Upset about a new Broadway musical's mockery of Greek mythology, the goddess Terpsichore comes down to earth and lands a part in the show. She works her charms on the show's producer and he...
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William A. Seiter
Joey Evans is charming, handsome, funny, talented, and a first class, A-number-one heel. When Joey meets the former chorus girl ("She used to be 'Vera...with the Vanishing Veils'") and now ... See full summary »
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After her banishment from Rome, Jewish Princess Salome returns to her Roman-ruled native land of Galilee where prophet John the Baptist preaches against Salome's parents, King Herod and Queen Herodias.
Upset about a new Broadway musical's mockery of Greek mythology, the goddess Terpsichore comes down to earth and lands a part in the show. She works her charms on the show's producer and he incorporates her changes into the show. Unfortunately, her changes also produce a major flop. Written by
Daniel Bubbeo <email@example.com>
Although it is not unusual in the history of film for an actor's singing voice to be dubbed by someone else this film is a rare instance where both leads, Rita Hayward and Larry Parks, could not sing. Anita Ellis sang for Rita and Hal Derwin dubbed Parks. See more »
The same news item about twins getting a two-week tryout keeps appearing in different newspaper columns over the course of several months. See more »
Mr. Jordan, I want to cry, but I can't. There are no tears. Mr. Jordan, at least let me cry.
You can't anymore. Tears are only for mortals. It's an advantage they have over us.
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As many others have already said, this poor attempt at a musical is painful to watch, like a train wreck, you know its awful but you can't look away. Gorgeous Technicolor & big stars could not save this film from the inelegant choreography, weak & clumsy dialogue, and ill-conceived musical numbers. The songs are awkward and there is not one with a tune anyone can remember, much less hum along with. In the transitional five years between the war years of the early forties and the optimistic dawn of the fifties, this film falls short as though the writers had no direction, no target audience, no message to convey. It's a bit of fluff with a big budget but small ideas.
In the finale, Rita energetically climbs and flings herself around the set like a rag doll on a string, all the while singing about having fun. But she looks like a manic, insane person, she has no idea where she is going next. It doesn't look like fun at all!
The direction seemed amateurish, instead of wider shots of the dance group during the opening night of the play, the camera wanders around the confusing scene, often becoming filled with a bewildering mass of arms. I kept worrying that the live flames of the torches being waved around would catch in the billowing costumes & I wondered if they'd had any injuries during the filming.
And on a purely superficial note, the choice to lighten Rita's signature bright red hair and smoky eyes gave her a pale, insipid look that did nothing to reinforce her presence on the screen.
Too bad this film didn't have more scenes like the one where Terpsichore pleads with Mr. Jordan to let her stay on Earth. Rita was classic when she could cry on the screen. She was a much better serious actress than a comic one.
7 of 11 people found this review helpful.
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