A young woman, Poppy, out for excitement in Shanghai, enters a gambling house owned by "Mother" Gin Sling, a dragon-lady who worked herself up from poverty to buy the casino. Sir Guy ... See full summary »
Nan Spencer is on a boat bound for Havana which runs aground. The man sent to rescue her is engaged and she doesn't understand his disinterest. Gambler is interested, to the annoyance of his girlfriend.
American pilot Cliff Brandon, fighting the Japanese in China, finds himself the unintentional "owner" of a Chinese housekeeper, Shu-Jen. The unlikely couple falls in love and marries, but not without tragedy brought on by the war.
Music-hall star Madeleine Marlowe leaves London engaged to the Duke of Trippingham only to find back home that Police Gazette hack Samuel A. McGee has exposed her as former burlesque queen ... See full summary »
Conceited World Champion boxer Tommy Lundy decides to test his popularity in a Broadway show. Tommy always has an eye for the ladies and he starts paying attention to beautiful chorus girl Pat Lambert. Pat's boyfriend Bill Smith isn't impressed with Tommy even though Tommy gets him a boxing part in the show. When Tommy finds out that Pat and Bill were secretly together the night before the show opens, he angrily plans to turn the boxing scene with Bill into a real bout. Written by
Gary Jackson <firstname.lastname@example.org>
Surprisingly, given her ascending popularity with moviegoers at the time, Betty Grable was billed second to John Payne in this movie. However, poster art for the picture emphasized Betty in full figure. Later that year, Miss Grable would receive top billing over Mr. Payne in their next musical, Springtime in the Rockies (1942). See more »
This is a pleasant musical vehicle for Betty Grable, made early in the war, and photographed in stunning black and white by Lee Garmes. Victor Mature and John Payne literally fight over Betty in this one, while Phil Silvers is the comedy relief, and Jimmy Gleason adds some spice. Footlight Serenade is fairly small scale for a Grable pic, which makes it interesting. Most (if not all) of her subsequent films were done in color. Black and white adds just a touch of menace to the film, and Mature and Payne seem to not really like each other, which gives the movie a slight edginess that works in its favor (if you like edge). Grable's later pictures are much more bland. She didn't need all that Technicolor, as she proves here.
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