A photographer for Life magazine comes to London to do a story on a local theater troupe which never missed a performance during World War II. Flashbacks also reveal the backstage love ... See full summary »
In Buenos Aires, a man who has decreed that his daughters must marry in order of age allows an American dancer to perform at his club under the condition that he play suitor to his second-oldest daughter.
William A. Seiter
Upset about a new Broadway musical's mockery of Greek mythology, the goddess Terpsichore comes down to earth and lands a part in the show. She works her charms on the show's producer and he... See full summary »
Joey Evans is charming, handsome, funny, talented, and a first class, A-number-one heel. When Joey meets the former chorus girl ("She used to be 'Vera...with the Vanishing Veils'") and now ... See full summary »
In order to cover up his philandering ways, a married Broadway producer sets one of his dancers up on a date with a chorus girl for whom he had bought a gift, but the two dancers fall in love for real.
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 »
Rusty Parker, a red-headed leggy dancer at Danny McGuire's Night Club in Brooklyn, wants to be a successful Broadway star. She enters a contest to be a 'Cover Girl' as a stepping-stone in her career. She reminds the publisher, John Coudair, of his lost love, showgirl Maribelle Hicks. He was engaged to Maribelle, although his wealthy society mother made fun of her. Maribelle left John at the altar when she saw the piano at her wedding. It reminded her of the piano-player she truly loved. Rusty is Maribelle's granddaughter and there are musical sequences with Maribelle dancing to songs from the beginning of the 20th century. Rusty lands on the cover of her grandmother's former fiancé's magazine (as a bride). She is pursued by Coudair's pal, the wealthy theatrical producer, Noel Wheaton. He produces a lavish musical to star Rusty, surrounded by real cover girls of the mid 1940's. Rusty runs down a huge spiral into the arms of dozens of men who seem clumsy next to her ethereal dancing. ...Written by
Jenny Lens <firstname.lastname@example.org>
The dance numbers were shot simultaneously by three cameras - one each for long, medium and close-up shots. This was done to cut down on the number of takes and saved time, according to a contemporary article in The Hollywood Reporter. See more »
Maurine pins the VANITY cover photo of Rusty on the call board in a wide shot, but it is a different picture from the next cut- a close-up of Rita Hayworth's face. When they cut back and forth to the wide shot, the difference is so startling that it does not look like Rita Hayworth at all. The faces even tilt in opposite directions. See more »
If I've said it once, I've said it a hundred times, you don't get there on the steps; you get there on your - but, I suppose it all depends on what you're after. Day and night! Night and day! All I do is work and slave and try to keep this place with it's head under water. What happens? My number comes up, the joint goes to pieces! People sittin' on the steps, chef quittin', noisy kitchen, girls always gabbin'. Yakety-yakety-yakety. It's not that I'm complaining or anything.
See more »
Good things about "Cover Girl" - Gene Kelly dancing with his own reflection; the luminous Rita Hayworth; the street dance; "Long Ago and Far Away", the cover girls sequence. Bad things - "Poor John", an unbelievable by-plot about Hayworth's grandmother, and perhaps too much Phil Silvers. But when it is good, it certainly is good. I'd say it passes the time but nothing too mind-boggling in musical terms (although for Columbia it was probably one of the studio's peaks in the genre).
16 of 24 people found this review helpful.
Was this review helpful to you?
| Report this