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".
American couple Janet and Mike move to England for his business. She soon becomes paranoid that he is having an affair with his attractive secretary, and decides to get back at him by pretending she herself has been unfaithful.
In 1920's Chicago, Ruth Etting wants to be a renowned singer, which is a far step away from her current work as a taxi dancer. Upon walking into the dance hall and seeing her, Chicago gangster Marty Snyder immediately falls for Ruth, and works toward being her lover, which he believes he can achieve by opening up singing opportunities for her. Ruth is initially wary of Marty, but makes it clear that she is not interested in him in a romantic sense. Regardless, he does help her professionally, and through his opportunities, which are achieved through intimidation and fear, Ruth does quickly start to gain a name as a singer, which she is able to do because of her talent and despite Marty's intimidation tactics. However, the greater her success, the more reliant she becomes on him. This becomes an issue in their relationship as she believes he can take her only so far before he becomes a liability, however he will never let her go that easily. The one person who tried and tries to get ...Written by
Ruth Etting and Martin Synder were both dissatisfied with the movie's portrayals of themselves. See more »
In the "Shaking The Blues Away" number, Doris Day sings the lyric "Do as Voodoos do/ Listenin' to/ A voodoo melody". The lyric that Ruth Etting performed in the 1920s was "Do as the darkies do/ Listenin' to/ A preacher way down south." The other lyric is from the revised version performed by Ann Miller in the 1948 film "Easter Parade", in which the original was censored for obvious reasons. See more »
[Indignantly to Ruth]
Now look here, you stupid little broad, do you know who I am? Do you think I let dames talk to me that way?
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Great performances, great singing highlight the story of Ruth Etting
Doris Day portrays singing great Ruth Etting in "Love Me or Leave Me," a 1955 film costarring James Cagney and Cameron Mitchell. The film tells the story, somewhat fictionalized, of Etting's rise to fame in the 1920s and her association and marriage to Marty "The Gimp" Snyder, a Chicago gangster. In the story, Etting is highly ambitious, and Marty helps her career after picking her up in a dance hall and realizing he's not going to get anywhere. He's hoping for the big prize - i.e., Ruth - at the end of the rainbow, but though she's grateful, she's never going to be THAT grateful. Finally, he becomes so angry that he rapes her (this is suggested in the film but the scene was cut by the censors). She marries him, though she's in love with a pianist, Marty Alderman.
This film was made about five years before Ross Hunter glamorized Doris and made her the #1 box office star in a series of comedies, three of which were with Rock Hudson. Before that, she was a pretty woman with a sweet, smooth voice and sturdy acting ability. And nowhere does she demonstrate all three qualities as she does here. And throw in a sensational figure in some stunning gowns to boot. Doris' Ruth is a young woman who looks and acts like sugar but has the determination of steel underneath. She speaks softly but has the glint of ambition in her eye. Day's voice and style are nothing like Etting's, but the producers and director weren't looking for an imitation. Doris looks and sounds fantastic, singing a huge amount of music, including "Ten Cents a Dance," the title song, "Chasing the Blues Away" and many others.
Cagney gives an extremely powerful performance as Marty, a pushy little man with a huge insecurity and a passion for Ruth. It is a fully fleshed out portrayal of an abusive, possessive man that you can hate and pity at the same time. Cagney deservedly won an Oscar nomination for the role of Marty. He and Doris' contrasting acting styles mesh beautifully as well.
Though there were liberties taken with the Etting story, if you read her bio, it sounds just like the film. Did the movie have a '20s and the '30s feel to it? Not really. But it doesn't matter. The film is in color and has a rich look, and what a score. What actors. A must see.
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