If Jack Griffith's wife doesn't like the color of a neighbor's house, he'll arrange for it to be a house of a different color. If the owner of the ice cream parlor doesn't believe in ...
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After writing a tell-all book about her days in the dance troupe "Barry Nichols and Les Girls", Sybil Wren (Kay Kendall) is sued for libeling her fellow dancer Angele (Taina Elg). A Rash&... See full summary »
This movie shows the idealized career of the singer Al Jolson, a little Jewish boy who goes against the will of his father in order to be in showbiz. He becomes a star, falls in love with a... See full summary »
Alfred E. Green
If Jack Griffith's wife doesn't like the color of a neighbor's house, he'll arrange for it to be a house of a different color. If the owner of the ice cream parlor doesn't believe in selling triple banana splits for a penny, Jack will buy the establishment. And if Jack's little girl wants the pony in the circus parade, why not buy the entire circus! This last prank sends Amberlyn Griffith back to Texarkana c. 1900, where her father is running for his third term as mayor. Jack follows, bringing the entire circus.Written by
Dale O'Connor <firstname.lastname@example.org>
A scene featuring a song called "Walking Happy" was edited out before the film's release but was later used in (and was the title for) a Broadway show in New York. As Jackie Gleason sings the tune, he and his on-screen daughter Linda Bruhl walk down a hometown street while Gleason sings about the people they meet along the way. The song was composed by Jimmy Van Heusen with lyrics by Sammy Cahn, both of whom also wrote "Call Me Irresponsible," which remained in the film. See more »
[Final lines of the film]
Papa, when I grow up, I'm going to marry a man just like you.
You do, and I won't let him in the house.
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This turn-of-the-century period piece defines a genre all its own: screwball pathos. Jackie is larger-than-life, outrageous, sings the Academy-award-winning Best Song ("Call Me Irresponsible") in self-deprecatory pathos, and is generally an irresponsible but frustratingly lovable alcoholic of a husband to Glynis Johns. Johns is marvelous as the wife at the end of her rope who really doesn't want to let go, but feels like she must for the good of her children. The result is not entirely successful, and elicits some consternation from me as a modern woman, but I know that's the wrong perspective. It's certainly memorable, and moves reasonably well, so it's worth a look if you haven't seen it.
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