Captain Vinka Kovelenko defects from Russia, but not for political reasons. She defects because she feels discriminated against as a woman. Captain Chuck Lockwood gets the order to show her... See full summary »
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"Dakota," a young soldier on a pass in New York City, visits the famed Stage Door Canteen, where famous stars of the theatre and films appear and host a recreational center for servicemen ... See full summary »
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Rodolfo Hoyos Jr.
Captain Vinka Kovelenko defects from Russia, but not for political reasons. She defects because she feels discriminated against as a woman. Captain Chuck Lockwood gets the order to show her the bright side of capitalism, while she tries to convince him of the superority of communism. Naturaly, they fall in love, but there's still the KGB, which doesn't like the idea of having a defected Russian officer running around in London. Written by
Stephan Eichenberg <email@example.com>
Bob Hope and Katharine Hepburn had a difficult and wary relationship during production as Hepburn became aware that the film was being changed to a typical Hope comedy leaving nearly fifty percent of her work on the film on the cutting room floor. As a result writer Ben Hecht unsuccessfully tried to have his name removed from the film. See more »
The enlisted men in the radar room at the beginning are wearing Army insignia of rank, not Air Force. See more »
This film had the potential to be much better. The charm and talent of Hepburn and Hope, the conflict of attitudes between East/West, Democracy/Communism, male/female. However, none of these elements work quite as well as they might have done.
Despite being rather over the top at the start, Hepburn is very good sporadically (the Russian accents and characters in general are stereotypical caricatures). Her androgynous persona is well cast, although used rather crudely at times - the film has a nervously defencive and jokey treatment of burgeoning feminist ideas, probably typical of the era.
Unfortunately, Hepburn's character is often relegated to be the foil for Hope's one liners. These are sometimes funny, but tend to predominate over characterisation, narrative, and the film in general, giving the whole piece an oddly disjointed, flat feel.
With a more pacey and intelligent script, the likable charm of Hope and the feisty emotion of Hepburn could have made a quirky, witty film. Instead, this rather dated film remains an interesting, although sometimes uncomfortable watch, as a snapshot of attitudes in the 1950s, and the unusual pairing of these two stars.
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