There's No Business Like Show Business (1954)

Director:

Walter Lang

Writers:

Phoebe Ephron (screenplay) and
Henry Ephron (screenplay) ...

Release Date:

16 December 1954 (USA)

Genre:

Comedy | Drama | Musical | Romance

Plot:

Molly and Terry Donahue, plus their three children, are The Five Donahues. Son Tim meets hat-check girl Vicky and the family act begins to fall apart.

Plot Keywords:

Hat Check Girl | Father Son Relationship | Automobile | Musical Revue | Reunion

Awards:

Nominated for 3 Oscars. Another 1 nomination

Cast

Ethel Merman	...	Molly Donahue
Donald O'Connor	...	Tim Donahue
Marilyn Monroe	...	Vicky
Dan Dailey	...	Terence Donahue
Johnnie Ray	...	Steve Donahue
Mitzi Gaynor	...	Katy Donahue
Richard Eastham	...	Lew Harris
Hugh O'Brian	...	Charles Biggs
Frank McHugh	...	Eddie Dugan, Vicky's Agent
Rhys Williams	...	Father Dineen
Lee Patrick	...	Marge
Eve Miller	...	Hat check girl
Robin Raymond	...	Lillian Sawyer

Also Known As:

Irving Berlin's There's No Business Like Show Business (UK) (complete title) (USA) (complete title)

Runtime:

117 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.55 : 1

Sound Mix:

Mono (optical prints) | 4-Track Stereo (Western Electric Recording) (magnetic prints)

Certification:

Australia:PG | Iceland:L | Canada:G (video rating) | Finland:S | UK:U | USA:Approved (PCA #17074) | West Germany:12

Company:

Twentieth Century-Fox Film Corporation

Trivia:

Marilyn Monroe was promised the lead role in The Seven Year Itch (1955) if she appeared in this film to boost its box-office potential. The role of Vicky was written especially for this purpose, and songs such as "Heatwave", originally intended for Ethel Merman, were assigned to her.

Goofs:

Miscellaneous: In the "Heatwave" number, Marilyn Monroe actually accidentally pokes her finger in a dancer's eye, something you can see on the DVD on slow motion. The dancer is seen trying to hide behind the tree with his hand over his eye, but is enough of a trouper to continue with the number. Right after Marilyn pokes the dancer in the eye she performs a twirl, pokes her head between the branches of the fake tree and gives the dancer a kiss as an apology (it's quick but definitely a peck on the cheek to make up for the eye poke).

Quotes:

Molly Donahue: You start worrying about your kids the day they're born, and you never stop. Even after they bury you, I bet you never stop worrying.

Movie Connections:

Referenced in "Happy Days: There's No Business Like No Business (#10.9)" (1982)

Soundtrack:

Remember

Mr. Berlin, Madame Merman and Miss Monroe in unequal measure!

When Darryl F. Zanuck virtually forced exhibitors and most of his fellow studio mogul rivals to adopt CinemaScope as a panacea for TV's devastation of Hollywood's weekly box office bonanza, he dictated that virtually all of Twentieth's output was to be filmed in that eye-stretching process. "There's No Business Like Show Business," directed by that old pro, Walter Lang, seems to be the prime example of Darryl's minions saying to their boss: "You want wide? We'll give you W-I-D-E!!"

Everything about it was designed and lensed to emphasize the original ratio of the CinemaScope process and viewing it on a video that isn't letterboxed must look like what a one-eyed person must experience in everyday life. I never did see it in a theater but I have seen it on a TV broadcast which more-or-less recreated its widescreen ratio. It's a glorious mish-mash. Every Berlin tune that could be stuffed into it is given at least one run-through; John de Cuir's production design must have occupied every inch of several of Twentieth's West Los Angeles soundstages; Ethel Merman, after her terrific movie repeat of her Broadway success in "Call Me Madam" for Fox (and now, as of 2005, available on video), trumpets away in number after number (Must have been an ear-rending experience over those original four-track stereophonic sound systems.); Dan Dailey, Donald O'Connor and Mitzi Gaynor give it their energetic best; and then there's Marilyn. What can we say, with all that so sadly, in her personal life, came after she reluctantly fulfilled her contractual obligation in this one? She dazzles in, let's face it, a rather vulgar way, and seems shoehorned in to boost the potential box office. And they even added Johnnie Ray, a huge jukebox success at the time (and, due to his hearing deficiency, performing his songs at an even greater volume than La Merman.)

All in all this one shouldn't be missed if you want to view an example of Hollywood at its brassiest, in a production fairly bulging with elements that may not coalesce very harmoniously but which was, no doubt, worth the price of admission to those movie palaces before they were carved up to become the precursors of today's sterile multiplexes.