomeness. And, with the relationships among members of the Dana household, including Cora, this is a very good picture of family. For these reasons and the quick and clever dialog in places, I rate this film fairly high.

When the family sits down to eat, Prof. Dana says grace, "We thank you for this food and the fun of eating it together in peace. Amen." The poignancy of his prayer would be felt instantly by the audiences at that time, because global war had begun.

This movie came out in February of 1941. World War II was in its second year, although the U. S. wouldn't be drawn into the war for 10 months. Still, the U. S. was supporting Great Britain and the Allies. At film's end, Don joins the Army and Jane sings a rousing song, "Thank You America." Then, a video attached at the end has Deanna singing a chin-up song for the Brits, "There'll Always Be an England." As the film ends, the standard appeal to buy war bonds and stamps appears.

I think most people will still enjoy this film well into the 21st century. Here are some favorite lines.

Prof. Dana, talking to himself as he writes at his desk, "This is the thesis of my exegesis. Thesis of my exegesis? Exegesis... treatise. This is the thesis of my treatise."

Jane Dana, as she makes notes while feeding rabbits, "No, it'll be a long time before I know anything, except maybe the habits of rabbits."

Prof. Dana, "Anything wrong?" Jane, "Well, why, Dad? You notice a change in me?" Prof Dana, "Oh, no sudden change. Of course, since the day when I used to walk the floor with you, you have grown up a little."

Jane Dana, "I'm afraid I'm not very sophisticated." Prof. Dana, "Sophisticated? Heh, now you are being young. Real sophistication, dear, is just another name for good taste. Sophistication isn't doing, it's knowing."

Jane Dana, "You know any more tricks with potatoes?" Don Webb, "Well, no." Jane, "Then, let's go home."

Sylvia Dana, to Nancy, "One does not blow on one's soup." Nancy Dana, "Oh, doesn't one?" Prof. Dana, "Well, there are several schools of thought on the art of soup cooling. There are the blowers, the fanners, the diluters with ice water, and the wait-till-it- coolers."

Nancy Dana, when the phone rings, "May I be excused? I think it's for me. I'm anticipitating (sic) a call. " Jane Dana, "Nancy, anticipating." Nancy, "Thank you, Jane."

Sylvia Dana, "father, you really should do something about that child." Prof. Dana, "What, lock her up? We tried that with you. By the way, whatever became of that butcher boy with adenoids?" Cora Foster, "Oh, he's still got 'em."

Nancy, to Sylvia, "One does not read one's book when one's at the dinner table." Sylvia, "Father, speak to Nancy." Prof. Dana, "Hello, Nancy."

Prof. Dana, "There's only one rule in this house, Mr. Calvert. All jokes are funny."

Cora Foster, "Listen, little big mouth. Lightning doesn't always strike in the same place, but your father isn't lightning." Nancy, "That was a very coarse remark."

Nancy, "Hector, I found out what men really are - apes. All of 'em, apes!. After today, I will look upon all men with impunity." Prof. Dana, "First, I'd look up impunity in the dictionary. Hi, Hector." Hector Titus, "Howdy, professor."

Jane Dana, crying on her dad's shoulder, "Oh, dad, I did something that was so stupid, so cheap. I threw myself at him, and he didn't even kiss me. He didn't even try." Prof. Dana, holding back a delighted laugh, "Why, the bounder!"

Prof. Dana, "Well, I wouldn't say that your homecoming went unnoticed. And you must be prepared to have a few eyebrows raised at you. But what's a little gossip when those who count know the truth."

Prof. Dana, "What this town needs is a good five-cent scandal."

Wonderful Girl!

[PrincessAnanka · 26 June 2001]

No other studio in Hollywood during the 30s and 40s could so beautifully evoke the haunting beauty of small town America than Universal. In the l941 "Nice Girl," a magical Deanna Durbin is set against probably the most ravishing recreation of Somewhere, USA ever put on film. Deanna's house is memorable with its big, wide windows, open to the wind, the cozy den and bedroom. Most haunting of all is when Deanna sings "Old Folks at Home" at a July 4th celebration near a river. Gorgeous photography, shadows, lights, all-American faces are unforgettable as Deanna sings. Remember that this was made just as America began to fight in World War II. The ending is a masterpiece. Deanna sings "Thank you America" in a radiant, thrilling way. the video shows you immediately an alternate ending that was shown in England at that time, "There'll always be an England." Robert Stack is so gorgeous looking you wonder why he didn't become a major star. Wonderful supporting cast, more great music and this all combines to make "Nice Girl?" a much beloved addition to your library. If you don't like music, then study it for its all-American wholesomeness, sincerity and the styles and clothes of a long ago era. A masterpiece!

A pleasant and amiable film

[JohnHowardReid · 7/10 · 5 June 2018]

Songs: "Love At Last" (Durbin), by Eddie Cherkose and Jacques Press; "Perhaps" (Durbin), by Aldo Franchetti and Andreas De Segurola; "Beneath the Lights of Home" (Durbin, reprised Durbin), by Bernie Grossman and Walter Jurmann; "Thank You America" (Durbin), by Bernie Grossman and Walter Jurmann; "There'll Always Be an England" (Durbin); "The Old Folks At Home" (Durbin and chorus), by Stephen Foster; "Love Me and the World Is Mine" (Durbin and Benchley), by Ernest R. Ball and David Reed, Jr. Music orchestrated by Frank Skinner and directed by Charles Previn. Vocal coach: Andreas De Segurola.

Copyright 4 March 1941 by Universal Pictures Co., Inc. New York opening at the Paramount: 26 March 1941. U.S. release: 21 February 1941. Australian release: 15 May 1941. 9,430 feet. 104 minutes. The full-length version was released only in Australia. The movie was cut to 95 minutes in the U.S.A.

SYNOPSIS: A nice young girl falls in love with a much older man and makes a few mild attempts to induce him to return her affection.

COMMENT: Even in the full-length Australian version which includes an additional Durbin song, Nice Girl? strikes me as a very routine offering. True Miss Durbin's admirers will be stimulated no end, but more critical entertainment seekers will most likely think they've been short-changed. The single-gimmick script is slight in the extreme and it is here spun out to wearisome length. The tedium is compounded no end by William A. Seiter's leadenly dull direction.

On the other hand, as there is really no question mark at all about Nice Girl's niceness, it is certainly a pleasant and amiable film, attractively played by the entire cast, and delightfully sung by Miss DD as well. True, it would be hard even for the heavy-footed Seiter to go too far wrong with players like Franchot Tone, Walter Brennan, Robert Benchley and Helen Broderick. I certainly got a few laughs out of it. Despite some dated war-time jingoistic sentiments abetted by a "God Bless America" song, I found Nice Girl? overall quite acceptable entertainment.

Very good and very weak

[richard-1787 · 6/10 · 20 November 2016]

This is basically two movies that have nothing to do with each other.

On the one hand, there are the musical numbers, mostly solos for Durbin. They are often very beautifully and movingly performed. Simple, but deeply felt. Some of Durbin's best singing.

And then there is the rest of the movie, the plot. It is paper thin, not developed, not interesting, not worth watching.

Which left me wondering: why didn't Universal put at least a little effort into creating a decent script to showcase Durbin's beautiful, moving performances? The cast is fine. All of the leads had given great performances in great movies. They could have handled much better material easily.

Why didn't Universal bother to come up with something for them? Why did they leave Durbin stranded with nothing to work with? A mystery.

Thank You, Deanna!

[lisa-wolofsky · 9/10 · 29 June 2019]

I must start my review by stating that I was born in 1935 in Montreal, Quebec, Canada, wherein I have lived my entire life to the present date and will continue to live here as long as I still exist. Canada was one of Great Britain's Dominions until it became a nation forming, to the present day, part of the British Commonwealth of Nations titularly led by the British monarch, presently the Queen. Yesterday, by chance, for the very first time, I watched Nice Girl?, on my computer, it having been shown a few years ago on TCM. I knew nothing about it other than its star, Deanna Durbin, who's face and singing voice I had always adored as a kid. and that it was dated from 1941. I found the movie to be delightful from the start. The actors and their acting were/was super; humour laughingly appropriate; small town U.S.A. July 4th festivities with Deanna's songs gorgeously sung and after Robert Stack climbed out from under the army truck and she sang the patriotic Thank You America so wholesomely, I had concluded that the movie, now ending, was indubitably worth 7 stars. I was about to bestow them when suddenly, shockingly, something happened. She began to sing again! "There'll Always Be An England" a song we regularly heard on the radio, learned and sang in my pre-teen primary school years, and which I haven't heard again since the War's end. I was both dumbfounded and elated. A verification on IMDb showed me that filming of the movie took place from November 11, 1940 to January 1941. The big party took place on the July 4th weekend so it must have depicted July 1940, yet the U.S. didn't enter the war until Pearl Harbour, seventeen months later. even though her boyfriend left to join the army a day or two after that weekend. The army audience was there in full uniform to listen to her singing it!! Big unanswerable question!! But it doesn't matter. She sang it so fulsomely, with such heart. I can still remember big parts of that song today. For that song, so sung, my score of the film's points MUST rise an additional minimal two points, from 7 to nine!

Slow beginning leads into amusing comedy/musical.

[mark.waltz · 5/10 · 9 November 2011]

Mechanic Robert Stack needed to jump start the plot of this initially creaky variation of "Four Daughters" which focuses on one (Deanna Durbin) of the three daughters of scientist Robert Benchley. Durbin is a fellow scientist who happens to sing soprano, and is upset that her boyfriend Stack is more interested in experimenting with shooting potatoes out of car mufflers than romancing her. When fellow scientist Franchot Tone comes to town to meet with Benchley, all three of the daughters set their caps for him, but it is Durbin who ends up in the ballpark with him by using him to get a reaction out of the non-romantic Stack. Durbin, it seems, is set on, as she says, not having an obituary which reads "Scientist, never married. Nice Girl." Get the drift? She is stranded overnight at Tone's mansion, and when he doesn't take advantage of her innocent pass, she storms out, offended. Back in her little home town, she becomes the victim of a prank by papa Benchley and mailman Walter Brennan who announce to a crowd of gossipy neighbors that Durbin and the wealthy Tone are engaged. Of course, Tone and Stack show up, and this sets the scene for the question mark at the end of the title.

With a romantic leading man like Robert Stack (too busy exploring those potatoes in mufflers rather than tomatoes in skirts), why Durbin would take notice of the rather long-in-the-tooth Franchot Tone is rather confusing. She of course gets to sing, but the songs are rather ordinary, more homespun and later patriotic considering the climate of the world in 1941. But Stack is rather unbelievable being cast as the young non-romantic fool more interested in mechanics than girls. In major supporting parts, Brennan and snappy Helen Broderick as Benchley's housekeeper, are extremely amusing. Broderick reminded me of Mary Wickes in the later Doris Day musicals "On Moonlight Bay" and "By the Light of the Silvery Moon" where her housekeeper was the Greek chorus commenting on everybody's comings and goings. Benchley basically plays the same character he played in all of those MGM shorts.

The whole premise of the title (with the question mark) is that Durbin wants to shake up her reputation, but she is simply too lovely to be believable as someone who fears she will end up as a spinster. She makes an effort to be funny, but unfortunately the script does not deliver in the laughs department unless Brennan, Broderick, and Benchley are on screen.

Nice girl? Deanna tries hard!

[handelian-77847 · 5/10 · 17 May 2021]

If this film tries to cast Durban against type it singularly fails. She couldn't be anything else but nice and catch the boys, what with her looks and her voice. Still her father has enough to do with three good looking girls to keep in-line with home spun wisdom and a firm hand. Typical Durban. Enough said.

First Part Shines

[dougdoepke · 29 November 2016]

The first part centering around family life in the Dana family is utterly charming. The three spirited sisters are feeling the pangs of youth and the opposite sex. That scene where a romantically inclined Jane (Durbin) goes riding with her car crazy boyfriend (Stack), only to have him more interested in putting a potato in his exhaust pipe than being with her is a hoot. Poor Jane. Then there's the budding Nancy (Gillis) and older sister Sylvia (Gwynne), both with their share of guy problems. Good thing dad's (Benchley) on hand to dispense fatherly wisdom. Note too how the family shares meals and talks together around a family table with no TV or cell phone in sight. In similar fashion, this first part is both amusing and insightful into norms of the day.

But once the attractively sophisticated Calvert (Tone) arrives, the focus shifts to preserving Durbin's iconic virginity. In short, her virtue wobbles while in the overnight company of bachelor Calvert. And though there are still amusing moments, much of the earlier charm diminishes. Nonetheless, Durbin shines, especially in close-ups, while getting to show off her highly musical voice. The song selection, however, is undistinguished, except for Old Folks At Home. At the same time, the approaching big war is sensed in the two patriotic compositions coming at the end.

Too bad that Durbin is largely forgotten today. But then social norms reflected in her career have changed drastically. Nonetheless, she was a highly talented performer whose close-ups continue to project a timeless magic.

Meh...

[planktonrules · 5/10 · 20 November 2016]

In 1941, Deanna Durbin was the biggest star at Universal and helped to save the sagging studio. However, this film represents a big of an awkward period. Up until this period, Deanna played young and virginal characters but by 1941, she was entering her 20s and having her play such roles was problematic to say the least! So, instead of a small change, the studio decided to try to titillate and named her next film "Nice Girl?" and they publicized that this sweet young lady would get her first screen kiss. Unfortunately, the film also is rather dull and when seen today it's not exactly a crowd pleaser.

The dull and slow-moving plot finds Mr. Oliver Dana (Robert Benchley) trying to raise his three daughters with the help of his housekeeper (Helen Broderick). The main focus is on Jane (Durbin) and whether or not she'll get the slow-witted Don (Robert Stack) or Richard Calvert (Franchot Tone). As for Don, he's much more interested in cars than sex and Richard is downright old compared to Deanna (he's 16 years her senior). It's all punctuated with Durban singing and ends with her singing a rousing patriotic tune--which varied depending on if you lived in the US or UK!

As I said...slow and dull. Not a bad film but one that never help my interest and was far from one of Durbin's best.