Show promoter Cartwright has stolen the songs that Frank wrote while he was in the big house. The boys go to Cartwright to get Frank credit for his work, and Cartwright has them arrested ...
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Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
A contrived misunderstanding leads to the breakup of a songwriter and his fiancée. She returns to work as a gym teacher at an all-girls school, but a legal loophole allows the man to enroll as one of her students.
A remake of Robert Montgomery's 1934 hit Hide-Out, this superb film directed by Robert B. Sinclair (known for his classic Broadway productions of The Philadelphia Story, Dodsworth and Pride... See full summary »
Robert B. Sinclair
Lee White, recently married to Katherine Bryant, eyes a vacation from marital responsibilities when Katherine goes out of town to attend a friend's wedding. But he soon becomes bored and ... See full summary »
A brilliant but impoverished writer, who is a pacifist, goes to work for a publisher and writes anti-war editorials. When he discovers that the publisher has betrayed him and is in league ... See full summary »
Show promoter Cartwright has stolen the songs that Frank wrote while he was in the big house. The boys go to Cartwright to get Frank credit for his work, and Cartwright has them arrested for extortion, of which they are innocent. Luckily, they are in the same paddy wagon as Pete and when his gang springs Pete, the boys are sprung. The only way that they can prove now that the songs are Frank's is to put on a show before Cartwright show 'Melody for You' opens. The boys and Patsy find a theater, paint the scenery and put all the kids in the neighborhood to work on the show. Pete Detroit makes sure that Cartwright's show does not open on the same night and that his cabs bring in an audience. Written by
Tony Fontana <email@example.com>
This film received its initial television broadcasts in Los Angeles Thursday 30 May 1957 on KTTV (Channel 11) followed by Philadelphia Monday 10 June 1957 on WFIL (Channel 6); it first aired in San Francisco 23 September 1958 on KGO (Channel 7); its earliest documented telecast in New York City took place 9 May 1961 on WCBS (Channel 2). See more »
Hodge podge of a B-musical showcases Douglas McPhail's rich baritone...
Whatever points I give this one is strictly based on the talented DOUGLAS McPHAIL and his rich baritone singing the climactic number, "America". MGM obviously was grooming him for big time stardom that never came. He was a Nelson Eddy kind of baritone, stolid looking, rather humorless, but usually just given background roles in any of the studio's big films.
Here at least he takes the spotlight in the film's final number, a rousing tribute to Americana. But what precedes this is strictly hokum, a "let's put on the show" routine accompanied by some gangster stuff led by SHELDON LEONARD who gets off some typical '40s tough guy remarks. ("I'm gonna put him in opera if I gotta buy the joint," he says of McPhail.) Another amusing and typical '40s moment has Leonard landing in the same police patrol wagon with a few of the show biz kids, including LEO GORCEY. Another youngster takes one look at his suit and says, "If you get the hot seat, can I have that suit?"
VIRGINIA WEIDLER is totally wasted in the leading femme role as the daughter of a musician, but the cast is perked up by RAGS RAGLAND, MARGARET DUMONT, DARLA HOOD and especially young RAY McDONALD, who was a hoofer who ranked easily with Donald O'Connor as one of filmdom's best dancers.
Summing up: Unfortunately, never rises above its B-picture material, except for the climactic song celebrating America.
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