Betty Grable and Dan Dailey are a married song and dance team who cannot have children. The movie follows the travails as they try and adopt and keep the kids they adopt while performing on their TV show.
Hans falls in love with Brenda, an Indonesian girl. Hans' father sells an old building to Brenda's father, so that he can open an Indonesian restaurant there. Hans' father is the owner of a... See full summary »
Chronicles the early life of gay nineties-era songwriter Paul Dresser as he outgrows his job as carnival entertainer and moves up into New York society, writing one hit song after another. ... See full summary »
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Radio star Kitty Moran, long married to partner Jack, finds she's pregnant, but miscarries. For a change, the couple turn their act into a series on early TV and try to adopt a baby, finally acquiring a girl in a somewhat back alley manner. Complications follow amid a series of musical numbers. Written by
Rod Crawford <firstname.lastname@example.org>
During the Cosmo Cosmetics number, all of the monitors in the television control room are in color. Expensive color sets would never have been used in a real TV control room, and in fact weren't even available in 1950. See more »
This TCF production looks like an attempt to update the standard 40's musical. Instead of romantic youngsters, there's Grable and Dailey as a mature married couple; and in place of the usual wispy storyline is a surprisingly biting one; while banal dialog is peppered with risqué throw-away lines; and most topically, there's that new-fangled livingroom monster, television. On the whole, however, the combination doesn't go down well.
For one, the main plot thread simply doesn't lend itself to light-hearted entertainment. Ping-ponging adoptive babies back and forth, plus an auto accident, is the stuff of dramatics, not fluff, and leads to abrupt interruptions in mood. Sure, Grable gets to show some acting chops, which I expect was the intention, but it comes at the expense of overall results. Then too, the musical numbers are forgettable, to say the least. But at least, big-budget TCF mounts them in splashy Technicolor keeping the eye entertained even when the ear isn't. And I agree with the reviewer who thinks the vibrant young Mitzi Gaynor steals the show. She's clearly on her way up the Hollywood ladder.
Anyway, Dailey and Grable hoof and warble well enough. But, unfortunately, the movie comes across as two Hollywood vets doing their best with difficult material, yet only partially succeeding.
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