Glamorous Lorry Jones, the toast of a Missouri military canteen, has become "engaged" to almost every serviceman she's signed her pin-up photo for. Now she's leaving home to go into ...
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In this chronicle of a vaudeville family, Myrtle McKinley (class of 1900) goes to San Francisco to attend business school, but ends up in a chorus line. Soon, star Frank Burt notices her ... See full summary »
Nan Spencer is on a boat bound for Havana which runs aground. The man sent to rescue her is engaged and she doesn't understand his disinterest. Gambler is interested, to the annoyance of his girlfriend.
Glamorous Lorry Jones, the toast of a Missouri military canteen, has become "engaged" to almost every serviceman she's signed her pin-up photo for. Now she's leaving home to go into government service (not, as she fantasizes, to join the USO). On a side trip to New York, her vivid imagination leads her to True Love with naval hero Tommy Dooley; but increasingly involved Musical Comedy Complications follow.Written by
Rod Crawford <firstname.lastname@example.org>
According to an October 1942 edition of the 'Hollywood Reporter', Libbie Block, the author of the source story of which this film was based, was going to be doing the adaptation, but she did not actually work on this movie's screenplay according to this movie's credits and studio records. See more »
Disappointing Grable musical probably charmed the socks off servicemen...
Perhaps back then this was seen as a bright and bubbly tribute to the Armed Forces everywhere, but surely BETTY GRABLE deserved better material for a musical with a title like PIN UP GIRL. She's pretty and pert as a secretary whose romance with a soldier goes from Boy Meets Girl, Boy Loses Girl, Boy Wins Girl in timeworn Hollywood fashion.
No help is the fact that MARTHA RAYE and JOE E. BROWN can usually be counted on to add gags and merriment to any film they're in. Here, they open their big mouths and nothing funny comes out.
The songs are weak, lacking interest even for Grable fans--with one exception. A nifty little number called "Once Too Often" has Betty doing a slit-skirt, torrid dance number with Hermes Pan, the famous choreographer who worked with Astaire and Rogers on many of their most famous routines. It's the only musical number worth staying awake for.
The climactic military number is a hoot, with Betty doing a parade of arms military drill that reminded me of my boot camp days.
Summing up: This is one you can afford to miss.
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