Loretta Dalrymple, a homely young country girl comes to New York City and gets a job as a chambermaid in a large hotel. She meets Ed Olson, a photographer out of work, and Dan Riley, a ... See full summary »
A washed up singer is given a couple days to compose a chart-topping hit for an aspiring teen sensation. Though he's never written a decent lyric in his life, he sparks with an offbeat younger woman with a flair for words.
Janey is new in town, and soon meets Lynne, who shares her passion for dancing in general, and "Dance TV" in particular. When a competition is announced to find a new Dance TV regular ... See full summary »
Sarah Jessica Parker,
Marge is a capable secretary, but her bosses are more interested in her than her abilities. This causes her to be frequently unemployed. To get a job, she changes her look to make herself ... See full summary »
Two researchers have come to San Francisco to compete for a research grant in Music. One seems a bit distracted, and that was before he meets her. A strange woman seems to have devoted her life to confusing and embarassing him. At the same time a woman has her jewels stolen and a government whistle blower arrives with his stolen top secret papers. All, of course have the same style and color overnight bag. Written by
John Vogel <firstname.lastname@example.org>
When Judy Maxwell first enters the Bristol Hotel, a piano version of Cole Porter's "Anything Goes" can be heard in the background. Porter also wrote "You're The Top," the song that begins and ends the movie. When Howard and Judy are left alone talking in the Bristol Ballroom after the convention, "Night & Day" can be heard in the background, another song by Cole Porter. See more »
When Mr Jones jumps off the balcony in the last party scene, he has golf clubs over his shoulder. When he lands on the thug's back the golf clubs have disappeared. See more »
You don't wanna marry someone who's gonna get all wrinkled, lined and flabby!
Everyone gets wrinkled, lined and flabby!
By next week?
See more »
This film really does make the equivalent Carry On movies extremely juvenile. Very rarely, if at all does this film delve into lavatorial/innuendo humour. All of its humour is based on slapstick and a terrific script full of one-liners that you never tire of viewing. They could have made a sequel, but then the humour would have soured in the same way that the Naked Gun or Airplane films did. All the characterisations are spot on, everyone except Striesand is portrayed as being bumbling unsubtle fools including the CIA and Russian spys. It's basically a change to see the Americans not taking themselves seriously for once. Kenneth Mars is very amusing as O'Neal's opponent for the music grant. Of particular note is the car chase in San Francisco in an exaggerated Bullitt style. Granted, it is very dated - it's 1972 and chequered flares and velvet is much in evidence, but this adds to the film's charm. It is one of the few films that I was sad to see ending...
23 of 28 people found this review helpful.
Was this review helpful to you?