Danville, Connecticut at the turn of the century. Young Richard Miller lives in a middle-class neighborhood with his family. He is in love with the girl next-door, Muriel, but her father ... See full summary »
Danville, Connecticut at the turn of the century. Young Richard Miller lives in a middle-class neighborhood with his family. He is in love with the girl next-door, Muriel, but her father isn't too happy with their puppy-love, since Richard always share his revolutionary ideas with her. Written by
Filmed between June 17 and mid-October 1946, the film was not copyrighted until 26 November 1947, and its wide release was held back until April 16, 1948. The Manhattan opening at Lowe's State Theatre followed on June 11, 1948. See more »
Both the man and the woman portraying the "American Gothic" couple cast shadows on the background as they step into frame, revealing the house behind them is a painted flat. See more »
Mankind was better off when lived in the Dark Ages. When everybody went around naked!
Well, maybe so. But today it might interfere with your social life.
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It is odd that three of our endearing and enduring Broadway musicals were adaptations of plays that had previously been turned into film musicals by different writing teams. PARFUMERIE became IN THE GOOD OLD SUMMERTIME on film, before becoming SHE LOVES ME on Broadway. MY SISTER EILEEN retained its title in the Hollywood musical adaptation and became WONDERFUL TOWN on Broadway. AH! WILDERNESS was turned into SUMMER HOLIDAY on film and later became Broadways' TAKE ME ALONG.
The film of SUMMER HOLIDAY has more going for it in artistic attempts gone wrong than in actual achievement. Rhyming dialogue flows into song and out of it (ala Rodgers and Hammerstein)quite frequently. The colors are lovely
the opening number -OUR HOME TOWN - owes a great deal to R&H's OUR STATE
FAIR opening in their Fox film released two years earlier.
What is the problem? Nothing much happens for 90 minutes. We don't particularly care about any of the characters- whether Sid stops drinking, whether Richard and Muriel get together or not - whether Lily gets Sid. The Broadway vehicle by Bob Merrill is much better written - we care very much about Sid, Lily and Richard - and the songs are exceptionally well written.
Here all the songs are duds - there are eight of them - not to mention four more that wound up on the cutting room floor and two that were written for the film and not used. That's nearly half the originally conceived score tossed out. What remains does not reveal character or move the plot along and are musically quite mediocre.
It's a colorful and nostalgic romp - MGM was probably hoping for a success similar to the one they had achieved with MEET ME IN ST. LOUIS - also plotless but bubbling over with personality and unforgettable songs.
Mamoulian's direction here is tired and uninspired. Only worth catching if you are a fan of any of the players.
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