Discovery by Flo Ziegfeld changes a girl's life but not necessarily for the better, as three beautiful women find out when they join the spectacle on Broadway: Susan, the singer who must ... See full summary »
Biography of songwriter, Broadway pioneer, Jerome Kern. Unable to find immediate success in the USA, Kern sought recognition abroad. He journeyed to England where his dreams of success became real and where he met his future wife Eva.
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
Soldier Joe Allen is on a two-day leave in New York, and there he meets Alice. She agrees to show him the sights and they spend the day together. In this short time they find themselves ... See full summary »
Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
The Wolves baseball team gets steamed when they find they've been inherited by one K.C. Higgins, a suspected "fathead" who intends to take an active interest in running the team. But K.C. ... See full summary »
Rich kid Danny Churchill (Rooney) has a taste for wine, women and song, but not for higher education. So his father ships him to an all-male college out West where there's not supposed to ... See full summary »
MGM gave this film a two-week roadshow test run at a famed legitimate showplace, the Colonial Theatre in Boston, Massachusetts, beginning August 13, 1945. A second test run began at the Nixon Theatre in Pittsburgh, Pennsylvania on August 28, 1945. $2.40 was the top ticket price for these engagements, and the film did great business according to the Boxoffice Magazine issue of September 1, 1945, with the advance sale for the Nixon Theatre "setting a new high." A third test run was also done at the Loew's New Rochelle Theatre per The New York Times of September 2, 1945. Disappointed by the largely unenthusiastic audience reaction to the test screenings, studio executives decided against quickly showing the movie nationwide. Changing the running order of the segments, restoring discarded sequences and/or replacing "There's Beauty Everywhere" with a new finale were considered by the Arthur Freed Unit. Hedda Hopper and The New York Times both reported that Busby Berkeley was going to direct a new finale for the picture, but this wasn't done. Ultimately, the movie would receive its Manhattan opening at the Capitol Theatre on March 22, 1946 and its wide release on April 8. See more »
Towards the end of the "This Heart of Mine" number, as Astaire and Bremer begin to dance back to the palace, dancers in the background (screen left) are clearly struggling to stabilize some of the antler-tree props. See more »
Florenz Ziegfeld Jr.:
Ah... Saturday, September twenty fifth. Another heavenly day. Ah, yes. Always a heavenly day.
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The premise of this film is that Ziegfeld (with William Powell reprising his role) is in heaven thinking of his dream revue, with the rest of the movie just a playing out of that dream revue. I rather wonder about the direction, because this film managed to do what I've never seen done before - make William Powell appear hammy and amateurish in the opening moments as he plays Ziegfeld once again and then disappears for the rest of the film. Believe me, I say this as a huge fan of William Powell.
Thus there is no plot. It involves the big musical and comedy stars of MGM putting on a show of their various capabilities, and for all intents and purposes could be renamed "The Hollywood Revue of 1946" for those familiar with the original from 1929 which basically had the same purpose. Of course, technology has advanced considerably over the ensuing 17 years, but there are still some missteps. Basically, the musical numbers are good, but the comedy skits that punctuate them fall very flat and detract from the entire film. The highlight for me was seeing Fred Astaire and Gene Kelly perform together in a number. The musical numbers make this an above average film, but just barely.
It is most valuable because it shows MGM just as it begins to lose its grip as a leader in the film industry in the post-war era, and also because it reinforces what Buster Keaton always said - that MGM never "got" comedy.
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