Such an obscure '50s Fox musical that I'd never even heard of it (and I know my '50s musicals), and made very late in the cycle of modest entertainments starring the likes of Dan Dailey and June Haver, this one has a few aces up its sleeve. There's a surprising amount of sung exposition at the beginning, under the credits, and later on some very brief singing sequences in the middle of dialogue -- it's as if even standard Fox musicals wanted to be more like their Rodgers and Hammerstein cousins on Broadway. It shows how pervasive the whole musical-comedy mode was back then. Later there are a couple of animated sequences that delve psychologically into the characters' motivations, and of course a dream ballet, and an amusingly overblown production number with Haver, "Nowhere Guy." The story's no great shakes, the songs run from OK to pretty good, and Haver proves again that proficiency at singing and dancing is less vital than personality, which she lacks. Dailey is a likable romantic counterpart, and Cara Williams is an invaluable best-friend-making-tart-comments -- though it's hard to accept that she'd fall for the rabbity face and syrupy tenor of Dennis Day. The utterly '50s production design is fun, and the more thorough musicalizing than usual gives this otherwise standard effort a couple of bonus points. All in all, it's very watchable.
15 Reviews
Obscure Musical Is Innovative and Well Made, with Execellent DVD Extras
pacificgroove3 December 2007
This obscure film was a treat for me, a classic film buff; it's a rare musical from Hollywood's golden age that's I've never seen nor even heard of. The Girl Next Door is not only very well made and entertaining, but in 1951 this was cutting edge both in story and in the way it's musical numbers are staged.
Plotwise, it's a mild domestic drama, coupled with a conventional romance. Innovative is that the story portrays a warm, friendship-based father-son relationship which functions very well without a mother or other woman being around. When the father falls for the professional singer-dancer woman next door, the son is resentful.
The dance numbers are not only well staged and performed, but refreshingly creative. The standout is a film-noirish number, shot with highly stylized camera angles, stark lighting, highly effective use of contrasting colors, and slinky jazz dance moves. The capper is that the number is supposed to be a nightclub performance with Dan Daily in the audience; mid-number, he imagines himself into the number, first as a shadow and then as the primary male dancer (a la "The Purple Rose of Cairo", decades later). The film's opening is remarkable for it's time; credits are superimposed (very unusual for the time) on the first of a three song extended musical number which immediately set's up the story and gives us a lot of information about June Haver's character.
Dan Daily is likable, charming, masculine, believable, as well as being a good enough dancer and singer. June Haver is sexy in a very wholesome way, has a great body, moves well, but is somewhat bland in the personality-acting department. Her singing is dubbed. The only weakness in the film are that Denis Day is barely mediocre as a comic second banana, though his singing is beautiful, if you like old fashioned Irish tenor vocalizing. Cara Williams is radiant and sassy in the typical role of wisecracking friend of the heroine, but she's given little screen time and the zingers she's given to say are bland. Otherwise the dialog is far above the norm for musicals of it's era.
The DVD includes 3 documentary featurettes; 2 are very informative and well done, one is about the film and the other about Dan Daily. The third is about Billy Gray (Bud of "Father Knows Best"), it's hampered by not having any footage from non-Fox films he made, nor from the classic TV show.
Plotwise, it's a mild domestic drama, coupled with a conventional romance. Innovative is that the story portrays a warm, friendship-based father-son relationship which functions very well without a mother or other woman being around. When the father falls for the professional singer-dancer woman next door, the son is resentful.
The dance numbers are not only well staged and performed, but refreshingly creative. The standout is a film-noirish number, shot with highly stylized camera angles, stark lighting, highly effective use of contrasting colors, and slinky jazz dance moves. The capper is that the number is supposed to be a nightclub performance with Dan Daily in the audience; mid-number, he imagines himself into the number, first as a shadow and then as the primary male dancer (a la "The Purple Rose of Cairo", decades later). The film's opening is remarkable for it's time; credits are superimposed (very unusual for the time) on the first of a three song extended musical number which immediately set's up the story and gives us a lot of information about June Haver's character.
Dan Daily is likable, charming, masculine, believable, as well as being a good enough dancer and singer. June Haver is sexy in a very wholesome way, has a great body, moves well, but is somewhat bland in the personality-acting department. Her singing is dubbed. The only weakness in the film are that Denis Day is barely mediocre as a comic second banana, though his singing is beautiful, if you like old fashioned Irish tenor vocalizing. Cara Williams is radiant and sassy in the typical role of wisecracking friend of the heroine, but she's given little screen time and the zingers she's given to say are bland. Otherwise the dialog is far above the norm for musicals of it's era.
The DVD includes 3 documentary featurettes; 2 are very informative and well done, one is about the film and the other about Dan Daily. The third is about Billy Gray (Bud of "Father Knows Best"), it's hampered by not having any footage from non-Fox films he made, nor from the classic TV show.
A rare movie musical where the characters actually sing in character, not on stage
mark.waltz7 March 2010
Warning: Spoilers
1953 Hollywood-MGM had "Small Town Girl"; Warner Brothers had "Three Sailors and a Girl", and Paramount announced "Here Come the Girls". 20th Century Fox added its own girl to the group by putting a girl next door. Here, June Haver plays a Broadway star who moves next door to a handsome widower (Dan Dailey) with a young son (Billy Gray) who enjoys keeping his father busy with fishing trips and things that guys do, no females allowed. When Haver has a dinner party, they ruin it, first with pet pigeons that literally get into people's hair, then with a cook-out that threatens to be a smoke-out. Haver storms over to complain but finds herself entranced by Dailey, which upsets young Gray. They had earlier shared a duet entitled "I'd Rather Have a Pal than a Gal", and now papa Dailey is tempted to switch the two nouns in the song.
Haver soon finds out that writer Dailey is quite a song and dance man himself, sharing a number with helium voiced Dennis Day that ends with the usual pose of the performers having their hands out to the audience begging for applause. But Gray won't back down on trying to keep Haver and Dailey apart, having a cute little animated dream that while fishing with his father (and a talking pooch and raccoon), Haver shows up as a witch, threatening to spoil their fun. You know in the end he'll change his mind and help reconcile the two; It's just a matter of getting through a few so-so musical numbers where the songs aren't very good, but the colorful Fox direction helps distract the viewer to that fact. The choreography by Richard Barstow (whom I had never heard of until I saw his name in the credits for this film) is also covered with lavish art direction, particularly in Dailey's dream finale that has Gray using a giant pencil in his efforts to keep Haver and Dailey apart.
Minus Betty Grable for the first of a few times during his Fox musical career, Dailey is likable, and more down to earth than he was in backstage musicals such as "Mother Wore Tights" (where he plays a total ham) and "When My Baby Smiles at Me" (receiving an Oscar nomination as an alcoholic). He would be paired with Jeanne Crain and Ethel Merman in other movie musicals, but here, it is blonde June Haver who gets him. Some people confuse her with the similarly named June Havoc (Baby June of "Gypsy" fame), but they are very different people. The June Haver musicals, with titles such as "The Daughter of Rosie O'Grady" and "Look For the Silver Lining", are enjoyable but not among the top rated musical films of the golden age. She had a pleasant personality, was a talented singer and dancer, passable actress, but lacked the spark of other blonde musical stars of that era such as Betty Grable, Betty Hutton, and Doris Day. It's perhaps because there's no seemingly temperament there; She's like the chorus girl who made good and never forgot from where she came. There's no scandal or temperament to her personality that make her front page news. Day could get away with her spunky sweet nature because you knew somewhere underneath laid sadness from unspoken traumas; Grable could swear and spar with the crew, yet you knew she was one of the gang who enjoyed having fun. The lack of these qualities, plus the mystery of the newest rising blonde bombshell (Marilyn Monroe), makes Haver equally talented if not remarkable in these films. Those qualities ruined her best chance for stardom as the real-life temperamental Marilyn Miller in "Look For the Silver Lining".
Young Billy Gray, who was fun as the younger brother in the Doris Day/Gordon MacRae films "On Moonlight Bay" and "By the Light of the Silvery Moon", is thankfully not obnoxious as the determined kid. It's easy to understand his desire to keep his dad to himself, so he avoids being a stereotypical screen brat. It was tempting to fast forward through any moment where Dennis Day sang, but I avoided it just to make sure I didn't miss any of his love interest Cara Williams' funny wisecracks. (Her appearance with the pigeons all over her is quite humorous.) They really are a mismatched second couple and are no threat to the same years young lovers Tommy Rall and Ann Miller in "Kiss Me Kate". Natalie Schaefer, the matronly Lovey Howell of "Gilligan's Island", plays of all things, a maid, paired with Clinton Sundberg's Franklin Pangborn-ish butler. Schaefer had better screen work playing society matrons in several Joan Crawford and Lana Turner films, as well as a memorable cameo in the film version of William Saroyan's "The Time of Your Life".
"The Girl Next Door" is not a hard film to like, but it is one of those musicals that had good ideas, high ambitions, but unfortunately doesn't quite come together. Try not to laugh out loud at the silliness of the final musical number which is pretty to look at, yet worthy of gapes similar to the ones of the audience to "Springtime For Hitler" in "The Producers".
Haver soon finds out that writer Dailey is quite a song and dance man himself, sharing a number with helium voiced Dennis Day that ends with the usual pose of the performers having their hands out to the audience begging for applause. But Gray won't back down on trying to keep Haver and Dailey apart, having a cute little animated dream that while fishing with his father (and a talking pooch and raccoon), Haver shows up as a witch, threatening to spoil their fun. You know in the end he'll change his mind and help reconcile the two; It's just a matter of getting through a few so-so musical numbers where the songs aren't very good, but the colorful Fox direction helps distract the viewer to that fact. The choreography by Richard Barstow (whom I had never heard of until I saw his name in the credits for this film) is also covered with lavish art direction, particularly in Dailey's dream finale that has Gray using a giant pencil in his efforts to keep Haver and Dailey apart.
Minus Betty Grable for the first of a few times during his Fox musical career, Dailey is likable, and more down to earth than he was in backstage musicals such as "Mother Wore Tights" (where he plays a total ham) and "When My Baby Smiles at Me" (receiving an Oscar nomination as an alcoholic). He would be paired with Jeanne Crain and Ethel Merman in other movie musicals, but here, it is blonde June Haver who gets him. Some people confuse her with the similarly named June Havoc (Baby June of "Gypsy" fame), but they are very different people. The June Haver musicals, with titles such as "The Daughter of Rosie O'Grady" and "Look For the Silver Lining", are enjoyable but not among the top rated musical films of the golden age. She had a pleasant personality, was a talented singer and dancer, passable actress, but lacked the spark of other blonde musical stars of that era such as Betty Grable, Betty Hutton, and Doris Day. It's perhaps because there's no seemingly temperament there; She's like the chorus girl who made good and never forgot from where she came. There's no scandal or temperament to her personality that make her front page news. Day could get away with her spunky sweet nature because you knew somewhere underneath laid sadness from unspoken traumas; Grable could swear and spar with the crew, yet you knew she was one of the gang who enjoyed having fun. The lack of these qualities, plus the mystery of the newest rising blonde bombshell (Marilyn Monroe), makes Haver equally talented if not remarkable in these films. Those qualities ruined her best chance for stardom as the real-life temperamental Marilyn Miller in "Look For the Silver Lining".
Young Billy Gray, who was fun as the younger brother in the Doris Day/Gordon MacRae films "On Moonlight Bay" and "By the Light of the Silvery Moon", is thankfully not obnoxious as the determined kid. It's easy to understand his desire to keep his dad to himself, so he avoids being a stereotypical screen brat. It was tempting to fast forward through any moment where Dennis Day sang, but I avoided it just to make sure I didn't miss any of his love interest Cara Williams' funny wisecracks. (Her appearance with the pigeons all over her is quite humorous.) They really are a mismatched second couple and are no threat to the same years young lovers Tommy Rall and Ann Miller in "Kiss Me Kate". Natalie Schaefer, the matronly Lovey Howell of "Gilligan's Island", plays of all things, a maid, paired with Clinton Sundberg's Franklin Pangborn-ish butler. Schaefer had better screen work playing society matrons in several Joan Crawford and Lana Turner films, as well as a memorable cameo in the film version of William Saroyan's "The Time of Your Life".
"The Girl Next Door" is not a hard film to like, but it is one of those musicals that had good ideas, high ambitions, but unfortunately doesn't quite come together. Try not to laugh out loud at the silliness of the final musical number which is pretty to look at, yet worthy of gapes similar to the ones of the audience to "Springtime For Hitler" in "The Producers".
What females have to offer
bkoganbing11 November 2014
I just won the DVD of The Girl Next Door as part of a gift box raffle from a party. Not a film I was particularly acquainted with it was fascinating to watch this partly animated film from 20th Century Fox.
Only two things lack in making this a classic. Had The Girl Next Door been done at Disney, Warner Brothers or MGM the studios that had the most acclaim for their animation The Girl Next Door might be better known. Also the score from Josef Myrow and Mack Gordon was lacking in anything other than serviceable songs for the plot. Hardly anything as memorable as what you would get in some of Disney's animated features.
June Haver has the title role, she's an acclaimed musical star who has taken possession of a house in Scarsdale, then as now a place with a reputation for easy suburban living. During a party she's interrupted by the noise and antics from next door and finds out it's a bachelor pad for Dan Dailey and his son Billy Gray.
Gray's perfectly happy as things are as he hasn't reached puberty yet to appreciate what females have to offer. But Dailey sure becomes interested and that's driving a wedge between him and his son.
The animation comes in with Dailey who makes a living by being a comic strip artist. His is a family script based on the doings he and his son have in real life. About a quarter of the film is in animation.
The animated sequences fit nicely into the story and Dailey and Haver are likable performers. Also featured are second leads Dennis Day and Cara Williams from Haver's musical comedy world and also note the performance of Clinton Sundberg as a snooty butler, a part he has down as good as Arthur Treacher.
The Girl Next Door is nice family entertainment and I wish it were better known.
Only two things lack in making this a classic. Had The Girl Next Door been done at Disney, Warner Brothers or MGM the studios that had the most acclaim for their animation The Girl Next Door might be better known. Also the score from Josef Myrow and Mack Gordon was lacking in anything other than serviceable songs for the plot. Hardly anything as memorable as what you would get in some of Disney's animated features.
June Haver has the title role, she's an acclaimed musical star who has taken possession of a house in Scarsdale, then as now a place with a reputation for easy suburban living. During a party she's interrupted by the noise and antics from next door and finds out it's a bachelor pad for Dan Dailey and his son Billy Gray.
Gray's perfectly happy as things are as he hasn't reached puberty yet to appreciate what females have to offer. But Dailey sure becomes interested and that's driving a wedge between him and his son.
The animation comes in with Dailey who makes a living by being a comic strip artist. His is a family script based on the doings he and his son have in real life. About a quarter of the film is in animation.
The animated sequences fit nicely into the story and Dailey and Haver are likable performers. Also featured are second leads Dennis Day and Cara Williams from Haver's musical comedy world and also note the performance of Clinton Sundberg as a snooty butler, a part he has down as good as Arthur Treacher.
The Girl Next Door is nice family entertainment and I wish it were better known.
Minor league lustre...
moonspinner5521 February 2008
Candy-colored, candy-coated musical comedy from Fox with lots of effervescence and wiseacre pizazz. June Haver plays globe-trotting musical starlet who buys her first (rather beautiful) home in Scarsdale and, despite some reservations ("Frankenstein slept here!"), she moves right in and throws a party; the widower next door quickly becomes the main attraction in her life, but his young son isn't so happy about having to compete with this female interloper ("I'd rather have a buddy than a female fuddy-duddy anytime," his dad lies to him). Surprisingly funny, lively, studio-set suburban shenanigans has more songs than "Tommy", yet the choreography is rather intricate and the cast is full of joshing good cheer. Haver's new beau Dan Dailey soft-shoes through with a big goofy grin; Cara Williams is June's tippling best friend who pairs off (rather unconvincingly) with tenor Dennis Day, who sings to the rafters (literally); Billy Gray is Dailey's son, who has an excellent dramatic scene at the police station. Notable for two animated sequences (courtesy UPA), as well as a lovely fantasy number where Dailey is forced to choose between his son and his new sweetheart. Not quite in the same class as MGM's musical entries from this era, but a lot of jovial fun. **1/2 from ****
Girl Next Door-Move in and Try It ***
edwagreen24 May 2008
Entertaining Dan Dailey and June Haver film. It's the story of a boy affected by his widower father's attachment to the woman who has moved next door.
The singing, dancing and cartoon like sequence scenes are an absolute joy to watch.
Dennis Day is wonderful here in a supporting role along with a very young looking Cara Williams.
The story moves along at a rapid pace and is well done with the music adding so much to the story.
Look for a stodgy Clifford Sunberg as a butler.
The singing, dancing and cartoon like sequence scenes are an absolute joy to watch.
Dennis Day is wonderful here in a supporting role along with a very young looking Cara Williams.
The story moves along at a rapid pace and is well done with the music adding so much to the story.
Look for a stodgy Clifford Sunberg as a butler.
some entertaining song and dance numbers,but virtually no story
disdressed1212 May 2008
this is pure musical,with virtually no story,but it's actually pretty fun.there are some pretty entertaining songs and dance numbers.some of the songs,though,i felt were a bit overdone.if you're not in to musicals,you might want to skip this one.if you're a musical fan,you might like it.the characters are all very likable,and the movie is all ages appropriate.there's nothing offensive at all.it moves along at a good pace.you might feel satisfied while watching.the only thing is,i don't feel it was that memorable.after it's over you'll probably forget about it pretty quickly.but it is entertaining while watching,so i'll give The Girl Next Door a 6/10
Unpretentious musical is amiable entertainment
reelguy27 August 2002
As of this writing, the IMDb user rating for this unpretentious musical is an amazingly high 8.3 - higher than The Band Wagon also released in 1953. So what accounts for such a rating? Most of the songs are awful ("I'd rather have a pal than a gal, anytime" is an example), and the choreography is just so-so. But despite these deficiencies, The Girl Next Door is one of the most amiable entertainments from the '50s. The slight story is played with humor and warmth by the entire cast. The dialog is bright. The modest fashions and decor make this a fascinating time capsule - closer to early 50s suburbia than the highly stylized productions from MGM.
Although it's not about to supplant The Band Wagon from a critical standpoint, this film does weave a particular magic and has obviously won its way into a lot of hearts - mine included!
Although it's not about to supplant The Band Wagon from a critical standpoint, this film does weave a particular magic and has obviously won its way into a lot of hearts - mine included!
Strange musical
ryancm7 December 2007
GIRL NEXT DOOR is not your typical Fox musical. It's well done for what it is, but a little strange in that it includes a couple of animated scenes. Also a "dream ballet" ala OKLAHOMA!. The songs are unmemerable and the nightclub number in which June Haver and later Dan Dailey take part is like...unreal. How could all that scenery and visuals take place on a nightclub stage. Oh, I forgot..This is a musical. More like a musical fantasy in many ways. The one standout number has no dancing. Dan Dailey and Billy Gray as father and son sing a ditty while doing the dishes. They juggle and handle the dishware and silverware very cleverly. Don't know how many takes it took to do it, but it's a highlight of the movie and that bit alone is worth watching the film. Watch for the underused and underrated Cara Williams. A delight. Dennis Day, less so! Too bad this was Havers last film, as she had talent, although why her voice was dubbed after doing many earlier musicals is a mystery.
Wow...Dad is sure a jerk in this one...though, it is still a sweet movie.
planktonrules7 May 2014
I am an odd person in that I like musicals BUT dislike them when they have a lot of songs or unnecessary song and dance sequences that slow down the plots. So, while I really loved the plot from "The Girl Next Door", I felt that a couple times the song and dance routines got in the way--particularly the fantasy sequences. Now this is NOT to say I disliked the film. I think it's actually highly underrated and don't exactly know why it isn't thought of as one of the better musicals. Perhaps it's because it starred Dan Dailey and June Haver--and they were not see as in the same level as Fred Astaire, Gene Kelly, Judy Garland and other top Hollywood names. Well, despite this, it is a very good picture...even with a song or two too many.
The film begins by showing us very quickly the life of the actress Jeannie Laird (Haver). Now, after wowing audiences all over the world, she has just bought a home and plans to settle down a little bit. She's still a working woman and loves acting, but now she has a house to call her own. But, on the night she's throwing a big housewarming party, she runs afoul of her neighbors--Bill and Joe Carter (Dan Dailey and Billy Gray). Fortunately, this minor tiff did not characterize the movie or their relationship and soon she and Bill are dating. The problem is that Joe LOVES all the attention he gets from his single dad--and he naturally resents anyone who might try to take him away from him. Unfortunately, Bill is a bit oblivious to this and it takes patience from Jeannie and some understanding from Joe to work through all this.
This is a very nice family film. The relationship between father and son seemed natural and sweet. Daily and Haver are exceptional, but the real star to me was Gray. While he'd played precocious and ill-behaved brats in a few previous films, here he was all boy--and I mean that in the best possible way. He seemed very natural and was in his element in the film. Overall, apart from one or two songs too many, the film has a nice story, excellent acting and is well worth your time.
By the way, this was Haver's last film, as she soon retired to be a nun. This didn't take, apparently, and a bit later she became Mrs. Fred MacMurray and never looked back at her film career. Also, get a load of the big kiss at the end--it's one of the best of the era!
If you see this on DVD, look for the special features--they are excellent!
The film begins by showing us very quickly the life of the actress Jeannie Laird (Haver). Now, after wowing audiences all over the world, she has just bought a home and plans to settle down a little bit. She's still a working woman and loves acting, but now she has a house to call her own. But, on the night she's throwing a big housewarming party, she runs afoul of her neighbors--Bill and Joe Carter (Dan Dailey and Billy Gray). Fortunately, this minor tiff did not characterize the movie or their relationship and soon she and Bill are dating. The problem is that Joe LOVES all the attention he gets from his single dad--and he naturally resents anyone who might try to take him away from him. Unfortunately, Bill is a bit oblivious to this and it takes patience from Jeannie and some understanding from Joe to work through all this.
This is a very nice family film. The relationship between father and son seemed natural and sweet. Daily and Haver are exceptional, but the real star to me was Gray. While he'd played precocious and ill-behaved brats in a few previous films, here he was all boy--and I mean that in the best possible way. He seemed very natural and was in his element in the film. Overall, apart from one or two songs too many, the film has a nice story, excellent acting and is well worth your time.
By the way, this was Haver's last film, as she soon retired to be a nun. This didn't take, apparently, and a bit later she became Mrs. Fred MacMurray and never looked back at her film career. Also, get a load of the big kiss at the end--it's one of the best of the era!
If you see this on DVD, look for the special features--they are excellent!
Minor-league musical
HeathCliff-220 August 2008
I often feel like Scrooge, slamming movies that others are raving about - or, I write the review to balance unwarranted raves. I found this movie almost unwatchable, and, unusual for me, was fast-forwarding not only through dull, clichéd dialog but even dull, clichéd musical numbers. Whatever originality exists in this film -- unusual domestic setting for a musical, lots of fantasy, some animation -- is more than offset by a script that has not an ounce of wit or thought-provoking plot development. Individually, June Haver and Dan Dailey appear to be nice people, but can't carry a movie as a team. Neither is really charismatic or has much sex appeal. They're both bland. I like Billy Gray, but his character is pretty one-note. The best part of the film, to me, are June Haver's beautiful costumes and great body.
Haver at her best and... her last
churei25 January 2008
The Girl Next Door is a surprising and fascinating film, partly for what it delivers, and partly because of what it indicates the future could have been for its star. The film opened quickly, and disappeared just as quickly, in New York, because its start June Haver had already entered a convent (she, of course, didn't stay there long). Not expected to be box office, the film, though, has some extraordinary moments, and the most surprising element of all is the work of June Haver. Although her voice is dubbed, her dancing is a complete revelation. Her work with Dan Dailey is superlative and shows maturity that she had never shown before. Indeed, her torch song indicates a Haver never seen before...and never to reappear. The cartoon networking is fun, and the dish number between Dailey and Billy Gray is a joyous scene. Haver also displays a wide range of emotions that indicate she had matured as an actress and was no longer the perennial ingenue. Even her figure is more eye-watchable than in previous vehicles -- including The Dolly Sisters. The film sags badly whenever Dennis Day is at hand, and even more sadly because he sings the one number that had a brief bit of fame - If I Love You a Mountain. His voice allows no emotion, and his expressions are devoid of any acting. His vis-a-vis, Cara Williams, is totally wasted. It's nice, though, that the film has hit DVD, because its merits are commendable. Certainly, it is professional work - with the sad exception of the scenes with Dennis Day.
Top talent, good story and extras make for a fun movie
SimonJack5 May 2013
Fred Astaire and Gene Kelly reigned as the male masters of dance in movies through the mid-20th century. Theirs were the large-scale production numbers and solo creative routines that dazzled audiences in many very good to great musical films. But a number of other very talented "hoofers" did a good share of entertaining as well. Donald O'Connor, Danny Kaye, Jimmy Cagney, Mickey Rooney and Dan Dailey come to mind. Besides dancing, they had singing voices and could act. The one who could do the best job of the latter was Dan Dailey. This intrepid happy camper could turn from a comedic role to a serious one with seeming ease.
Dailey also had a persona about him that made audiences feel comfortable and cozy with his dance scenes. He seemed relaxed and natural in his movements. Usually those were with a romantic partner. In "The Girl Next Door," June Haver fits very nicely in that role. The Betty Grable look- alike had good dance and singing skills, so theirs was a very good match.
Other actors in this film gave top performances as well – most notably Dennis Day, Cara Williams and Billy Gray as Dailey's son. The movie has a good plot, and Dailey and Gray have a couple of very good and amusing father-son skits. While there are no hit parade numbers in this film, the songs are all quite good. Haver has one very dramatic solo dance role and Dailey has a dream sequence. Finally, two animated comic sequences round out the humor in the film. Taken together, these qualities earn "The Girl Next Door" a high score for entertainment and enjoyment.
Dan Dailey had a lot of strain and turmoil in his life. But he seemed to leave it at the stage door. He believed strongly in family life, yet he was married four times. He fought alcoholism early in his career, and his only son committed suicide in 1975. Dailey died three years later of anemia when he couldn't recover after a hip fracture from a fall. He was just 64. Dailey was well-liked by people on his movie sets, and he brought smiles and cheerfulness to rehearsals. His musicals especially, should still entertain people for decades to come.
Dailey also had a persona about him that made audiences feel comfortable and cozy with his dance scenes. He seemed relaxed and natural in his movements. Usually those were with a romantic partner. In "The Girl Next Door," June Haver fits very nicely in that role. The Betty Grable look- alike had good dance and singing skills, so theirs was a very good match.
Other actors in this film gave top performances as well – most notably Dennis Day, Cara Williams and Billy Gray as Dailey's son. The movie has a good plot, and Dailey and Gray have a couple of very good and amusing father-son skits. While there are no hit parade numbers in this film, the songs are all quite good. Haver has one very dramatic solo dance role and Dailey has a dream sequence. Finally, two animated comic sequences round out the humor in the film. Taken together, these qualities earn "The Girl Next Door" a high score for entertainment and enjoyment.
Dan Dailey had a lot of strain and turmoil in his life. But he seemed to leave it at the stage door. He believed strongly in family life, yet he was married four times. He fought alcoholism early in his career, and his only son committed suicide in 1975. Dailey died three years later of anemia when he couldn't recover after a hip fracture from a fall. He was just 64. Dailey was well-liked by people on his movie sets, and he brought smiles and cheerfulness to rehearsals. His musicals especially, should still entertain people for decades to come.
Spirited contemporary Dan Dailey-June Haver musical romance
weezeralfalfa24 August 2013
Warning: Spoilers
This fun contemporary musical marked the end of an era for Fox musicals. It was the last of 5 films in which versatile likable Dan Dailey starred as the leading man with one of Fox's two blond leading ladies of '40s and early '50s musicals: Betty Grable and June Haver. This was June's last Hollywood film, after a string of mostly Fox or Warner musicals since '44. It was also singer Dennis Day's last Hollywood film. Finally, it was the last Fox film scored by composer Josef Myrow and lyricist Mack Gordon, who began collaborating on a number of Fox musicals beginning in '46, after Gordon's previous primary collaborator, Harry Warren, left Fox for MGM.
Actually, Fox wanted Betty Grable to once again star opposite her favorite leading man for musicals. But, she turned it down. Thus, June served the purpose for which she was originally signed: as a backup for Betty, in case she couldn't or wouldn't do a film. Happily, we see that Dan and June also had super chemistry, bringing a high intensity of energy to the film. This is perhaps best exhibited by their unique spectacular 'mating dance', which provides a fitting finale to their whirlwind romance. Actually, its clear to me that they made a more dynamic pair than Betty and Dan
Unlike most of June's and many of Betty's previous musicals, which had nostalgic themes of the gay '90s through '20s, this film was set in contemporary suburbia, which was mushrooming in the years following WWII. Thus, we have spacious modern houses close to each other, but with backyards were parties and cookouts are hosted. Unlike most of June's other Fox musicals, there is no other significant female musical star to share the musical spotlight with. Also, unlike most Fox musicals of the '40s, most of the dancing and singing is done off-stage. Aside from the opening chorus girl number, the major exception is the imaginative film-noire-like song and dance to "Nowhere Guy": very different in mood to the effervescent other musical numbers: something that looks like it belongs in an MGM Kelly or Astaire-dominated film. The dream dance, involving Dan, June, and Dan's son, as well as several animated cartoon portions, also look more like MGM features, than Fox. The chief choreographer was Richard Barstow, whose only other film credits as such were for "A Star is Born" and "the Greatest Show on Earth" : 2 quite prominent films for their times. The musical director was Lionel Newman: brother of the more famous Alfred Newman. Marilyn Monroe, whose star was rapidly rising at this time, requested Lionel to be the musical director in all her films.
The central drama of the film revolves around Dan's son's(Joe) strong opposition to admitting a female into his cozy life as a father and son family vs. the obvious strong attraction between Dan's and June's characters(Bill and Jeannie).. Obviously, Joe is still at that age where girls around his age are often considered boring and clumsy at things he's interested in(like fishing trips in the woods). He emphatically lets his wannabe girlfriend(Kitty) and stepmother (Jeannie) know about his profound disinterest in them. At first, Jeannie thinks she can bring Joe around to accepting her, then decides this isn't likely, and berates Bill for trying to badger Joe into changing his attitude toward her. She decides it's better if she moves away, until Joe belatedly offers some words of peace, causing her to delay her hasty plan, bolstered by the advice of her friends Reed(Dennis Day) and Rosie(Cara Williams). But, in the end, after the Bill-Jeannie crisis is resolved, when Kitty asks Joe if he will marry her when they grow up, she gets an emphatic arrogant "no", showing that Joe's dislike of girls(at least Kitty) has not budged.
For the most part, laconic Bill provided a calming effect on the hyperkinetic social butterfly nightclub entertainer Jeannie, which is probably one reason she immediately fell for him, along with his obvious song and dance talent and domestic skills.
Joe and Kitty provide characters that children can somewhat identify with. However, their dialogue with each other is often very awkward. ..The dish juggling act between Bill and Joe, accompanied by the song "I'd Rather Have a Pal Than a Gal", is a very clever scene, emphasizing their great relationship, and the lack of need for a woman to do household chores. However, after Joe goes to bed, Bill says, at times, he would like to reverse the "gal" and "pal" in the song: providing an opening for Jeannie.
Bill's profession as a cartoonist provides a largely at-home job for a single father, and also leads into the several animated cartoon segments, which presumably mainly appeal to the children in the audience.
Many viewers today are put off by Dennis Day's rather formal, if usually cheery, persona and formal attire, and his traditional Irish tenor singing, as contrasted with Dan's Gene Kelly style. I don't have a problem with him, certainly compared to Jeannie's comically super stiff and arrogant butler! Cara Williams, as his bright-eyed carrot-haired girlfriend, provides some distraction from June's dominance.
Actually, Fox wanted Betty Grable to once again star opposite her favorite leading man for musicals. But, she turned it down. Thus, June served the purpose for which she was originally signed: as a backup for Betty, in case she couldn't or wouldn't do a film. Happily, we see that Dan and June also had super chemistry, bringing a high intensity of energy to the film. This is perhaps best exhibited by their unique spectacular 'mating dance', which provides a fitting finale to their whirlwind romance. Actually, its clear to me that they made a more dynamic pair than Betty and Dan
Unlike most of June's and many of Betty's previous musicals, which had nostalgic themes of the gay '90s through '20s, this film was set in contemporary suburbia, which was mushrooming in the years following WWII. Thus, we have spacious modern houses close to each other, but with backyards were parties and cookouts are hosted. Unlike most of June's other Fox musicals, there is no other significant female musical star to share the musical spotlight with. Also, unlike most Fox musicals of the '40s, most of the dancing and singing is done off-stage. Aside from the opening chorus girl number, the major exception is the imaginative film-noire-like song and dance to "Nowhere Guy": very different in mood to the effervescent other musical numbers: something that looks like it belongs in an MGM Kelly or Astaire-dominated film. The dream dance, involving Dan, June, and Dan's son, as well as several animated cartoon portions, also look more like MGM features, than Fox. The chief choreographer was Richard Barstow, whose only other film credits as such were for "A Star is Born" and "the Greatest Show on Earth" : 2 quite prominent films for their times. The musical director was Lionel Newman: brother of the more famous Alfred Newman. Marilyn Monroe, whose star was rapidly rising at this time, requested Lionel to be the musical director in all her films.
The central drama of the film revolves around Dan's son's(Joe) strong opposition to admitting a female into his cozy life as a father and son family vs. the obvious strong attraction between Dan's and June's characters(Bill and Jeannie).. Obviously, Joe is still at that age where girls around his age are often considered boring and clumsy at things he's interested in(like fishing trips in the woods). He emphatically lets his wannabe girlfriend(Kitty) and stepmother (Jeannie) know about his profound disinterest in them. At first, Jeannie thinks she can bring Joe around to accepting her, then decides this isn't likely, and berates Bill for trying to badger Joe into changing his attitude toward her. She decides it's better if she moves away, until Joe belatedly offers some words of peace, causing her to delay her hasty plan, bolstered by the advice of her friends Reed(Dennis Day) and Rosie(Cara Williams). But, in the end, after the Bill-Jeannie crisis is resolved, when Kitty asks Joe if he will marry her when they grow up, she gets an emphatic arrogant "no", showing that Joe's dislike of girls(at least Kitty) has not budged.
For the most part, laconic Bill provided a calming effect on the hyperkinetic social butterfly nightclub entertainer Jeannie, which is probably one reason she immediately fell for him, along with his obvious song and dance talent and domestic skills.
Joe and Kitty provide characters that children can somewhat identify with. However, their dialogue with each other is often very awkward. ..The dish juggling act between Bill and Joe, accompanied by the song "I'd Rather Have a Pal Than a Gal", is a very clever scene, emphasizing their great relationship, and the lack of need for a woman to do household chores. However, after Joe goes to bed, Bill says, at times, he would like to reverse the "gal" and "pal" in the song: providing an opening for Jeannie.
Bill's profession as a cartoonist provides a largely at-home job for a single father, and also leads into the several animated cartoon segments, which presumably mainly appeal to the children in the audience.
Many viewers today are put off by Dennis Day's rather formal, if usually cheery, persona and formal attire, and his traditional Irish tenor singing, as contrasted with Dan's Gene Kelly style. I don't have a problem with him, certainly compared to Jeannie's comically super stiff and arrogant butler! Cara Williams, as his bright-eyed carrot-haired girlfriend, provides some distraction from June's dominance.
Inventive musical set in the 'burbs
misstoes10 April 2022
Perkily pleasing June Haver is teamed with old pro Dan Daily in this little-known musical. Haver plays a newly successful nightclub star who moves her first home, next door to Daily and his young son, played by Billy Gray. The musical numbers are unusually watchable, especially the amazing flying dishes choreography between Daily and Gray near the beginning. The costumes are especially luscious on the appealing Haver. (It's easy to see how she hooked Fred MacMurray!) Daily's character is a comic strip cartoonist, and several segments are animated. Furthermore, the film deals with what must've been a fairly common issue at the time-what about remarriage after the death of a parent, something that Haver and MacMurray themselves faced soon after Haver wrapped this movie-her last (her soon-to-be husband was a widower with two children).
I'm surprised I've never seen or heard of this until now. I've been a fan of Golden Age movie musicals for over fifty years. (TCM & Robert Osborne failed me!) It took this popping up on YouTube for me to discover it. I hope it finds a broader audience.
I'm surprised I've never seen or heard of this until now. I've been a fan of Golden Age movie musicals for over fifty years. (TCM & Robert Osborne failed me!) It took this popping up on YouTube for me to discover it. I hope it finds a broader audience.
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