Jane Osgood runs a lobster business, which supports her two young children. Railroad staff inattention ruins her shipment, so with her lawyer George, Jane sues Harry Foster Malone, director of the line and the "meanest man in the world".
Marsha Mitchell, a traveling dress model, stops in a southern town to see her sister who has married a Ku Klux Klansman. Marsha sees the KKK commit a murder and helps District Attorney Burt Rainey in bringing the criminals to justice.
Gus Kahn is now generally recognized as one of the leading lyricists of the golden age of musicals. However, this recognition took its time coming. He wasn't inducted into the Songwriters' Hall of Fame until 1970, some 29 years after his death. See more »
Shortly after struggling Gus Kahn moves to Hollywood following the 1929 stock market crash, someone makes a remark that Kahn will know he's made if he can afford a table at Romanoff's restaurant. In reality, Romanoff's didn't open until 1939, just two years before then well-established Kahn died. See more »
[sings this to the tune of It Had to Be You]
It had to be me that had to get you. I stand 5 foot 10, a man among men, but you're 7'2. I meet lots of girls when I make the rounds, but none are like you 7 foot 2, 70 pounds, but you make me thrill and you always will. I realize Betty you look like spaghetti, but what can I do? It's your fingertips that I adore; when you stand up they touch the floor. It had to be you, wonderful you, 7 foot 2.
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Nostalgic and sentimental trip down memory lane...
This is the kind of Hollywoodized biography of a famous composer that springs to life whenever DORIS DAY sings one of those warm and tender melodies. It's Day, at her perkiest, who makes the film rather than DANNY THOMAS, who simply lacked the screen charisma a leading man should have. He's not bad, but brings the film down a notch with his one-dimensional performance.
Thankfully, there are some reliable supporting role players that help Doris sell the film--notably, PATRICE WYMORE, FRANK LOVEJOY and MARY WICKES who all do their best to keep the tale moving along at a brisk pace. Wickes is especially mirthful when she tosses off a one-liner with aplomb and clearly seems to be enjoying her role as a sharp-tongued maid.
The Michael Curtiz touch is not too evident because the story drags in spots, but whenever Doris gets to warble an old-fashioned tune it doesn't matter what else is going on. Her rendition of "The One I Love Belongs to Somebody Else" is especially touching and her spirited version of "Makin' Whoopie" is another delight. Whether tossing off a ballad or jump tune she can do no wrong.
Doris Day fans will enjoy this tuneful and sentimental trip down memory lane.
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