Perky young Nanette attempts to save the marriage of her uncle and aunt by untangling Uncle Jimmy from several innocent but ensnaring flirtations. Attempting one such unentanglement, ...
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Chronicles the early life of gay nineties-era songwriter Paul Dresser as he outgrows his job as carnival entertainer and moves up into New York society, writing one hit song after another. ... See full summary »
Perky young Nanette attempts to save the marriage of her uncle and aunt by untangling Uncle Jimmy from several innocent but ensnaring flirtations. Attempting one such unentanglement, Nanette enlists the help of theatrical producer Bill Trainor, who promptly falls in love with her. The same thing happens when artist Tom Gillespie is called on for help. But soon Uncle Jimmy's flirtations become too numerous, and Nanette's romances with Tom and Bill run into trouble. Will Uncle Jimmy's marriage survive, and will Nanette find happiness with Tom, Bill, or somebody else? Written by
Jim Beaver <firstname.lastname@example.org>
When Tom is following William and Nanette in a cab, he tells the cabbie to turn off the radio, which is broadcasting a horse race. The cabbie objects because he wants to know what happens to Samson and Delilah. Nine years later, Victor Mature would star in Samson and Delilah (1949). See more »
When Jimmy Smith boards the plane to Reno, he tells the stewardess his destination is the Virgin Islands. She tells him he will need to change planes in Los Angeles. Apparently the writer thought the Virgin Islands are in the Pacific. See more »
The credits appear printed on stage curtains. As the title appears, Anna Neagle comes out from behind the curtain, sits to the left of the stage and sings the title song, while different curtains are rolled out, each containing new credits. See more »
This is one of the strangest 'musicals' I've ever seen. I saw that one commenter had played Jimmy Smith in a production in 1974. I myself was one of the twin pianists in the Broadway show for the last 6 months of the run, in which I worked with Ruby Keeler, Helen Gallagher, Bobby Van, and Patsy Kelly, and after Keeler left, for Martha Raye, who was taking Patsy Kelly's maid role over but was given Ruby's big 'I want to Be Happy' number. It didn't work, but this had been a great experience for me.
I had watched 'Tea for Two' a few years ago, thought it was just fair, nothing special, I was watching just a bunch of old Doris Day things from that period. This was not one of the best, unlike 'Love me or Love Me' or 'Calamity Jane'. I don't remember how much of the score it kept, not nearly all, but here you don't even get a single whole song, except maybe one full verse of 'Tea for Two', sung by Tom and Nanette in different places. That's fairly nice, but 'I want to Be Happy' is never but a snippet, there's a little of the title song that Neagle sings at the very beginning, still only a line or two; and I think later in the movie there is a snippet of 'Take a Little One Step', which was Ruby's other big number in the B'way show, but it is not even sung as a fragment. I really don't understand this, because the sets and costumes didn't look shoddy or cheap at all. Ms. Neagle is extremely pretty and quite charming, I thought. Victor Mature is stunningly handsome at that age, he really is very much the hunk already, and very sexy. Richard Carlson is also very handsome in a different, lighter kind of way. Beautiful young people and wonderful costumes and luxury are what are on display to enjoy. I looked at the cast of the 1930 version and that at least had Bill and Lucille Early from the original production, but this plot had almost no resemblance to the show I did. Nanette did not ballet (Ms. Neagle's dancing is not terribly distinguished) and both Tom and Nanette are much more naive and 'pure ingenue'. I was surprised I enjoyed as much as I did. I just gave up on it early on as having anything much at all to do with the show I enjoyed doing live. I think it had less music than any musical I ever saw: at least 'Louisiana Purchase', although it leaves out a lot of Berlin's songs, has a couple of big numbers, even if most of the songs are left out (and that's quite a good film.)
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