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...
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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 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.
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
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 »
After her banishment from Rome, Jewish Princess Salome returns to her Roman-ruled native land of Galilee where prophet John the Baptist preaches against Salome's parents, King Herod and Queen Herodias.
Rita Hayworth co-stars with famed recording artist Tony Martin in this musical comedy featuring the music of Andre Kostelanetz and his orchestra. Following various comic misunderstandings, ... See full summary »
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 incorporates her changes into the show. Unfortunately, her changes also produce a major flop.Written by
Daniel Bubbeo <firstname.lastname@example.org>
In the newspaper montage, the third item in the Lyons Den column reads: "Save up your gas money and go over to Danny McGuire's place in Brooklyn. You'll see the current Vanity cover in the flesh." This is the plot for Cover Girl (1944), Rita Hayworth's previous movie for Columbia, so in effect the characters of Kitty Pendleton and Rusty Parker are playing at the same time in different venues, even though they're both played by the same person. See more »
The same news item about twins getting a two-week tryout keeps appearing in different newspaper columns over the course of several months. See more »
I suppose that Technicolour was a big selling point when this film came out (1946). The colour is beautiful to look at, but much of the rest of the film is rather slim. In this film, Rita Hayworth is a muse who becomes upset when she learns that a Broadway musical is going to portray her as a jive crazy love machine. She heads to earth to correct matters and the audience settles in for 101 minutes of unmemorable musical numbers and several poorly choreographed dance scenes.
Allow me to guess what happened here. Columbia was looking for a musical vehicle for Hayworth, then at the top of her career. They had script for a B musical ready to roll, but they needed to beef it up a bit. So what they did was steal a few of the characters from a past hit, HERE COME MR. JORDAN, added Technicolour, and hoped that it would prove enough of a draw. If you do watch this film, note how poorly the JORDAN characters are worked in - especially Max Corkle.
Elements of the Broadway musical DOWN TO EARTH also appear in Fred Astaire's THE BAND WAGON, which came out in 1953 - but the numbers in the later film were far more memorable. I had enjoyed HERE COMES MR. JORDAN, and was curious as to what the sequal would be like. My curiosity has been satisfied - yet another half-baked movie sequel.
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