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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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 <firstname.lastname@example.org>
Patriotic delirium ..."Red Robins, Bobwhites and Bluebirds" ??
Betty Grable and Fox capitalizing (but not crassly) on the musical star's real-life pin-up status with WWII-era soldiers by casting her as a Washington, D.C. secretary who moonlights on the weekends as an entertainer with the U.S.O. Via some innocent and girlish, wide-eyed deception, she wins the heart of a Naval war hero who is led to believe she's a Broadway headliner. Grable doesn't sport the one-piece swimsuit she wears in that legendary pin-up, nor she does exploit her famous legs. Rather, she's displayed here as a nice, decent, small town lass who has somehow allowed several dozen soldiers to propose marriage to her (she doesn't take the offers seriously, so why should the men?). In between fabrications and costume changes, Grable sings, dances, and (most improbably) gets to play drill sergeant to a large company of WAC's in precision march. This last number is quite a mad capper for the picture, which maniacally represents a bygone era of nightclubs, canteens, novelty songs, and rollerskating dancers sporting red, white, or blue ostrich-feather fans. Martha Raye sings too (and gets to have a surprisingly catty side) before she and Grable's pal Dorothea Kent are both unceremoniously forgotten about midway through the film. ** from ****
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