Conceited singer Garry Mitchell refuses to renew his radio contract, so agent Doug Blake decides to find a new personality to replace Garry. In New York, he finds Martha Gibson, a single ... See full summary »
Employees of the Sleeptite Pajama Factory are looking for a whopping seven-and-a-half cent an hour increase and they won't take no for an answer. Babe Williams is their feisty employee ... See full summary »
American couple Mike and Janet Harper move to England for Mike's work, his company which deals in wool textiles and wool fashions. Despite Mike's want for them to live in a flat in the ... See full summary »
Jane Osgood runs a lobster business, which supports her two young children. Railroad staff inattention ruins her shipment, so with her lawyer George, Jane sues Harry Foster Malone, director of the line and the "meanest man in the world".
In this reworking of "No, No, Nanette," wealthy heiress Nanette Carter bets her uncle $25,000 that she can say "no" to everything for 48 hours. If she wins, she can invest the money in a ... See full summary »
In 1920's Chicago, Ruth Etting wants to be a renowned singer, which is a far step away from her current work as a taxi dancer. Upon walking into the dance hall and seeing her, Chicago gangster Marty Snyder immediately falls for Ruth, and works toward being her lover, which he believes he can achieve by opening up singing opportunities for her. Ruth is initially wary of Marty, but makes it clear that she is not interested in him in a romantic sense. Regardless, he does help her professionally, and through his opportunities, which are achieved through intimidation and fear, Ruth does quickly start to gain a name as a singer, which she is able to do because of her talent and despite Marty's intimidation tactics. However, the greater her success, the more reliant she becomes on him. This becomes an issue in their relationship as she believes he can take her only so far before he becomes a liability, however he will never let her go that easily. The one person who tried and tries to get ... Written by
"The Oscar-nominated ballad, "I'll Never Stop Loving You" (music by Nicholas Brodszky, lyrics by Sammy Cahn), was sung delicately by Doris Day to just a piano accompaniment in the film. For release on a single, Columbia Records provided Doris with the backing of Percy Faith and His Orchestra. The disc peaked at number 15 among "Billboard"'s top-selling singles. See more »
When Marty hits Georgie, the sound of the impact occurs before the actual impact. See more »
[Indignantly to Ruth]
Now look here, you stupid liyyle broad, do you know who I am? Do you think I let dames talk to me that way?
See more »
Bittersweet story was a triumph for Day and Cagney...
I never had to be convinced that Doris Day was a fine actress--from her first film ('Romance on the High Seas') which she stole from veterans like Jack Carson and Janis Paige--to 'Storm Warning' (her first dramatic role as Ginger Rogers' sister)--she never made a false move. But her real acting triumph came with this hard-hitting Ruth Etting biography in which she does an amazing job as the torch singer involved with a gangster boyfriend (James Cagney). Cagney has never been more impressive as the Chicago hood who manages her career--and Day manages to match him every step of the way with a gutsy, heart-felt performance.
Also shown to good advantage is Cameron Mitchell as an admirer with real affection for Day. Their scenes together have a poignant quality because you know how deep the feelings go on both sides. Day's rendition of a haunting ballad, 'I'll Never Stop Loving You', is one of the film's highlights--along with 'Ten Cents A Dance', 'Mean to Me', 'Love Me Or Leave Me', etc. She is simply brilliant.
The high quality of the Oscar-winning script (Best Story) is a tribute to the overall quality of the film itself. A highly dramatic musical, it makes you wonder what Day's career might have been like if she remained at Metro for more such films rather than the sugar-and-spice things she did at Warner Bros. Some of them were charming (the old-fashioned musicals with Gordon MacRae), but since she was a fine dramatic actress she could have done so much more. Day's voice is a sheer pleasure here--perfect pitch, warm tones and easy on the ears. Nobody could sing a ballad like Doris does here. 'I'll Never Stop Loving You' is my favorite.
Summing up: highly recommended as one of the best musical biographies you're ever likely to see.
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