The star of an upcoming Broadway production, Janet Hallson, walks out during rehersals. The producers of the show, Ted Sturgis, Leo Belney and Bob Dowdy begin to search a replacement. After... See full summary »
The star of an upcoming Broadway production, Janet Hallson, walks out during rehersals. The producers of the show, Ted Sturgis, Leo Belney and Bob Dowdy begin to search a replacement. After a quick audition, each favors someone else: Madelyn Corlane, Joanna Moss, Suzie Doolittle. The rest of the movie tells in a series of musical and dance scenes how they finally pick ... Written by
Gerhard Gonter <firstname.lastname@example.org>
This is a little gem for those wanting a bit of relaxed entertainment. Unfortunately it came in a period when Kelly/Donen were setting a new standard for big production and very rapid pacing, so it was out of fashion and ignored. Everyone is charming; Marge and Gower Champion are at their peak, Bob Fosse is just hitting his stride (amusing that his screen persona was so charmingly little-boyish, in contrast to the dark angular sexiness of his later stage choreographies), and Debbie Reynolds is pixie-ish as ever. Helen Wood was not a great actress, but she was necessary to provide an additional dance flavor (see below).
To differ from another reviewer, I think that Kurt Kaznar was perfect for the Leo Belney part, at least as it was written. He carries off being totally suggestible, changing opinion instantly, and having an equal conviction in each new attitude.
Though they don't make a big deal about it, the film was mirroring a real conundrum facing Broadway directors at that period: what kind of dance to use? Tap was still around but on its way out; a kind of jazz-ballet blend was becoming mainstream; the avant-garde was a more dramatic and angular "modern" dance. Which would the public go for in the next show?
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