Most people who know of Lucille Ball's career arc are aware that this was one of her higher-profile films, with a large budget, vibrant color, and A-list co-stars. What could go wrong? Well, nothing at the time. But with the passage of time the movie has gotten a bit stale, and drags in several parts. Ball's materialistic character is not very likable from the start, and she's introduced in a ghastly musical number with very conspicuously dubbed vocals. Couldn't they have found someone who's voice actually sounded like it could possibly be coming out of Lucille Ball?
They should have cast Ethel Merman, who played May Daly on Broadway. After all, the character didn't HAVE to be drop dead gorgeous. But it does help explain why two men would continue to pursue such an obviously shallow diva, even if she can't really sing.
The main event of this film is a dream sequence, but the setup to that point seems interminable! And all we have to keep us watching in between is one outstanding dance number by a game Gene Kelly and mildly witty banter between Red Skelton and an underused Virginia O'Brien. Skelton would be much better later in his career by toning down the Vaudevillesque physical comedy, which only appears more cloyingly corny with age. (Bert Lahr, who played the stage role was the same way.) There is also a musical interlude with three gentlemen who do vocal impressions that will definitely have you pushing the fast-forward button on your remote.
If you have the patience, there are some enjoyable musical numbers and just a few genuine laughs to keep you amused. The funniest line by far in the film is delivered by uncredited old lady Clara Blandick (Auntie Em from "The Wizard of Oz") in one of the Cleanest Subway Cars Ever to be used as a movie setting. That says it all about the dialogue between the leads. (The reason being is the good stuff from the Broadway show was deemed too lewd for the film.)
Obviously a lot went into the costumes and scenery for this film, and that alone makes it worth watching, as well as for the cast members who are always worth watching even if this isn't their best by any stretch.
They should have cast Ethel Merman, who played May Daly on Broadway. After all, the character didn't HAVE to be drop dead gorgeous. But it does help explain why two men would continue to pursue such an obviously shallow diva, even if she can't really sing.
The main event of this film is a dream sequence, but the setup to that point seems interminable! And all we have to keep us watching in between is one outstanding dance number by a game Gene Kelly and mildly witty banter between Red Skelton and an underused Virginia O'Brien. Skelton would be much better later in his career by toning down the Vaudevillesque physical comedy, which only appears more cloyingly corny with age. (Bert Lahr, who played the stage role was the same way.) There is also a musical interlude with three gentlemen who do vocal impressions that will definitely have you pushing the fast-forward button on your remote.
If you have the patience, there are some enjoyable musical numbers and just a few genuine laughs to keep you amused. The funniest line by far in the film is delivered by uncredited old lady Clara Blandick (Auntie Em from "The Wizard of Oz") in one of the Cleanest Subway Cars Ever to be used as a movie setting. That says it all about the dialogue between the leads. (The reason being is the good stuff from the Broadway show was deemed too lewd for the film.)
Obviously a lot went into the costumes and scenery for this film, and that alone makes it worth watching, as well as for the cast members who are always worth watching even if this isn't their best by any stretch.