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
Two soldiers on sick leave spend three nights at the Hollywood Canteen before going back to active duty. With a little friendly help from John Garfield, Slim gets to kiss Joan Leslie, whom ... See full summary »
The Andrews Sisters
Sassy Dixie Daisy is the hot new attraction at a former opera house that's been turned into a burlesque theater. She's popular with the customers, although not with Lolita La Verne, a stuck-up diva who was hoping she'd get the top spot. Also complicating matters is the return of the Princess Nirvena, the show's former star who once had a fling with the boss. When the Princess blackmails her way into the top spot, Dixie is none too pleased. When both Lolita and the Princess are murdered, Dixie becomes a prime suspect. She then sets up a trap to nail the real killer. Written by
Daniel Bubbeo <firstname.lastname@example.org>
It is commonly assumed that Craig Rice, mystery writer from the 1940s and roommate of Gypsy Rose Lee, ghost-wrote "The G-String Murders" for her. However, this has been disputed both on stylistic grounds and on the evidence of manuscripts. See more »
Dixie comes off stage in one costume and goes to the dressing room where the body is found. When the performers are questioned by the police, Dixie is in an entirely different costume. See more »
I'd never seen this film, and now I'm sorry it's taken me so long to catch up with it. It's a wonderfully rich look at life in a burlesque house, with Barbara Stanwyck as the star stripper and a great supporting cast of chorus girl types (including the incomparable Iris Adrian as her best friend). Stanwyck sings, I think for the only time on film, and dances with an impressive athleticism. And the scenes backstage and during the police interrogation, with the performers in a variety of outlandish costumes, have a wonderfully surreal quality reinforced by the films hermetic qualities (even the exteriors were shot on the sound stage).
But what's really wonderful about the film is the depiction of the burlesque people as an extended family who overcome their differences and pull together when the future of their theatre is threatened. With the preponderance of women in the dressing room, the film is also surprisingly ahead of its time in its depiction of female bonding. It really deserves the same cult status as Dorothy Arzner's "Dance, Girl, Dance."
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