Wally Hogan has things going his way. He is the manager-trainer of Bullet Bradley, a fighter who has just won the lightweight championship. Life suddenly takes a not-so-happy turn, however,... See full summary »
Joe, inventor in an American Small town of 1895 has problems with his new invention, a car, driven with a gasoline motor. Everybody is making fun about his "crazy invention", only his girl ... See full summary »
The body of an unknown woman turns up in a stolen car abandoned in a New York park, and the only clue the detectives on the case have to work from is the tattoo on her arm, and the fact ... See full summary »
Laura Mansfield's father is killed, apparently by a telegraphic messenger. She spots Jackie Wales in a police lineup, but can't identify him positively. Later, she arranges to meet him, and... See full summary »
Edward L. Cahn
Of Joe Pasternak's 57 MGM productions released between 1942 and 1966, this film was just one of two which failed to garner a contemporary New York Times review. The second movie was Looking for Love (1964). See more »
After the dance number with Jane and the three guys with serving trays, they place the trays behind him and the sticks on the bottom they held while dancing were clearly visible, but cut to the next shot and the trays are flat on the floor. See more »
MGM co-feature...relentlessly padded, even at 85 minutes
Ex-serviceman, posing as an insurance salesman but actually working for a racketeer, allows a pretty but romantically-aloof waitress to talk him into taking the drummer's gig at the jazz club where she works; naturally, he thinks this means she loves him, but she's got eyes for his dapper former boss. "The Strip"--as in Hollywood's famous Sunset Strip--is, if nothing else, a flashback to Los Angeles in 1951, when wealthy mobsters ruled the underworld and nightclubs were packed with patrons just waiting for a hot drum solo. If it weren't for Joe Pasternak's production and Robert Surtees' cinematography, this MGM effort would easily pass for a b-movie. The script and characters are too thin to support the framing story about a shooting, while Mickey Rooney's hyper lead performance verges on camp. Rooney, playing a musician so clean-cut he actually leaves the lucrative 'dark side' for a life of hoped-for domesticity, is unconvincingly unfettered by drugs or booze--his vice is romance! The movie has no connection with reality, though the soloists (including Louis Armstrong and Vic Damone) are enjoyable. ** from ****
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