The titular river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
Irving Berlin loved Ethel Merman, having first worked with her in a previous cavalcade of his songs, Alexander's Ragtime Band (1938). After that film, Berlin told her that he was so impressed with her talent that he promised to work with her again. He kept that promise and wrote two Broadway shows especially for her: "Annie Get Your Gun" in 1946 and "Call Me Madam" in 1950, the latter of which also starred Merman in the film adaptation: Call Me Madam (1953). The song "There's No Business Like Show Business" is from "Annie Get Your Gun". See more »
Molly sings "There's No Business Like Show Business" at the show commemorating the closing of the New York Hippodrome. The theater closed in 1939. The song was introduced by [Ethel Merman] in 1946 when she debuted the role of [Annie Oakley] in "Annie Get Your Gun" on Broadway. See more »
The first time you watch this movie, you'll think it's long, boring, and stupid. The second time you watch this movie, you'll love it. I can't begin to tell you why, but it's the truth. (I had the chance to show this film to an audience during a Donald O'Connor film festival. People came up to me weeks later to say that they had caught it again on cable, and loved it the second time through.)
Marilyn is definately "ehh". This movie was filmed during her worst years of personal abuses, and it shows all over her face and her work, lending a shadowy sadness to her character for modern audiences. Donald O'Connor's character also takes on a new depth for modern viewers familiar with his own life's history, oftentimes with a sharp poignance that helps him grab control of so many scenes, and turn his character's story into the strongest sub-plot of the film.
Merman is BRILLIANT as the real head of this family, giving us a wonderfully unique character. Her role as the strong, smart, powerful, and loving mother is truly a standout for the 50's in general, and musicals in particular.
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