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.
The Acunas, a rich Argentine family, have the tradition that the daughters have to get married in order, oldest first. When sister #1 gets married, sisters #3 and #4 put pressure on Maria, ... See full summary »
William A. Seiter
An RAF squadron is brought down over occupied France. The flyers get to Paris in spite of the fact that the youngest, Baby, is injured. He must be hidden and his wounds cared for. The Gestapo has already issued orders for their arrest.
After WWI two men go into radio. Failure leads the wife of one to borrow money from another; she goes on, after separation, to stardom. A coast-to-coast radio program is set up to bring ... See full summary »
In this chronicle of a vaudeville family, Myrtle McKinley (class of 1900) goes to San Francisco to attend business school, but ends up in a chorus line. Soon, star Frank Burt notices her ... See full summary »
Susan Miller works behind the girdle counter in a department store and dreams about the beautiful clothes and glamour she can never hope to have. Enter May Worthington and Warren, a pair of... See full summary »
Unlike many musicals from Warners and MGM, the scenes of stage performance in those from 20th Century Fox look as though they could actually be performed on a stage, with straight front shooting, and relatively little camera movement, except for close-ups. This approach works, if you have actors who can draw you in simply by their talent, Talent is abundant here, and the musical numbers are believably staged. Fortunately, there are many of these: enough to carry the hackneyed plot. After more than twelve years in films, Jack Oakie could still do comic dance and joke routines far superior to those of most; and is helped wonderfully by June Havoc, who should have received one of the co-star billings in the titles, instead of being listed second in the supporting cast. John Payne was the studio's dependable leading man, in both musicals and light drama. The beautiful Lynn Bari, who never broke through to star status, shines in the thankless role of the selfish society girl.
But Alice Faye is at her best in her last major musical for Fox. It's easy to see why Archie Bunker occasionally referred to her as his feminine ideal. She is gorgeous in Technicolor close-ups. Here, as in other films she wears period costumes more convincingly than most other actresses, who seem to be dressing up for a costume party. Her voice was unique, and her delivery understated; unlike many of her contemporaries, she can still be heard on CDs. I didn't count, but she must have sung ten or more numbers, alone or with Payne. Oakie and Havoc, including an opening and closing rendition of her signature "You'll Never Know". In a years later TV interview, she commented that toward the end of her Fox career she was being replaced by Betty Grable, whose more overt sex appeal made her famous during the war years, but whose career as a top attraction did not last as many years as Faye's (about ten) What impressed me was that she made that comment without any tone of bitterness. Incidentally, this is not a criticism of Grable, who had a winning, self-deprecating personality in later years. In another TV interview, when she was asked how she became a star, she responded: I could sing a little, dance a little, and act a little, but I had great-looking legs. I can't help comparing these two ladies, both of whom had long-lasting show business marriages, and both of whom seemed to be nice persons, with some contemporary "stars".
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