Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary »
When the Kwimper family car runs out of gas on a new Florida highway and an officous state supervisor tries to run them off, Pop Kwimper digs in his heels and decides to do a little ... See full summary »
Larry Poole, in prison on a false charge, promise an inmate that when he gets out he will look up and help out a family. The family turns out to be a young girl, Patsy Smith, and her ... See full summary »
Murderesses Velma Kelly (a chanteuse and tease who killed her husband and sister after finding them in bed together) and Roxie Hart (who killed her boyfriend when she discovered he wasn't going to make her a star) find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.
Two singers, best friends Lorelei Lee and Dorothy Shaw travel to Paris pursued by a private detective hired by Lorelei's fiancé's disapproving father to keep an eye on her, a rich, enamoured old man and many other doting admirers.
Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows he made the right choice. After joining a parish, O'Malley's worldly knowledge helps him connect with a gang of kids looking for direction and handle the business details of the church-building fund, winning over his aging, conventional superior, Father Fitzgibbon. Written by
Risë Stevens' character of Genevieve Linden is playing the title role in "Carmen" at the Metropolitan Opera in 1944. Ms. Stevens would not make her debut in this role at the Metropolitan until December 28, 1945. See more »
When Fr. Chuck says to Fr. Fitzgibbon, "She's a singer," Fr. Chuck's hand change positions. See more »
It's always been strange for a movie buff like me to see how things change over the decades. In the 1940s and 1950s, Catholic priests were the good guys and likable actors like Pat O'Brien, Spencer Tracy and even Bing Crosby made them even more attractive. Since the '60s, Hollywood went in the opposite direction and made them villains more than anything else.
Frankly, I never found a nun who looked like Ingrid Bergman or Audrey Hepburn, or a priest who could sing like Bing Crosby, but, what the hell, er heck....better to see a positive cleric image than a negative, I believe.
The first hour of this movie was very good and the film might have wound up a favorite of mine but the second half petered out quickly and never regained steam, except for a nice ending. The films bogs down with a romance that has nothing to do with the story. The music also lost its appeal to me when Crosby's fine voice was finished for the film, replaced by the operatic high notes of Rise Stevens.
Overall, the film has a number of nice, touching moments and Crosby is very likable but the story goes on too long and is not one I would watch a second time.
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