This movie was a great and pleasant surprise. Besides being very entertaining, one can see the future styles of these 2 legendary Broadway giants. Champion's numbers are tight, synchronized, and beautifully realized . And strong . Fosse- what can I say- what a delight !! While Fosse often spoke of his limitations as a dancer, the reality is he was a brilliant one , and in his dance numbers here he already is exhibiting a unique and original style that is athletic, jazzy, sexy and charming . He was an American original . The music in this movie is very good , and serves to show off the talents of its stars. Debbie Reynolds is quite good. This movie is for Broadway and dance fans.
24 Reviews
A good try, but----
rdfarnham28 April 2012
Don Adams (as Maxwell Smart) used the line "missed by that much" a lot and that is the way this film hit me. It had great actors, fantastic dancers, good direction and yet, for me, it was second rate. I know most of the other reviewers will disagree with me but I just couldn't get into it. Some musicals (Singin' In The Rain, Showboat, Kiss Me, Kate and a lot more) grab you from the first frame but this one just didn't do it for me. It was wonderful as always to see the Champions (I always had a crush on Marge) and Debbie Reynolds and Bob Fosse were good as always, but the film just didn't click with me, It is well worth watching at least once (you'll find it often on TCM) but I will never be able to rate it as a favorite.
Bob Fosse and Ira Gershwin are great
F Gwynplaine MacIntyre9 December 2002
'Give a Girl a Break' deserves to be better known; it's certainly not one of MGM's greatest musicals, but it has many bright spots and some pleasant tunes by Burton Lane with excellent lyrics by Ira Gershwin. Modern viewers will probably be most interested in Bob Fosse's excellent performance, in a supporting role.
Some aspects of this movie are clearly derived from earlier and better musicals. At one point, Gower Champion's character (a Broadway director) is besieged by struggling chorus dancers who want parts in his new musical. To escape them, he climbs up the wall of his theatre. This is apparently meant to show us how virile and athletic Champion is ... but it reminded me of the scene in 'Singin' in the Rain' when Gene Kelly escapes his fans by climbing up the side of a bus. The fact that 'Give a Girl a Break' is directed by Stanley Donen (co-director of 'Singin' in the Rain') only makes the link more obvious.
Gower Champion plays Ted Sturgis, the big-shot director of a new Broadway musical still in rehearsal. Bob Fosse plays Bobby, his assistant and dance captain, although Sturgis usually keeps Bobby busy fetching coffee. (Prophetically, Champion later became a major director of Broadway musicals... as did Fosse.) Kurt Kasznar plays Leo Belney, the show's musical director: a role that should have been played by Oscar Levant. Sturgis's ex-wife (played by Gower Champion's real wife Marge) is Madelyn Corlane, a former star whose popularity has faded, but who is hopeful of a comeback.
When Sturgis's leading lady throws a tantrum and walks out (not likely!), he needs a new leading lady in a hurry. Whoever he chooses for the role is destined to become a star. Will Madelyn get the job? Meanwhile, Bobby has become enamoured of Suzie Doolittle (the excellent Debbie Reynolds), a talented newcomer. The more classically-minded Leo wants the leading role to go to Joanna Moss (Helen Wood), a ballet dancer he secretly hopes to romance.
There's some genuine suspense as we try to guess which of these three women will get the big break. Unfortunately, the three candidates aren't equal: it's extremely obvious that highbrow ballerina Joanna hasn't got a chance against the more conventional chorines Madelyn and Suzie.
The best number in the movie is 'In Our United State' performed by Fosse and Reynolds. On a couple of other occasions ('Kiss Me Kate', 'My Sister Eileen'), Bob Fosse demonstrated his ability to do a backward aerial somersault, with astonishingly good amplitude. Here, he does it while facing the camera, in medium close shot, and it's extremely impressive. Unfortunately, Donen ruins the number with some gimmicky trick photography, speeding up the action and running it in reverse. After Debbie and Bob pop some brightly-coloured balloons, it's very weird to see the balloons unpopping themselves in reverse motion.
Another number, called 'Applause', is pleasant. I also enjoyed 'Nothing Is Impossible', performed by the three men, which features a strange bit in which Gower Champion does a rapid tap dance with one foot while he keeps his other foot balanced on top of Bob Fosse's upright heel. The tubby actor Kurt Kasznar, who can't dance and can barely sing, shows some courage by performing a musical number with the athletic Champion and Fosse.
There's a clever three-way dream sequence, in which each man envisions his own favoured lady's name appearing in lights above the theatre. But there's some clumsy dialogue involving the word 'palaver'. At the end of the movie, Marge Champion does a really ludicrous bit, in which she runs down the theatre gangway with her lips and her bosom thrust forward and her arms and her head thrown back. Corny!
This is a good place to correct a misconception about Gower Champion: after a long career as a director of Broadway musicals, he supposedly died on the opening night of '42nd Street', his biggest hit. This was, of course, an extremely ironic death. ('42nd Street' is about a Broadway director who risks his own health in rehearsals while trying to make his biggest show a hit.) The truth is a bit less neat: Gower Champion actually died several days before his show opened, but producer David Merrick (recognising the publicity value of Champion's death) claimed on opening night that Champion had died earlier that day.
I'll rate 'Give a Girl a Break' 6 out of 10, and I recommend it to you.
Some aspects of this movie are clearly derived from earlier and better musicals. At one point, Gower Champion's character (a Broadway director) is besieged by struggling chorus dancers who want parts in his new musical. To escape them, he climbs up the wall of his theatre. This is apparently meant to show us how virile and athletic Champion is ... but it reminded me of the scene in 'Singin' in the Rain' when Gene Kelly escapes his fans by climbing up the side of a bus. The fact that 'Give a Girl a Break' is directed by Stanley Donen (co-director of 'Singin' in the Rain') only makes the link more obvious.
Gower Champion plays Ted Sturgis, the big-shot director of a new Broadway musical still in rehearsal. Bob Fosse plays Bobby, his assistant and dance captain, although Sturgis usually keeps Bobby busy fetching coffee. (Prophetically, Champion later became a major director of Broadway musicals... as did Fosse.) Kurt Kasznar plays Leo Belney, the show's musical director: a role that should have been played by Oscar Levant. Sturgis's ex-wife (played by Gower Champion's real wife Marge) is Madelyn Corlane, a former star whose popularity has faded, but who is hopeful of a comeback.
When Sturgis's leading lady throws a tantrum and walks out (not likely!), he needs a new leading lady in a hurry. Whoever he chooses for the role is destined to become a star. Will Madelyn get the job? Meanwhile, Bobby has become enamoured of Suzie Doolittle (the excellent Debbie Reynolds), a talented newcomer. The more classically-minded Leo wants the leading role to go to Joanna Moss (Helen Wood), a ballet dancer he secretly hopes to romance.
There's some genuine suspense as we try to guess which of these three women will get the big break. Unfortunately, the three candidates aren't equal: it's extremely obvious that highbrow ballerina Joanna hasn't got a chance against the more conventional chorines Madelyn and Suzie.
The best number in the movie is 'In Our United State' performed by Fosse and Reynolds. On a couple of other occasions ('Kiss Me Kate', 'My Sister Eileen'), Bob Fosse demonstrated his ability to do a backward aerial somersault, with astonishingly good amplitude. Here, he does it while facing the camera, in medium close shot, and it's extremely impressive. Unfortunately, Donen ruins the number with some gimmicky trick photography, speeding up the action and running it in reverse. After Debbie and Bob pop some brightly-coloured balloons, it's very weird to see the balloons unpopping themselves in reverse motion.
Another number, called 'Applause', is pleasant. I also enjoyed 'Nothing Is Impossible', performed by the three men, which features a strange bit in which Gower Champion does a rapid tap dance with one foot while he keeps his other foot balanced on top of Bob Fosse's upright heel. The tubby actor Kurt Kasznar, who can't dance and can barely sing, shows some courage by performing a musical number with the athletic Champion and Fosse.
There's a clever three-way dream sequence, in which each man envisions his own favoured lady's name appearing in lights above the theatre. But there's some clumsy dialogue involving the word 'palaver'. At the end of the movie, Marge Champion does a really ludicrous bit, in which she runs down the theatre gangway with her lips and her bosom thrust forward and her arms and her head thrown back. Corny!
This is a good place to correct a misconception about Gower Champion: after a long career as a director of Broadway musicals, he supposedly died on the opening night of '42nd Street', his biggest hit. This was, of course, an extremely ironic death. ('42nd Street' is about a Broadway director who risks his own health in rehearsals while trying to make his biggest show a hit.) The truth is a bit less neat: Gower Champion actually died several days before his show opened, but producer David Merrick (recognising the publicity value of Champion's death) claimed on opening night that Champion had died earlier that day.
I'll rate 'Give a Girl a Break' 6 out of 10, and I recommend it to you.
3 Girls 3
jhkp30 June 2013
A good, not great, MGM musical, with the emphasis on dance. Story is: what happens when a star walks out on a Broadway show, and three girls compete for the part. The dances are so expert and entertaining, you may be able to forgive the drab quality of some of the rest of the film.
The Champions were not really movie stars, and neither was Bob Fosse. (Debbie Reynolds became a big one later, and you can see why.) Gower plays the director fairly well, but I kept picturing Gene Kelly. The part needs a more dynamic actor.
If you enjoy dancing, there's plenty of it, and it's excellent! Helen Wood is the third girl and while her acting is stiff, her dancing definitely isn't.
The score by Burton Lane and Ira Gershwin contains no hits, but I was charmed by the tune, "In Our United State," performed by Fosse and Reynolds.
The Champions were not really movie stars, and neither was Bob Fosse. (Debbie Reynolds became a big one later, and you can see why.) Gower plays the director fairly well, but I kept picturing Gene Kelly. The part needs a more dynamic actor.
If you enjoy dancing, there's plenty of it, and it's excellent! Helen Wood is the third girl and while her acting is stiff, her dancing definitely isn't.
The score by Burton Lane and Ira Gershwin contains no hits, but I was charmed by the tune, "In Our United State," performed by Fosse and Reynolds.
Tries Hard
dougdoepke27 October 2017
Acrobatic musical from 1953 that spreads screen time between three couples instead of the usual romantic pair. Apparently the movie flopped at the box office (IMDB) despite MGM pedigree. For a musical the screenplay is more plot heavy than usual as three dancers compete for the lead in a Broadway musical. Not only does this divide screen time between the three, but generates unusual suspense for this kind of film. After all, which of the trio of talents will be selected. Also unusual is the general absence of romantic dance numbers. Instead it's flying feet, acrobatic tumbles, and super wide leg-splits-- no Astaire-Rogers here. That's surprising since the Champions would be expected to cuddle up in a few routines, but instead they're separated by plot wrinkles. So, all in all, I suspect normal audience expectations were let down.
Nonetheless, Reynolds projects her usual charm and sparkle. But will she win. In my view, screen time should have featured her, with Marge and Gower, who are better dancers than actors, in support. At the same time, the incredibly nimble Fosse makes a compact visual match for Debbie. Anyway, MGM injects its usual color splash along with a load of extras. And fans of acrobatic fast shoe should find much to marvel at. Meanwhile, that opening marathon of the splits still has me crossing my legs. Amazing what they can do.
Nonetheless, Reynolds projects her usual charm and sparkle. But will she win. In my view, screen time should have featured her, with Marge and Gower, who are better dancers than actors, in support. At the same time, the incredibly nimble Fosse makes a compact visual match for Debbie. Anyway, MGM injects its usual color splash along with a load of extras. And fans of acrobatic fast shoe should find much to marvel at. Meanwhile, that opening marathon of the splits still has me crossing my legs. Amazing what they can do.
Modestly enjoyable
TheLittleSongbird8 February 2017
For such a great cast (Debbie Reynolds, Gower and Marge Champion and Bob Fosse) and being directed by Stanley Donen, 'Give a Girl a Break' could have been a classic. Instead it was a modestly enjoyable film that could have been much better.
Visually, although the budget apparently wasn't huge, 'Give a Girl a Break' still looks pleasing with handsome costumes and sumptuous use of colour. The songs have garnered indifferent reactions, sure there are better songs in musicals but the songs here are pleasant and fun enough, especially for Ira Gershwin's (brother of George) very clever lyric writing. "In Our United State" and "Nothing is Impossible" stand out.
The best things about 'Give a Girl a Break' are the dance routines and the dancing. The choreography is nothing short of dazzling, especially in "In Our United State", "The Challenge Dance" and "Applause Applause". The dancing of it is even better, with electrifying work from the Champions, Fosse and Helen Wood.
Debbie Reynolds' performance is the most consistent in the cast, whereas everybody else were most successful in the dancing but less comfortable everywhere else Reynolds excelled in every aspect of her performance and gives her character spunk and perky charm.
On the other hand, the story is incredibly lightweight and too often so uneventful that the film does drag at times outside of the musical numbers. The dialogue has a tendency to be clumsy and some parts downright silly.
As an overall performance, Reynolds comes off best while the acting is stiff from particularly the likes of Wood and Kurt Kasznar and the singing very much variable (Reynolds and Wood faring best). Donen's direction is not always involving and occasionally a bit gimmicky.
In summary, modestly enjoyable musical that does enough right but it doesn't have much distinction and the wow factor comes in spades rather than as a consistent whole. 6/10 Bethany Cox
Visually, although the budget apparently wasn't huge, 'Give a Girl a Break' still looks pleasing with handsome costumes and sumptuous use of colour. The songs have garnered indifferent reactions, sure there are better songs in musicals but the songs here are pleasant and fun enough, especially for Ira Gershwin's (brother of George) very clever lyric writing. "In Our United State" and "Nothing is Impossible" stand out.
The best things about 'Give a Girl a Break' are the dance routines and the dancing. The choreography is nothing short of dazzling, especially in "In Our United State", "The Challenge Dance" and "Applause Applause". The dancing of it is even better, with electrifying work from the Champions, Fosse and Helen Wood.
Debbie Reynolds' performance is the most consistent in the cast, whereas everybody else were most successful in the dancing but less comfortable everywhere else Reynolds excelled in every aspect of her performance and gives her character spunk and perky charm.
On the other hand, the story is incredibly lightweight and too often so uneventful that the film does drag at times outside of the musical numbers. The dialogue has a tendency to be clumsy and some parts downright silly.
As an overall performance, Reynolds comes off best while the acting is stiff from particularly the likes of Wood and Kurt Kasznar and the singing very much variable (Reynolds and Wood faring best). Donen's direction is not always involving and occasionally a bit gimmicky.
In summary, modestly enjoyable musical that does enough right but it doesn't have much distinction and the wow factor comes in spades rather than as a consistent whole. 6/10 Bethany Cox
Reworking Of Ziegfeld Girl
bkoganbing9 June 2009
As compared to the product that was coming out of the Arthur Freed unit at MGM during this time, Give A Girl A Break is definitely in the rank of second rate MGM musicals. Still it's not too bad with the accent definitely on the dance as opposed to the song.
Give A Girl A Break is the title of a revue that producer Larry Keating is putting on and he's having one devil of a time trying to decide which talented dancer to give the lead to, be it Marge Champion, Debbie Reynolds or Helen Wood. He's got three of his people each pulling for a different prospect with Gower Champion putting on a real campaign to get his ex-wife and former dance partner out of retirement.
As a dance team, Marge and Gower Champion made their screen debut in one of Bing Crosby's musicals, Mr. Music over at Paramount. MGM snapped them up and featured them in Showboat and Lovely to Look At. After Everything I Have Is Your's, Give A Girl A Break was MGM's second attempt to feature them as leads. As good a dance team as they were, Marge and Gower were just not strong enough to carry a film on their own.
This was a dancing film and as such no great song hits came out of the score that was written by Burton Lane and Ira Gershwin. But the Champions, Debbie Reynolds, Bob Fosse, and Helen Wood could definitely dance to it.
If the plot sounds somewhat familiar I think MGM dusted off the script to one of their biggest hits, Ziegfeld Girl about three Ziegfeld Follies aspirants and updated it somewhat. It's also a much lighter treatment, none of the three dancers has anything happen as bad as what happened to Lana Turner in that film.
Give A Girl A Break will never be one of the great MGM musicals on anyone's list, but it's a pleasant diversion. And I can't believe that Bob Fosse had such a luxurious head of hair back in the day.
Give A Girl A Break is the title of a revue that producer Larry Keating is putting on and he's having one devil of a time trying to decide which talented dancer to give the lead to, be it Marge Champion, Debbie Reynolds or Helen Wood. He's got three of his people each pulling for a different prospect with Gower Champion putting on a real campaign to get his ex-wife and former dance partner out of retirement.
As a dance team, Marge and Gower Champion made their screen debut in one of Bing Crosby's musicals, Mr. Music over at Paramount. MGM snapped them up and featured them in Showboat and Lovely to Look At. After Everything I Have Is Your's, Give A Girl A Break was MGM's second attempt to feature them as leads. As good a dance team as they were, Marge and Gower were just not strong enough to carry a film on their own.
This was a dancing film and as such no great song hits came out of the score that was written by Burton Lane and Ira Gershwin. But the Champions, Debbie Reynolds, Bob Fosse, and Helen Wood could definitely dance to it.
If the plot sounds somewhat familiar I think MGM dusted off the script to one of their biggest hits, Ziegfeld Girl about three Ziegfeld Follies aspirants and updated it somewhat. It's also a much lighter treatment, none of the three dancers has anything happen as bad as what happened to Lana Turner in that film.
Give A Girl A Break will never be one of the great MGM musicals on anyone's list, but it's a pleasant diversion. And I can't believe that Bob Fosse had such a luxurious head of hair back in the day.
A little gem
ryancm13 February 2010
While certainly not one of MGM's "classic" musicals, GIVE A GIRL A BREAK has its moments of fun and suspense. Of the three girls auditioning for a role in a musical, which one will land it. The audition itself is quite strange in that each of the three girls just dances a couple of minutes and all three do a different number. Shouldn't they be doing the same one? Also, this is supposed to be a musical revue, yet no one is asked to sing or do a scene. Aside from that, there are many moments of real entertainment, especially be two soon-to-be Broadway choreographers, Bob Fossee and Gower Champion. Debbie Reynolds is in there doing her usual perky singing and dancing to good effect. The unknown Helen Wood, while not very convincing in her acting scenes, is one hell of a dancer. Reminds one of Cyd Charisse, but with a warmer quality. GIVE A GIRL A BREAK is part of the Warner Archive collection with a fairly good disc pressing. For those who enjoy the "old style" musicals with a weakish plot but great musical numbers, this is one to see.
Reverts to a gentler tempo
t1z2f21 October 2005
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?
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?
Comments and conjecture
pacificgroove1 November 2012
Interesting what another reviewer said here about this movie originally being written for Kelly, Garland, etc. I suspected it was intended for Kelly or Astaire, with Kazner part written for Oscar Levant, and Fosse part intended for Donald O'Connor. The screen writers were some of MGM's best, who usually wrote big budget films.
I wonder if the entire film, or most obviously, the dance number the Champions do with all the vertical poles were shot in 3D. That dance seems smartly designed for 3D, and the film was made in 1953, the year Hollywood made something like 80 3D films.
OK now my very brief review. This film is mostly a delight, as were several other early 50's, small scale MGM musicals. All that talent, in front of and behind the screen, make the slim and tired story, and modest production values irrelevant.
I wonder if the entire film, or most obviously, the dance number the Champions do with all the vertical poles were shot in 3D. That dance seems smartly designed for 3D, and the film was made in 1953, the year Hollywood made something like 80 3D films.
OK now my very brief review. This film is mostly a delight, as were several other early 50's, small scale MGM musicals. All that talent, in front of and behind the screen, make the slim and tired story, and modest production values irrelevant.
Give the Dancers More time
madchinaman22 December 2006
This movie that originally was going to include Fred Astaire, Gene Kelley, Judy Garland and Ann Miller was left with some great dancers such as Gower/Marge Champion and Bob Fosse.
Some people insist that this is a gem - this fanatic of great musicals (flicks that include great dancing, singing and acting), this is just an innocuous adventure of entertainment performed by talented dancers.
The Gower/Marge Champion numbers seemed to be the recipient of more time and money with more well-thought out production values. The Bob Fosse numbers seem surprisingly off-kilter that only suggests the great work that he will be doing in the future.
One could attribute this to Gower's good fortune of dancing with a great dance partner that he can personally bond with. It was fun seeing a dance partnership providing some of the best highlights of the film. The Bob Fosse/Debbie Reynolds seem to suffer because Debbie couldn't fully realize the moves that Fosse was giving her - especially since she was much younger than him. (Note: Interesting seeing a "perky" choreographed dance numbers, especially considering the sharp/edgy/sexily-tinged/jazzy moves that Fosse give to the world).
In addition, Stanley Donen didn't do Fosse any favors with the "backward" footage that looks "out-of-placed" and/or awkward - good ideas that didn't quite produce the desired effects.
Note: Bob Fosse is not a singer - though he tries hard. His best works can be found in much of his latter work and/or in films where he's dancing with Dan Dailey, Gene Kelley and many others.
It's too bad that Bob Fosse and Gower Champion couldn't get along - hence denied the general public of what would be created with these immensely talented dancer/choreographers. A dance showdown between Fred Astaire/Gene Kelley (seen in "The Great Ziegfield") and the team of Fosse/Champion would have been great to experience!! Wouldn't it be fascinating discovering why there were serious fractions that eventually had Bob Fosse/Stanley Donen vs. Gower Champion/Marge Champion/Debbie Reynolds.
fyi: George Chakiris (of "West Side Story" fame) can also be seen in the movie btw: MGM didn't even release this film in New York, that demonstrated their "faith" in this flick. One can only imagine what would have resulted if this $2M film (a big amount for that time) had the originally intended cast of Gene Kelly, Fed Astaire, Judy Garland and Ann Miller - what can only have dream the magic from the Burton Lane/Ira Gershwin songs?!?!
Some people insist that this is a gem - this fanatic of great musicals (flicks that include great dancing, singing and acting), this is just an innocuous adventure of entertainment performed by talented dancers.
The Gower/Marge Champion numbers seemed to be the recipient of more time and money with more well-thought out production values. The Bob Fosse numbers seem surprisingly off-kilter that only suggests the great work that he will be doing in the future.
One could attribute this to Gower's good fortune of dancing with a great dance partner that he can personally bond with. It was fun seeing a dance partnership providing some of the best highlights of the film. The Bob Fosse/Debbie Reynolds seem to suffer because Debbie couldn't fully realize the moves that Fosse was giving her - especially since she was much younger than him. (Note: Interesting seeing a "perky" choreographed dance numbers, especially considering the sharp/edgy/sexily-tinged/jazzy moves that Fosse give to the world).
In addition, Stanley Donen didn't do Fosse any favors with the "backward" footage that looks "out-of-placed" and/or awkward - good ideas that didn't quite produce the desired effects.
Note: Bob Fosse is not a singer - though he tries hard. His best works can be found in much of his latter work and/or in films where he's dancing with Dan Dailey, Gene Kelley and many others.
It's too bad that Bob Fosse and Gower Champion couldn't get along - hence denied the general public of what would be created with these immensely talented dancer/choreographers. A dance showdown between Fred Astaire/Gene Kelley (seen in "The Great Ziegfield") and the team of Fosse/Champion would have been great to experience!! Wouldn't it be fascinating discovering why there were serious fractions that eventually had Bob Fosse/Stanley Donen vs. Gower Champion/Marge Champion/Debbie Reynolds.
fyi: George Chakiris (of "West Side Story" fame) can also be seen in the movie btw: MGM didn't even release this film in New York, that demonstrated their "faith" in this flick. One can only imagine what would have resulted if this $2M film (a big amount for that time) had the originally intended cast of Gene Kelly, Fed Astaire, Judy Garland and Ann Miller - what can only have dream the magic from the Burton Lane/Ira Gershwin songs?!?!
Give a movie a break
SHAWFAN20 December 2006
Another movie I had never heard of before I saw it on TCM. Robert Osborne pointed out afterwards the amusing anecdote about Mrs. Ira Gershwin saying to her husband after seeing the rushes of this film: "If you've got any MGM stock sell it!" He also said that MGM too had no faith in this movie and underdistributed it shamefully. That's probably why I never heard of it before. But this is scandalous! It's a brilliant and iconic and wonderful movie and needs to be talked about whenever the good old days of MGM musicals are discussed. Imagine all those talented dancers, choreographers and directors all there together in one movie: The Champions, Fosse, Robbins, Donen, Burton Lane, Ira Gershwin, etc. (Brilliant lyrics! "Our united state,""house full of cute representatives" etc, etc: brother George would have been proud!) Helen Wood's brilliant dancing made we wonder whatever became of her. A movie which combined venerable genres (the inside Broadway genre: 42nd Street, Lullaby of Broadway; the psychoanalytic dream sequence/vignette genre: Lady in the Dark, Oklahoma, Tales of Manhattan, The Secret Life of Walter Mitty, etc; career vs family genres: The Red Shoes) with things yet to come (The Turning Point). But the bottom line is: such dancing! To the Astaire and Kelly movies should be added this Champion/Fosse/Donen movie. So sad there weren't more of them!
A little known musical fantasy about puttin' on a show
Dunham1630 June 2013
Warning: Spoilers
Certainly not as major a a combined financial and critical success or as familiar to the millennium public as are the iconic 1933 42nd STREET or the 1975 A CHORUS LINE on the same subject, its commercial release apparently started out with bad luck when MGM refused to give it a class A promotion or first run theater distribution. The considerable talents of Ira Gershwin and Stanley Donen showcase the considerable talents of Marge Champion, Debbie Reynolds, Bob Fosse and Gower Champion in a story making the final candidates to hastily replace the name star quitting mid rehearsal a classical ballerina, a faded former star performer and a scared novice with an overbearing mother, each the fantasy girl friend of someone having influence in determining the replacement casting. This meld of extraordinary talents showcases the historic dilemma of which dance direction professional musicals should take in the changing times of the 1950's. It does not fend off continuous barbs of an 82 minute show borrowing from ZIEGFELD GIRL, ON THE TOWN,and too many other more famous and more successful films.
The title says it all.
mark.waltz24 August 2012
Warning: Spoilers
I would have given this a higher rating, but there is so much filler in this pleasant but generic musical. The basic story (of three candidates for the leading role in a Broadway musical) doesn't take a brain matter, but there is still a lot of imagination in that filler that it's hard not to like it. In fact, I smiled vividly in watching this again (for the fifth time, last time about six years ago), especially in the opening title song, the balloon/confetti dance, and the elaborate finale, which uses the title of a future Broadway musical based upon "All About Eve".
This is also a very historical movie and must for dance students because it features dancing together for the only time on screen future legendary Broadway directors/choreographers Gower Champion and Bob Fosse. As Gower's wife Marge Champion is one of the three girls, it is sort of sad that Fosse's dancer wife Gwen Verdon wasn't. But Fosse doesn't skimp on his dance partner-he gets the wonderful Debbie Reynolds who you can't help but adore. Comedy relief comes in the form of chunky Kurt Kasznar whose character could be compared to Zero Mostel's lecherous Max Bielestock in "The Producers"; In fact, if you don't look close enough, you might think it is Mostel!
Larry Keating is the kindly producer who must make the decision (with the helpful advice of the other three), while Helen Wood is the third girl. I didn't think she had as much charisma as the other two; That is probably why you never heard of her. In a sense, this is a re-do of "42nd Street", which Champion would direct to great acclaim and an opening night he never got to see because of his sudden tragic death. But to see the two future Broadway legends together is as dreamy as seeing Mary Martin and Ethel Merman together in their famous TV special.
This is also a very historical movie and must for dance students because it features dancing together for the only time on screen future legendary Broadway directors/choreographers Gower Champion and Bob Fosse. As Gower's wife Marge Champion is one of the three girls, it is sort of sad that Fosse's dancer wife Gwen Verdon wasn't. But Fosse doesn't skimp on his dance partner-he gets the wonderful Debbie Reynolds who you can't help but adore. Comedy relief comes in the form of chunky Kurt Kasznar whose character could be compared to Zero Mostel's lecherous Max Bielestock in "The Producers"; In fact, if you don't look close enough, you might think it is Mostel!
Larry Keating is the kindly producer who must make the decision (with the helpful advice of the other three), while Helen Wood is the third girl. I didn't think she had as much charisma as the other two; That is probably why you never heard of her. In a sense, this is a re-do of "42nd Street", which Champion would direct to great acclaim and an opening night he never got to see because of his sudden tragic death. But to see the two future Broadway legends together is as dreamy as seeing Mary Martin and Ethel Merman together in their famous TV special.
Reynolds and Fosse Steal the Film
Michael_Elliott19 January 2017
Give a Girl a Break (1953)
** 1/2 (out of 4)
A Broadway show is about to open but the main star walks out over a disagreement. The producers go into a panic but decide to hold an open audition. Ted Sturgis (Gower Champion) wants his ex-wife (Marge Champion) to get the part. Leo Belney (Kurt Kasznar) wants his discovery Joanna Moss (Helen Ross) to get the role while Bob Dowdy (Bob Fosse) wants his amateur (Debbie Reynolds) to get the part.
GIVE A GIRL A BREAK isn't going to be mistaken for a masterpiece but if you're a fan of the Musical genre then it's certainly worth watching and especially since you've got some famous faces before they were well-known. This here was meant to be a showcase for the Champion team but the film ended up bombing and the two of them were pretty much done with the movies. Of course, when viewing this today the main focus will be on the Reynolds-Fosse connection.
In my opinion those two legends are the main reason to watch this as they actually make for a pretty cute couple and both of them turn in fine performances. This is especially true for Fosse who really delivers a believable performance and I thought he was extremely entertaining int he role of the producer who is often pushed around. Reynolds is as beautiful and charming as ever and there's no question that very few couple pull off that small town girl better. The rest of the cast members were okay in their parts but there's no question that they take a back seat.
The biggest problem with this film is that there's really not that much of a story. We basically have the competition thrown in so that we can get various dream sequences, which usually lead to a variety of dance numbers. In all honesty, I thought the dance numbers were decent but there's certainly nothing great here. I'd also argue that there weren't any great musical numbers either. It seems MGM was wanting to show off what talent they had on hand without giving away any great moments or musical numbers.
** 1/2 (out of 4)
A Broadway show is about to open but the main star walks out over a disagreement. The producers go into a panic but decide to hold an open audition. Ted Sturgis (Gower Champion) wants his ex-wife (Marge Champion) to get the part. Leo Belney (Kurt Kasznar) wants his discovery Joanna Moss (Helen Ross) to get the role while Bob Dowdy (Bob Fosse) wants his amateur (Debbie Reynolds) to get the part.
GIVE A GIRL A BREAK isn't going to be mistaken for a masterpiece but if you're a fan of the Musical genre then it's certainly worth watching and especially since you've got some famous faces before they were well-known. This here was meant to be a showcase for the Champion team but the film ended up bombing and the two of them were pretty much done with the movies. Of course, when viewing this today the main focus will be on the Reynolds-Fosse connection.
In my opinion those two legends are the main reason to watch this as they actually make for a pretty cute couple and both of them turn in fine performances. This is especially true for Fosse who really delivers a believable performance and I thought he was extremely entertaining int he role of the producer who is often pushed around. Reynolds is as beautiful and charming as ever and there's no question that very few couple pull off that small town girl better. The rest of the cast members were okay in their parts but there's no question that they take a back seat.
The biggest problem with this film is that there's really not that much of a story. We basically have the competition thrown in so that we can get various dream sequences, which usually lead to a variety of dance numbers. In all honesty, I thought the dance numbers were decent but there's certainly nothing great here. I'd also argue that there weren't any great musical numbers either. It seems MGM was wanting to show off what talent they had on hand without giving away any great moments or musical numbers.
Giving a girl a break
guswhovian4 September 2020
Three actresses compete for a role in a Broadway show.
A little known MGM musical (one of MGM's few "B" musicals), Give a Girl a Break is a pleasant way to spend 80 minutes. The Burton Lane/Ira Gershwin score is completely forgettable, with some pretty horrid lyrics from Gershwin.
The cast is good; the Champions get a really good rooftop dance sequence, while Bob Fosse gets a couple good numbers as well. Unfortunately, Fosse's dance partner is Debbie Reynolds, who, try as hard as she might, is not a very good dancer. Honestly, the most impressive of the three female stars is Helen Wood, and her career never went anywhere. Kurt Kasznar is good in a supporting role.
Stanley Donen's direction is good, and the costumes and scenery is nice. The film was a huge flop, losing a million dollars at the box office.
A little known MGM musical (one of MGM's few "B" musicals), Give a Girl a Break is a pleasant way to spend 80 minutes. The Burton Lane/Ira Gershwin score is completely forgettable, with some pretty horrid lyrics from Gershwin.
The cast is good; the Champions get a really good rooftop dance sequence, while Bob Fosse gets a couple good numbers as well. Unfortunately, Fosse's dance partner is Debbie Reynolds, who, try as hard as she might, is not a very good dancer. Honestly, the most impressive of the three female stars is Helen Wood, and her career never went anywhere. Kurt Kasznar is good in a supporting role.
Stanley Donen's direction is good, and the costumes and scenery is nice. The film was a huge flop, losing a million dollars at the box office.
give a girl a break
mossgrymk8 June 2023
If I wanted to see awesome dancing without good writing, songs, and acting then I'd go to a friggin ballet or modern dance recital (perish the thought). In other words, when the hoofin stops you can almost hear the inrush of the tides of boredom as Gower Champion and his lovely wife Marge show why they're not Gene and Cyd, much less Ginger and Fred, and you can see why Bob Fosse made the wise decision that his future lay on the other side of the camera. Debbie is charming as always, though, and the whole movie is suffused with a post WW2 optimism and sweetness, courtesy of director Stanley Donen, so let's give it a generous C plus.
Fun fact (as the bots like to say): Gal who played Joanna later turned up in "Deep Throat" which leads me to muse if there has ever been an X rated musical?
Fun fact (as the bots like to say): Gal who played Joanna later turned up in "Deep Throat" which leads me to muse if there has ever been an X rated musical?
some good dancing
SnoopyStyle22 May 2023
A Broadway production loses its star and the producers need to find a replacement quick. A bevy of beauties answers the call. Different producers pick different girls. Gofer Bob Dowdy (Bob Fosse) falls for newbie Suzy Doolittle (Debbie Reynolds). Director Ted Sturgis (Gower Champion) is interested, but another picks Madelyn Corlane (Marge Champion) although she has history with Ted. There is also expert dancer Joanna Moss.
This has Debbie Reynolds and a super young Bob Fosse. Ira Gershwin is working with Burton Lane. Marge Champion and Gower Champion are a married dancing couple. This has plenty of talent. Individually, there are interesting moments. The Champions are serious dancers and they are good actors. I would probably cut out Joanna Moss who is a better dancer than actor. That actress has a different connection to infamy. There is a lot of good dancing in this musical, but the rest is less.
This has Debbie Reynolds and a super young Bob Fosse. Ira Gershwin is working with Burton Lane. Marge Champion and Gower Champion are a married dancing couple. This has plenty of talent. Individually, there are interesting moments. The Champions are serious dancers and they are good actors. I would probably cut out Joanna Moss who is a better dancer than actor. That actress has a different connection to infamy. There is a lot of good dancing in this musical, but the rest is less.
Dance-dominated musical with the Champions, Debbie, Fosse and Helen Woods.
weezeralfalfa9 August 2014
Warning: Spoilers
After costarring in the now recognized classic musical "Singing in the Rain", cute, bubbly, Debbie Reynolds costarred in several more MGM musicals over the next few years, most of which, including this one, are little remembered, undeservedly so in most cases. Fortunately, all are still currently available on DVDs, hence we can see and hear what we have been missing. This film and the prior "I Love Melvin" were released just the year after "Singing in the Rain". The prior film starred the versatile Don O'Connor who was the supporting male actor to Gene Kelly in "Singing in the Rain". Both that film(at a mere 76 min) and this film (at 82 min) were shorter than most musical comedies, but manage to pack quite a few musical numbers into their limited run time, and are worth a look. The plot of this film features 3 buddies and the 3 girls they took a fancy to, thus somewhat resembling the setup in the prior "On the Town". The 3 girls are competing for a musical play lead role. The song and dance team of Gower and Marge Champion is first billed. However, Debbie and her admirer/sometimes dance partner: Bob Fosse, are featured as prominently, and Debbie, by default, wins the coveted lead role, with Gower.
The film begins with the need to quickly find a replacement for the lead female in the musical "Give a Girl a Break". An ad is put in a newspaper, to attract many applicants with dancing talent. We see snippets of various girls practicing, including the 3 finalists: played by Debbie, Marge and brunet Helen Woods, who strangely are seen doing exercises together at a gym. The theater is swamped by applicants, who are thinned to 3, after announcing that they must be good singers, as well dancers. Fosse , Gower, and Kurt Kasznar, who all work for the theater, each promote one of the 3, each promising that she will almost certainly be chosen. The 3 men then talk, then sing "Nothing is Impossible", and dance a bit with each other. The song lyrics mostly recount various amazing accomplishments in history, against odds, to give them some confidence: a fun production.
After the girls tell their husband, boyfriend, or mother about their probable success, often with a negative response, Debbie agrees to a date with Fosse, despite her mother's vehement objection. Fosse starts a song and dance, which Debbie eventually joins in. Included are some clear imitations of Gene Kelly, including his vaudeville dance with Sinatra in "Take Me Out to the Ball Game", and bits of his famous "Singing in the Rain" dance. Like Kelly, Fosse ends up drenched when he falls into the pond. The song is titled "In Our United State", with clever Gershwin lyrics that liken their proposed(already!) union to that of the US. You will probably consider this production to be the highlight of the film. Gower then forces Marge(his ex-wife in the story)to dance with him on their rooftop("The Challenge") to help regain her confidence in competing for the part.
Each of the 3 men then imagine an audition dance featuring their sponsored girl, with or without themselves included. In the first, Fosse again dances with Debbie, in a scene with artificial snow(confetti?)falling the whole time and balloons to pop, although they are dressed in summer wear. Helen Woods then does a solo ballet to "The Puppet Master", followed by a change into a nearly all black outfit, in which she does a slinky athletic dance, later joined by stout Kurt, who mostly offers support for some of her movements, with a feeble attempt to join in, at times(he was no dancer!). Lastly,the Champions dance among a forest of poles, which sometimes function as supports. Toward the end on this scene, Gower briefly dances with a series of other women, including Debbie and Helen, but ends up again with Marge, signifying that he still favors her as the best of the bunch.
The men still can't agree who is the best of the 3. Thus, they decide to draw a name from a hat. Helen wins, and the others are very disappointed. But, Helen is upset by the reaction of her husband and decides to bow out and follow him. We then have some drama in deciding who will replace her. Debbie gets the part, again by default, as the disappointed Marge has vanished. This time, she dances with Gower, rather than Fosse, in the big production finale to "Applause, Applause", which has a circus background theme, as the two mostly prance back and forth across the stage.
Although the Champions were first billed, they only get 2 dances together, whereas Debbie gets 3 dances without the other women, including the finale. Actually, the Champions, as a dance team, seemed more dominating in the prior "Lovely to Look At", in which they got 3 dances together. I think Marge will rather remind you of Vera-Ellen.
Burton Lane and Ira Gershwin composed all the songs, except for "The challenge". It's generally concluded that the songs were mediocre. However, as I previously stated, I found that lyrics in "Nothing is Impossible" and "Our United State" fun or imaginative. Besides, this is clearly a dance, rather than a song-dominated production... The choice of Kurt Kaszner, who neither sang nor danced, as one of the 3 lead men, may seem strange, but I thought he was personable.
The film begins with the need to quickly find a replacement for the lead female in the musical "Give a Girl a Break". An ad is put in a newspaper, to attract many applicants with dancing talent. We see snippets of various girls practicing, including the 3 finalists: played by Debbie, Marge and brunet Helen Woods, who strangely are seen doing exercises together at a gym. The theater is swamped by applicants, who are thinned to 3, after announcing that they must be good singers, as well dancers. Fosse , Gower, and Kurt Kasznar, who all work for the theater, each promote one of the 3, each promising that she will almost certainly be chosen. The 3 men then talk, then sing "Nothing is Impossible", and dance a bit with each other. The song lyrics mostly recount various amazing accomplishments in history, against odds, to give them some confidence: a fun production.
After the girls tell their husband, boyfriend, or mother about their probable success, often with a negative response, Debbie agrees to a date with Fosse, despite her mother's vehement objection. Fosse starts a song and dance, which Debbie eventually joins in. Included are some clear imitations of Gene Kelly, including his vaudeville dance with Sinatra in "Take Me Out to the Ball Game", and bits of his famous "Singing in the Rain" dance. Like Kelly, Fosse ends up drenched when he falls into the pond. The song is titled "In Our United State", with clever Gershwin lyrics that liken their proposed(already!) union to that of the US. You will probably consider this production to be the highlight of the film. Gower then forces Marge(his ex-wife in the story)to dance with him on their rooftop("The Challenge") to help regain her confidence in competing for the part.
Each of the 3 men then imagine an audition dance featuring their sponsored girl, with or without themselves included. In the first, Fosse again dances with Debbie, in a scene with artificial snow(confetti?)falling the whole time and balloons to pop, although they are dressed in summer wear. Helen Woods then does a solo ballet to "The Puppet Master", followed by a change into a nearly all black outfit, in which she does a slinky athletic dance, later joined by stout Kurt, who mostly offers support for some of her movements, with a feeble attempt to join in, at times(he was no dancer!). Lastly,the Champions dance among a forest of poles, which sometimes function as supports. Toward the end on this scene, Gower briefly dances with a series of other women, including Debbie and Helen, but ends up again with Marge, signifying that he still favors her as the best of the bunch.
The men still can't agree who is the best of the 3. Thus, they decide to draw a name from a hat. Helen wins, and the others are very disappointed. But, Helen is upset by the reaction of her husband and decides to bow out and follow him. We then have some drama in deciding who will replace her. Debbie gets the part, again by default, as the disappointed Marge has vanished. This time, she dances with Gower, rather than Fosse, in the big production finale to "Applause, Applause", which has a circus background theme, as the two mostly prance back and forth across the stage.
Although the Champions were first billed, they only get 2 dances together, whereas Debbie gets 3 dances without the other women, including the finale. Actually, the Champions, as a dance team, seemed more dominating in the prior "Lovely to Look At", in which they got 3 dances together. I think Marge will rather remind you of Vera-Ellen.
Burton Lane and Ira Gershwin composed all the songs, except for "The challenge". It's generally concluded that the songs were mediocre. However, as I previously stated, I found that lyrics in "Nothing is Impossible" and "Our United State" fun or imaginative. Besides, this is clearly a dance, rather than a song-dominated production... The choice of Kurt Kaszner, who neither sang nor danced, as one of the 3 lead men, may seem strange, but I thought he was personable.
Three On A Match
writers_reign2 October 2020
Warning: Spoilers
In MGM terms this was a 'B' movie which makes it the equivalent of an 'A' movie at the two other outfits, Fox and Paramount, who had a strong focus on musicals. Funny thing about MGM, they had trouble with threes; take On The Town, Frank Sinatra, check, Gene Kelly, check and Jules Munchin? Same thing here, Marge Champion, Debbie Reynolds and Helen Wood? That apart we're talking slightly terrific; Burton Lane and Ira Gershwin weighed in with a great score, not a clinker amongst them and if MGM had put a few bucks behind them they may well have made a noise on radio and/or juke-box. Alas, the studio didn't even see fit to issue a single let alone an album. It was also a great chance to see Bob Fosse and Gower Champion dancing up a storm in the same movie. The studio was well served for female hoofers and Debbie Reynolds wasn't going to give either of them any sleepless nights but after this they threw in the towel on Marge and Gower Champion which was a shame. Alll in all it's a delightful effort.
A musical with top Broadway dance masters of the mid-20th century
SimonJack2 August 2019
"Give a Girl a Break" isn't a big-name and elaborate production that characterized most MGM musicals. But this smaller scale musical has a nice story that features some of the best dancing talent of Hollywood and Broadway in the mid-20th century. The story is set on Broadway. The director and producer of a new musical about to open need a new leading lady when their snooty star quits. With only three weeks until opening, they come up with the idea of promoting an amateur competition to select the new lead. It's a dream made in heaven for girls from the Big Apple to some distance away. Our story centers around three who will vie for the sole spot. The way the story plays out is nice, with three of the leading men each having his eye on one particular of the three girls.
Marge and Gower Champion have top billing. This is just one of three films in which they have that spot or share the leads. Gower made only 20 films in his career, most with Marge when they were married, and she made only 26 films. But the rest of the time, they spent on the stage. Marge eventually began teaching dance, and Gower was the leading choreographer and a leading musical director for two decades on Broadway. He won eight Tony awards and received 15 nominations in his career - some as director and some as choreographer. Had he lived beyond age 59, he doubtless would have won more awards.
But, beside the Champions, another legendary stage dancer, choreographer and director has near top billing in this film. Bob Fosse plays Bob Dowdy, assistant to the director, Ted Sturgis (Gower Champion). Fosse has won an academy award, a BAFTA award and an Emmy for his film and TV work. And he has nine Tony awards for directing and choreography of Broadway musicals.
The rest of the cast in this film are top drawer, the women all with dancing and singing. Debbie Reynolds does modern dance and traditional dance with singing, and Dolly Sharp does classical and jazz dancing.
This film is a tremendous show of dance. The earliest peeks of the Champions with short dance scenes are in "Mr. Music" of 1950, "Show Boat" of 1951, and "Lovely to Look At" of 1952. That year they also starred in their first film, "Everything I Have Is Yours." It's too bad that the Champions didn't make more films. These MGM films were successful at the box office, and both of the players are competent actors. Gower Champion has a likeable persona. But, as with many people who have natural dancing talent, the stage has more allure than film. One can understand that five to seven performances a week for many months would be more attractive to an active dancer than the schedule of filmmaking that might require a few days of repetitive rehearsals to get single scenes down. As opposed to frequent rehearsals and interruptible scene shoots, the live stage affords dancers the opportunity to perform their talents on a regular schedule before live audiences.
This film makes a nice addition to a movie musical or dance library. It's nice to have some other master performers to view on film once in a while, besides the incomparable Fred Astaire and Gene Kelly with their several fantastic female partners.
Marge and Gower Champion have top billing. This is just one of three films in which they have that spot or share the leads. Gower made only 20 films in his career, most with Marge when they were married, and she made only 26 films. But the rest of the time, they spent on the stage. Marge eventually began teaching dance, and Gower was the leading choreographer and a leading musical director for two decades on Broadway. He won eight Tony awards and received 15 nominations in his career - some as director and some as choreographer. Had he lived beyond age 59, he doubtless would have won more awards.
But, beside the Champions, another legendary stage dancer, choreographer and director has near top billing in this film. Bob Fosse plays Bob Dowdy, assistant to the director, Ted Sturgis (Gower Champion). Fosse has won an academy award, a BAFTA award and an Emmy for his film and TV work. And he has nine Tony awards for directing and choreography of Broadway musicals.
The rest of the cast in this film are top drawer, the women all with dancing and singing. Debbie Reynolds does modern dance and traditional dance with singing, and Dolly Sharp does classical and jazz dancing.
This film is a tremendous show of dance. The earliest peeks of the Champions with short dance scenes are in "Mr. Music" of 1950, "Show Boat" of 1951, and "Lovely to Look At" of 1952. That year they also starred in their first film, "Everything I Have Is Yours." It's too bad that the Champions didn't make more films. These MGM films were successful at the box office, and both of the players are competent actors. Gower Champion has a likeable persona. But, as with many people who have natural dancing talent, the stage has more allure than film. One can understand that five to seven performances a week for many months would be more attractive to an active dancer than the schedule of filmmaking that might require a few days of repetitive rehearsals to get single scenes down. As opposed to frequent rehearsals and interruptible scene shoots, the live stage affords dancers the opportunity to perform their talents on a regular schedule before live audiences.
This film makes a nice addition to a movie musical or dance library. It's nice to have some other master performers to view on film once in a while, besides the incomparable Fred Astaire and Gene Kelly with their several fantastic female partners.
A Preview of Things to Come
LeonardKniffel14 April 2020
The centerpiece of this movie is a spectacular number by the unequaled dancing duo of Marge and Gower Champion. Dancing to the tune of "It Happens Every Time," this number has never been surpassed on screen, even in more successful movie musicals like "Singin' in the Rain," from which Debbie Reynolds was freshly minted and given this star vehicle to propel her career. Directed by the same director, Stanley Donen, Reynolds holds her own against the Champions, while Bob Fosse demonstrates that he has a great deal to offer musicals in the years ahead. This is an interesting look at the make-believe world of Broadway in the 1950s.
nice 2nd rate MGM musical from the 50's, some good numbers
Abbey-219 January 1999
One of Debbie Reynolds younger things and she is as always bright and energetic and good to watch - Marge & Gower Champion are excellent as always, and Bob Fosse is fun and silly as Debbie's (very young) beau. Helen Wood was unknown to me but although can't act very well is a terrific dancer (if it wasn't a body double) in the Grahamesque style of the time (i.e. see "choreography" number in "White Christmas"). Much lesser effort than "Singing in the Rain" (but what isn't) but an enjoyable thing to watch sometime if you just enjoy the dance numbers and throw popcorn at the screen during some of the more inane or dated dialogue. Don't go out of your way to get a copy, though.
A Must-See For Dance Lovers
atlasmb30 June 2013
Give a Girl a Break is a 1953 musical that uses the show-within-a-show convention to present some wonderful dancing. A Broadway revue is being cast and three women are up for the female lead. The three actresses are Debbie Reynolds, Helen Wood and Marge Champion. All three acquit themselves as actresses, but their dance talents are fantastic.
The actors who play the lead roles in this film are adequate, but sometimes stiff, in their acting. Perhaps because Bob Fosse and Gower Champion were picked more for their dancing.
In any event, I say watch this movie for its dancing. There is enough of it to be interesting. The film is directed by Stanley Donen and has numerous similarities to Singin' in the Rain, released the year before. A good pedigree. Gower Champion, Stanley Donen and Bob Fosse choreographed. Although Fosse's idol was Astaire, you can definitely see similarities to Gene Kelly's dance style.
The rooftop dance is jazzy (highlighting the great music in this film), and might be seen to predate West Side Story.
For me, the best part is the trio of dream sequences, each featuring one of the three actresses and her admirer. I could write paragraphs about them. The dance that features reverse motion might be gimmicky, but it's clever.
The movie's end is anticlimactic, there are some awkward choices in staging, and other production aspects might have been sacrificed for quality dance numbers, but if you watch it just for the dance, it delivers.
The plot is really about the sacrifices that dancers make for their craft. To paraphrase one character: You can always get another husband, but this is a once in a lifetime (dance) part.
How can you go wrong with the cute-but-sometimes-sexy Reynolds, the classy Marge Champion, Helen Wood (yowza!), smooth Gower Champion, and the dynamic Bob Fosse?
The actors who play the lead roles in this film are adequate, but sometimes stiff, in their acting. Perhaps because Bob Fosse and Gower Champion were picked more for their dancing.
In any event, I say watch this movie for its dancing. There is enough of it to be interesting. The film is directed by Stanley Donen and has numerous similarities to Singin' in the Rain, released the year before. A good pedigree. Gower Champion, Stanley Donen and Bob Fosse choreographed. Although Fosse's idol was Astaire, you can definitely see similarities to Gene Kelly's dance style.
The rooftop dance is jazzy (highlighting the great music in this film), and might be seen to predate West Side Story.
For me, the best part is the trio of dream sequences, each featuring one of the three actresses and her admirer. I could write paragraphs about them. The dance that features reverse motion might be gimmicky, but it's clever.
The movie's end is anticlimactic, there are some awkward choices in staging, and other production aspects might have been sacrificed for quality dance numbers, but if you watch it just for the dance, it delivers.
The plot is really about the sacrifices that dancers make for their craft. To paraphrase one character: You can always get another husband, but this is a once in a lifetime (dance) part.
How can you go wrong with the cute-but-sometimes-sexy Reynolds, the classy Marge Champion, Helen Wood (yowza!), smooth Gower Champion, and the dynamic Bob Fosse?
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