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J. Edward Bromberg
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An American tanker is sunk by a German U-boat and the survivors spend eleven days at sea on a raft. They're next assigned to the liberty ship "Sea Witch" bound for Murmansk through the sub-stalked North Atlantic.
Two American soldiers are captured by the Germans on the Western Front during World War One and escape a POW camp only to stumble into further life-threatening adventures when they come across an Arabian king's daughter while on the lam.
A sailor helps two sisters start up a service canteen. The sailor soon becomes taken with gorgeous sister Jean, unaware that her sibling Patsy is also in love with him. Written by
Daniel Bubbeo <firstname.lastname@example.org>
Some sources list the title of the Jimmy Durante song "Did You Ever Have the Feeling That You Wanted to Go?" as "I Gotta Go, I Gotta Stay". See more »
[after hitting a high note in the song, "Inka Dinka Doo"]
That note was given to me by Bing Crosby, and was he glad to get rid of it.
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The background for the opening credits is a drawing of a stage with part of the proscenium arch and curtain visible on the left side of the screen. As each credit is shown a caricature representing that person or persons appears on the stage near the bottom of the screen. See more »
This slight musical comedy from 1944 was a blockbuster of its year. Its one of those Stage door canteen where G.I.s are entertained by hit musicians of their including the popular band and orchestra leader Harry James and Xavier Cugat. The big hit "Young man with a horn" is featured prominently. The songs are lovely and generally feel orchestrated and operatic as this is a Joe Pasternak production. Like a Bruckheimer, a Selznick, a Freed or a Ross Hunter, you know a Pasternak when you see it. That is, slight plots with certain scenes that are written and play better than the whole movie and make you wish they were in another movie. There is usually a love plot involving dueling sisters, mother and daughter, or jealous daughters to their dads. The actresses are pretty and young. The songs, hits of their day but taken out of their time and the situations, they lack the oomph for classic appreciation unlike the movies of Arthur Freed. Take note, there is a dream sequence in this movie that is begging for one of those Freed musical numbers but instead we get Jimmy Durante shenanigans that lifts the weight from the scene. Thorpe, the journeyman director at MGM who made a lot of hits, directs in his usual flat and placid style that gets the job done and not much more. If only Pasternak aimed higher, varied the formula a little, he could have been a champion, not just a contender.
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