Broadway partners Vicky Lane and Dan Christy have a tiff over Christy's womanizing. Jealous Vicky takes up with her old flame and former dance partner, Victor Price, and Dan's career takes ... 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.
After writing a tell-all book about her days in the dance troupe "Barry Nichols and Les Girls", Sybil Wren (Kay Kendall) is sued for libeling her fellow dancer Angele (Taina Elg). A Rashomon... See full summary »
A swim teacher and a wealthy businessman are married after a brief courtship. A charming war hero falls in love with this newly-married woman, after her husband abandons her on their honeymoon for the sake of a business meeting.
Broadway partners Vicky Lane and Dan Christy have a tiff over Christy's womanizing. Jealous Vicky takes up with her old flame and former dance partner, Victor Price, and Dan's career takes a nosedive. In hopes of rekindling their romance and getting Vicky back on the boards with him, Dan follows her to a ritzy resort in the Canadian Rockies, where she and Victor are about to open their new act. But things get complicated when Dan wakes after a bender to find that he's hired an outlandish Latin secretary, Rosita Murphy, which makes Vicky think he's just up to his old tricks again. Written by
Paul Penna <firstname.lastname@example.org>
The Gordon-Warren song "Run Little Raindrop, Run" sung by Betty Grable and John Payne was written specifically for "The Great American Broadcast" and was to be sung by Alice Faye. The reasons why it was not used in "Broadcast" is not clear although the sheet music was published with the words, "Sung by Alice Faye." See more »
In the scene where Dan and Vicky are discussing his secretary (Miss Murphy), Dan is standing with his arms crossed in front. His left hand is over his right arm. When the scene changes view, his left hand is under his right. See more »
Among the Fox musicals of the early 40s, there isn't much to distinguish one from the others. The leading lady will be Alice Faye or Betty Grable, the leading man will be Don Ameche or John Payne, the setting will be a scenic paradise, the story slight, and the success of the picture will depend on the supporting players and/or specialty acts.
In this case there are some very welcome highlights that elevate the picture above most of the others. Caesar Romero reveals himself to be a first-rate ballroom dancer: lithe, graceful, totally appealing. He brings out the best in Betty Grable in their nightclub routine - she who so often had done the simplest steps in production numbers while the chorus did the real dancing around her. She is put to the test this time, and acquits herself very well.
Then there is Edward Everett Horton, at last able to play a character with aspirations, motivation, a background that matters - instead of the less-than-one dimensional nervous, dithering purveyor of the double-take. Arguably, this is his best performance.
And finally we have Carmen Miranda at the top of her form (Was she ever not?). Good songs, terrific gestures and facial expressions, flashing eyes, dazzling smile - even a part that has an effect on the story (such as it is).
There were no better musicals at this time than those being produced by Fox. MGM was just getting its A-team together, and within a year or two would render the Fox musicals decidedly less impressive than they had seemed. But Leo the Lion had Kelly, Astaire, Garland, Grayson working for him; Fox had to do with less.
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