Glamorous Lorry Jones, the toast of a Missouri military canteen, has become "engaged" to almost every serviceman she's signed her pin-up photo for. Now she's leaving home to go into ...
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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 »
Set at the turn of the century, smooth talking con man Eddie Johnson weasels his way into a job at friend and rival Joe Rocco's Coney Island night spot. Eddie meets the club's star ... See full summary »
Andy Clark discovers he was cheated out of a half interest in partner Mike's business, now a thriving dance hall in 1892 Chicago. Unable to win it back, Andy schemes to make Mike's position... See full summary »
Light bio-pic of American Broadway pioneer Jerome Kern, featuring renditions of the famous songs from his musical plays by contemporary stage artists, including a condensed production of ... See full summary »
Temperamental saloon singer Freddie Jones, jealously shoots at her cheating boyfriend Blackie but mistakenly hits Judge Alfalfa J. O'Toole's honorable behind, forcing her to skip town under the guise of a schoolteacher.
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 »
Nick Cherney, in prison for embezzling from Torno Freight Co., sees a chance to get back at Johnny Torno through his young priest brother Jess. He pays fellow prisoner Rocky, who gets out a... See full summary »
In squeaky-clean New York at the turn of the century, playboy Charlie Hill falls so much in love that he can walk on air. The object of his affections is beautiful Angela Bonfils, a mission... See full summary »
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 »
Glamorous Lorry Jones, the toast of a Missouri military canteen, has become "engaged" to almost every serviceman she's signed her pin-up photo for. Now she's leaving home to go into government service (not, as she fantasizes, to join the USO). On a side trip to New York, her vivid imagination leads her to True Love with naval hero Tommy Dooley; but increasingly involved Musical Comedy Complications follow. Written by
Rod Crawford <email@example.com>
Robert Sklar in his book 'Movie-Made America: A Cultural History of American Movies' states that Betty Grable's pinup picture was of value to GI morale during the Second World War. The famous picture of Betty in a swimsuit taken from the back with her looking back over her shoulder was done this way because her pregnancy was well advanced and it showed. The feeling was that a pregnant Grable was not as much of a pinup. See more »
Like Grable, it's pretty to look at. That's about it
Splashy Technicolor musical with Betty Grable and Martha Raye has beautiful photography, Grable's incredible legs--although they're not featured as much as you'd think they'd be, considering they were what she was most famous for--and not a whole lot more. The musical numbers are for the most part uninspired, and the casting of unknown John Harvey as Grable's romantic interest was a big mistake. He's a bland, not particularly good actor who tries too hard to be the peppy "boy next door" type and has no chemistry at all with Grable. Dorothea Kent as Grable's sidekick is enjoyable but for some reason she vanishes about halfway through the film. Martha Raye, as always, gives it her best but the songs they stuck her with are, to be charitable, pedestrian and, in the case of "Yankee Doodle Hayride", downright stupid. Grable's "Don't Carry Tales Out of School" is boring--I have no idea why it's performed two different times in the film, as it doesn't get better with repetition. Raye's "Red Robins, Bobwhites and Bluebirds" is a juvenile time-waster and she looks almost embarrassed performing it--the lyrics are childish and the song makes virtually no sense. Just about the only number that has any spark at all is "Once Too Often", which Grable dances with the great Hermes Pan. It's not one of his or Grable's best, but compared to the rest of the numbers in this picture, it's a masterpiece. Joe E. Brown is an acquired taste, which I haven't acquired, but if you like him I guess this is as good a place to see him as any. The tap-dancing Condos Brothers are good, there's a campy but somewhat entertaining roller-skating number early in the film and a very bizarre and really out-of-place sequence at the end where Betty is a drill sergeant putting a female drill team through a series of complicated marching routines--it's almost surreal to watch her carrying a sword and shouting "Dress that line, there!" and "Hup, hip, hoop, harch!"--but even that dose of wartime weirdness doesn't do much for the picture. Overall it's a lower-rank, by-the-numbers effort from people who've done far better. Worth a look maybe just so you can say you've seen it, but other than that, there's not much reason to spend any time on it.
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