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Three for the Show (1955)

Approved | | Musical | 24 February 1955 (USA)
A widowed singer marries her late husband's songwriting partner, which leads to trouble when her first husband turns up very much alive.

Director:

Writers:

(screenplay), (screenplay) | 1 more credit »
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Cast

Cast overview:
...
Julie Lowndes
...
Gwen Howard
Gower Champion ...
Vernon Lowndes
...
Myron McCormick ...
Mike Hudson
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Storyline

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 Anonymous

Plot Summary | Add Synopsis

Taglines:

LET'S GO! TO THE YEAR'S TOP MUSICAL SHOW! (original print ad - all caps)

Genres:

Musical

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

24 February 1955 (USA)  »

Also Known As:

The Pleasure Is All Mine  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(TCM print)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Mercury Records issued a 10-inch LP of the soundtrack, which would be the only contemporary soundtrack album released from a Betty Grable film. See more »

Connections

Remake of Too Many Husbands (1940) See more »

Soundtracks

Someone To Watch Over Me
Words and Music by George Gershwin and Ira Gershwin
Performed by Marge Champion and Gower Champion during the opening titles
Later sung by Marge Champion
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User Reviews

 
Mid-Fifties desperation
9 October 2007 | by (New York, NY) – See all my reviews

Musicals are dying, you're Harry Cohn, you have all those expensive sound stages and wide-screen cameras lying around... what do you do? He remade one of Columbia's not-first-rate-to-begin-with screwball comedies, "Too Many Husbands," outfitted as a very splashy and very insubstantial musical with an oddball cast. Good it's certainly not, but for students of the evolution of the '50s musical, it's interesting. Betty Grable, legs as spectacular as ever, has married Gower Champion when first husband Jack Lemmon, thought dead in the war, returns. It's a standard plot, silly and overstaged, with Lemmon and Gower throwing a lot of fake punches at each other. But the filmmakers do try to retrofit it in musical ways. The score, mostly Gershwin standards, isn't well sung, and Grable and Lemmon are a terrible match -- she just seems too much woman for him, and she was nearly a decade his senior. But he does warble passably and even dances and tickles the ivories a little. Most striking are a couple of extended, wordless sequences, not exactly dancing and not exactly not, but choreographed, to classical chestnuts: They show the makers' desperation at trying to do something, anything, new, to keep musicals alive. Marge Champion, not a singer, surprisingly has to sing a lot. She and Gower have the best sequence, a falling-in-love pas de deux filmed practically in one take, like the good old Fred and Ginger duets. But the movie feels underpopulated -- these four and Myron McCormick, as an unappealingly avaricious agent, are practically the whole cast -- and Gower, though lean and graceful, looks impatient to jump out of the Cinemascope frame and go direct.


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