San Francisco debutante, Jessica Poole, is marrying Napa Valley cattle rancher, Roger Henderson, and hopes her peripatetic father, "Pogo" Poole, whom she hasn't seen for years, comes to the... See full summary »
On a trip to France, millionaire Jervis Pendelton sees an 18 year old girl in an orphanage. Enchanted with her, but mindful of the difference in their ages, he sponsors her to college in ... See full summary »
Shot by a jealous husband, Charley falls out a porthole and is lost at sea only to find himself returned as an attractive blond woman. His best friend is staying at his house as he puts ... See full summary »
Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
A musical remake of Ninotchka: After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to ... See full summary »
Young and inexperienced Sister Ann has just arrived at her next posting at Samaritan House, a Dominican order located in a disreputable neighborhood of Ghent, Belgium. Sister Ann is ... See full summary »
Jed Potter looks back on a love triangle conducted over the course of years and between musical numbers. Dancer Jed loves showgirl Mary, who loves compulsive nightclub-opener Johnny, who ... See full summary »
Lady Alyce Marshmorton must marry soon, and the staff of Tottney Castle have laid bets on who she'll choose, with young Albert wagering on "Mr. X." After Alyce goes to London to meet a beau... See full summary »
Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh... See full summary »
San Francisco debutante, Jessica Poole, is marrying Napa Valley cattle rancher, Roger Henderson, and hopes her peripatetic father, "Pogo" Poole, whom she hasn't seen for years, comes to the wedding. He arrives, disrupting the household of his ex-wife, Katharine, and her long-suffering husband, and befriending their cook, Toy. At first it seems that Pogo is set on breaking up the engagement, making up for years of neglect by wining and dining Jessica, showing up Roger as a hick, and enticing her to come to Europe with him. Then it seems his real goal is to win back Katharine's heart: why else would he have two tickets to Paris booked on a plane leaving right after the reception? Written by
Charles Ruggles was nominated for the 1959 Tony Award (New York City) for Supporting or Features Actor in a Drama for "The Pleasure of Your Company" and recreated his role in the movie version. See more »
When asked by James, Mr. Sanford tells him that Popo's plane leaves at 6:30. However, when everyone arrives at the airport to see Pogo off, the sign at the departure gate clearly shows the departure time as 4:30. See more »
Its stage origins are obvious but it's fun, nevertheless.
This production had its origins in a successful stage play in which, if memory serves, Cyril Ritchard played the role of "Pogo" Poole on Broadway. I saw this on Hollywood Blvd. at the then Paramount Theater, across the street from the world-famed Grauman's Chinese. I'd looked forward to its release, which had been delayed by a several-week shutdown during shooting, due to a Hollywood union dispute (I think it involved the Writers Guild, though I may be wrong.), because I was then, and always will be, a devoted fan of Miss Lilli Palmer, Germany's gift to the cinema.
The finished product betrayed its stage origins but was luxuriously produced and nicely enacted by a thoroughly professional cast. I'll always remember that scene when devoted daughter, Jessica, played by Debbie Reynolds, tearfully confesses that she's willing to postpone her planned and very lavish wedding in order to accompany her long-lost and suddenly returned father, "Pogo," on one last globetrotting trip before his imminent demise of "old age." Fred Astaire's horrified reaction to this declaration of daughterly affection was something to behold.
The Technicolor cinematography by the gifted Robert Burks (one of Hitchcock's favorites) is one of this film's best assets. (Too bad Paramount was getting too cheap to use its 70mm VistaVision process on this one, since San Francisco provided some lovely backgrounds.) And, as always, Alfred Newman underscored the proceedings quite elegantly. The title song, a nice one, was sung by Vic Damone over the opening credits, if I'm not mistaken, which were static shots of San Francisco and environs. I remember wishing that moving images of the same vistas had been used instead.
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