| Bob Hope | ... | Eddie Foy | |
| Milly Vitale | ... | Madeleine Morando Foy | |
| George Tobias | ... | Barney Green | |
| Angela Clarke | ... | Clara Morando | |
| Herbert Heyes | ... | Judge | |
| Richard Shannon | ... | Stage Manager | |
| Billy Gray | ... | Bryan Lincoln Foy, as a teen | |
| Lee Erickson | ... | Charley Foy | |
| Paul De Rolf | ... | Richard Foy | |
| Lydia Reed | ... | Mary Foy | |
| Linda Bennett | ... | Madeleine Foy | |
| Jimmy Baird | ... | Eddie Foy Jr. | |
| Tommy Duran | ... | Irving Foy | |
| James Cagney | ... | George M. Cohan | |
| Charley Foy | ... | Narrator (voice) | |
| rest of cast listed alphabetically: | |||
| Hy Anzell | ... | Dresser at 'Iroqois' (uncredited) | |
| Joe Bassett | ... | Grip (uncredited) | |
| Oliver Blake | ... | Santa Claus (uncredited) | |
| George Boyce | ... | Elephant Act (uncredited) | |
| Morgan Brown | ... | Godfather (uncredited) | |
| Marian Carr | ... | Chorine (uncredited) | |
| Harry Cheshire | ... | Stage Doorman at 'Iroquois' (uncredited) | |
| Jerry Chiat | ... | Acrobat (uncredited) | |
| Jimmy Conlin | ... | Stage Doorman in 1898 Chicago (uncredited) | |
| King Donovan | ... | Harrison (uncredited) | |
| Noel Drayton | ... | Priest (uncredited) | |
| Joe Evans | ... | Elephant Act (uncredited) | |
| Gilbert Fallman | ... | Desk Clerk (uncredited) | |
| Joe Flynn | ... | Priest (uncredited) | |
| Milton Frome | ... | Driscoll (uncredited) | |
| Dabbs Greer | ... | Tutor (uncredited) | |
| Sam Harris | ... | Guest at Honorary Dinner (uncredited) | |
| Len Hendry | ... | Assistant Episcopal Minister (uncredited) | |
| Duke Johnson | ... | Specialty Juggler (uncredited) | |
| Richard Keene | ... | Grip (uncredited) | |
| Mike Lally | ... | Stagehand at Iroquois Theatre (uncredited) | |
| Lyle Latell | ... | Baggage Car Attendant (uncredited) | |
| Wilbur Mack | ... | Friars Club Dinner Guest (uncredited) | |
| Lewis Martin | ... | Episcopal Minister (uncredited) | |
| Jerry Mathers | ... | Bryan Lincoln Foy - Age 5 (uncredited) | |
| Lester Matthews | ... | Father O'Casey (uncredited) | |
| Philo McCullough | ... | Audience Spectator (uncredited) | |
| Harold Miller | ... | Friars Club Dinner Guest (uncredited) | |
| Billy Nelson | ... | Customs Inspector (uncredited) | |
| George Pembroke | ... | Stage Manager (uncredited) | |
| Jack Pepper | ... | Theater Manager (uncredited) | |
| Angi O. Poulos | ... | Billiard Parlor Proprietor (uncredited) | |
| Max Power | ... | Conductor (uncredited) | |
| Bill Seckler | ... | Stage Hand (uncredited) | |
| Charles Sherlock | ... | Friars Club Dinner Guest (uncredited) | |
| Edward C. Short | ... | Porter (uncredited) | |
| Bert Stevens | ... | Friars Club Dinner Guest (uncredited) | |
| Betty Uitti | ... | Dance Double (uncredited) | |
| Renata Vanni | ... | Ballerina Mistress in Milan (uncredited) | |
| Fred Zendar | ... | Acrobat (uncredited) | |
Directed by | |||
| Melville Shavelson | |||
Writing credits | ||
| Melville Shavelson | (written for the screen by) and | |
| Jack Rose | (written for the screen by) | |
Produced by | |||
| Jack Rose | .... | producer | |
Original Music by | |||
| Joseph J. Lilley | (music scored by: featuring the songs sung by Eddie Foy) | ||
Cinematography by | |||
| John F. Warren | (director of photography) | ||
Film Editing by | |||
| Ellsworth Hoagland | |||
Art Direction by | |||
| John B. Goodman | (as John Goodman) | ||
| Hal Pereira | |||
Set Decoration by | |||
| Sam Comer | |||
| Frank R. McKelvy | (as Frank McKelvy) | ||
Makeup Department | |||
| Wally Westmore | .... | makeup supervisor | |
Second Unit Director or Assistant Director | |||
| Michael D. Moore | .... | assistant director | |
| James A. Rosenberger | .... | assistant director (as James Rosenberger) | |
Sound Department | |||
| John Cope | .... | sound recordist | |
| Harry Lindgren | .... | sound recordist | |
| Carl Mahakian | .... | sound editor (uncredited) | |
Visual Effects by | |||
| Farciot Edouart | .... | process photography | |
| John P. Fulton | .... | special photographic effects | |
| O.T. Hight | .... | visual effects artist (remastered version) | |
Camera and Electrical Department | |||
| William Rand | .... | second camera (uncredited) | |
Costume and Wardrobe Department | |||
| Edith Head | .... | costumes | |
Editorial Department | |||
| Monroe W. Burbank | .... | Technicolor color consultant | |
Music Department | |||
| Joseph J. Lilley | .... | conductor | |
| Sidney Cutner | .... | orchestrator (uncredited) | |
| Gus Levene | .... | orchestrator (uncredited) | |
| George Parrish | .... | orchestrator (uncredited) | |
| Leo Shuken | .... | orchestrator (uncredited) | |
Other crew | |||
| Nick Castle | .... | choreographer | |
| Charley Foy | .... | technical advisor | |
| Hal C. Kern | .... | production associate | |
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| Full cast and crew | Company credits | External reviews |
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This is underrated as both a Bob Hope vehicle and a musical biopic: even if it follows the basic path of all such films (the struggle to achieve success followed by the pitfalls of celebrity, not forgetting the obligatory romance and the equally inevitable tragedy), it's very capably mounted with the script even garnering an Oscar nomination. The star is in very fine form here, balancing characterization with his traditional banter; Milly Vitale is radiant as his wife who bears him seven children and then dies. Since Foy's only ever known showbiz, he opts to drag them all into his act! Incidentally, one of the kids (Bryan) grew up to be a film-maker himself but was mainly noted as a producer with a penchant for the noir genre!
Even so, THE SEVEN LITTLE FOYS is perhaps best-known for a guest appearance by James Cagney, reprising his Oscar-winning role of George M. Cohan from YANKEE DOODLE DANDY (1942) where, incidentally, Foy was portrayed by his real life son, Eddie Jr; interestingly, George Tobias played Cohan's manager in that earlier film and Foy's here! Anyway, Hope and Cagney's one scene together which culminates in a dancing duel/duet is not merely the picture's undeniable highlight but pure cinema magic in and of itself where two top movie stars incarnate a couple of great vaudevillians strutting their stuff. As with a handful of other Hope titles I own, the film has unaccountably fallen into the Public Domain despite being a major studio production, but the copy I acquired thankfully maintains remarkably vibrant colors throughout.