This musical reworking of TOO MANY HUSBANDS (1940), features Grable as a top singer and dancer who's been widowed by WW II. She marries her late husband's songwriting partner, Gower ...
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This musical reworking of TOO MANY HUSBANDS (1940), features Grable as a top singer and dancer who's been widowed by WW II. She marries her late husband's songwriting partner, Gower Champion, but the new marriage is thrown for a loop when Lemmon, her first husband, turns up very much alive and eager to see Grable. Written by
Jack Cole, the legendary dance director famous for staging Rita Hayward's striptease in Gilda (1946) also taught Marilyn Monroe's her moves in "Gentlemen Prefer Blondes," "How to Marry a Millionaire" and "Some Like It Hot." Credited as the choreographer of this film, his attempt to turn 39 year old Betty Grable into another Marilyn is not very successful. The co-star of the film, Gower Champion, who is not credited for any of the dances, went on to become a famous Broadway choreographer and director in his own right. See more »
At the first half of the 1950s Betty Grable lived a war. The war of winning the rank of "Hollywood's Top Blonde". Naturally Miss Grable, along with every single blonde bombshell in history, couldn't win that *blond* war, because simply Marilyn Monroe was there. The thing is in her final battle, (Three for the Show 1955), Grable made me feel rage for using some shameful ways to win.
Review well the (How Come You Do Me Like You Do?) number. Don't you notice something? Something that had been done before, precisely 1 year earlier. Yes, you're right. It is so-close-it's-sexual-harassment to Marilyn's number (Heat Wave) from (There's No Business Like Show Business 1954) yet without heat !
To assure my point, the main dancer's dress is the same; just the naked bellybutton was canceled. The costumes of the male dancers are the same, white this round. The fiery red background is the same. The electrifying jazzy tone, with the intense drums and loud trumpets, is the same. The dance moves are nearly the same; trying to be as bold to end up just cold. The lyrics approach being naughty, with some double meanings; but forget it, without Marilyn's performance it's only a theoretical ambition. Maybe Betty thought; Hey, let's put many girls with the same revealing customs to make it more hot, however that proved that she can't do it alone. And in general, the saucy spirit is present but with no effect. For example my heartbeats didn't whoop, because in this case, surely, my heart belongs to "Baby" !
Watch Betty endeavoring to capture Marilyn's quavering and suggestive motions pathetically. It was like Frank Sinatra coping Elvis Presley's dancing !! Mainly there is one Marilyn, and she's copying-proof.
Connect between all of that and some indicative history information like how "the dance numbers were choreographed by Jack Cole AND Betty Grable". Or how a song like Down Boy "was originally written for Marilyn Monroe in Gentlemen Prefer Blondes". How Gentlemen Prefer Blondes itself "had been firstly offered to Betty Grable". And finally how (Three for the Show) "was Betty Grable's last musical after Marilyn Monroe became officially Hollywood's Top Blonde". Hence, here, all of Grable's work, didn't eventually work !
(How Come You Do Me Like You Do?) has 3 differences than (Heat Wave) : wider stage, more cutting and too sedate Betty to be the coquetry factory Marilyn Monroe. Actually Betty Grable in this number is gold plated. Watch the original source to have the genuine gold alloy then.
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