79 reviews
Two scenes surprise, both with Marilyn Monroe: her singing of the "After You Get What You Want..." number in a ultra-tight, combination flesh-colored/white gown. It's obvious that the image portrayed is that she could be nude, with the frilly white covering her talents. The second is the famous "Heat Wave" number, in a skimpy outfit, with her navel appropriately covered, yet below is a flesh-colored "window" for more erotic symbolism. In 1954 nudity could NOT be shown, but those scenes probably BARELY squeaked by the censors. The film depicts the traveling, singing/dancing Donahue Family, headed by brassy Ethel Merman and Dan Dailey, with sons Donald O'Connor, Johnnie Ray (who wants to be a priest), and daughter Mitzi Gaynor. It's obvious the Monroe character was an afterthought to boost the film's success; the actress really didn't want to do the part, the studio allegedly counteracted by upping her salary and promising her the lead in "The Seven Year Itch" (1955). Nevertheless, Monroe looks great and is unforgettable, comedically, dramatically and musically. O'Connor is great fun and Gaynor is a knockout dancer. Between some slow stages, musical numbers are expertly staged, with magnificent sets and superb color schemes all throughout. The finale is surprisingly touching with a rousing title tune reprise by all; only way to watch this is on the pristine-restored widescreem (2:55 to 1) DVD.
There's No Business Like Show Business has the distinction of being the last of the Irving Berlin songbook musicals filmed. It came out the same year as White Christmas, also of the same genre.
Take a listen to the background music of films like Holiday Inn, Blue Skies, Alexander's Ragtime Band, and this one. I defy you to find one non-Berlin note in the film and that's no accident. The more songs of Irving Berlin used, the more money he made. He was one shrewd businessman Irving, most of the time.
The title song is identified with Ethel Merman and it was introduced in Annie Get Your Gun. Merman like Mary Martin had a conspicuous lack of success in Hollywood as much as she was an icon on Broadway. She only did the screen version of two of her Broadway hits, Anything Goes and Call Me Madam. That's two more than Mary Martin did.
Anyway, I think the genesis of There's No Business Like Show Business probably came about when Call Me Madam became such a hit and the movie money people saw how the chemistry was between her and Donald O'Connor. So O'Connor was signed to play one of her three children. The other two children were Johnnie Ray and Mitzi Gaynor.
The plot such as it is, is the story of the Donahue family between both World Wars. The father of the aforementioned children is Dan Dailey and he and Merman do some good Irving Berlin numbers together. I've always marvelled at how graceful Dan Dailey moved on the screen in his musical films. He was not a creative sort in the same way Fred Astaire or Gene Kelly were. Probably if he had been, his reputation would be higher today. But he was a pleasing entertainer every time you saw him.
By all accounts it wasn't a happy film for Ethel. Marilyn Monroe is in the film and Ethel was jealous of her. Not that Monroe wasn't her usual difficult self. Probably that helped the plot because it does call for the two to be at odds. Merman believes that Monroe has led Donald O'Connor astray.
Mitzi Gaynor was a wonderful talent as well. Too bad she wasn't born twenty years earlier, what a big star she would have been in the thirties and forties in Hollywood musicals then. Good singer and one fabulous dancer.
The plot does get kind of sticky in spots and Johnnie Ray didn't set the screen on fire when he wasn't singing. No accident he didn't become a film star.
Still for those of us who bless the day Irving Berlin put down his first notes of an original song, it's worth watching.
Take a listen to the background music of films like Holiday Inn, Blue Skies, Alexander's Ragtime Band, and this one. I defy you to find one non-Berlin note in the film and that's no accident. The more songs of Irving Berlin used, the more money he made. He was one shrewd businessman Irving, most of the time.
The title song is identified with Ethel Merman and it was introduced in Annie Get Your Gun. Merman like Mary Martin had a conspicuous lack of success in Hollywood as much as she was an icon on Broadway. She only did the screen version of two of her Broadway hits, Anything Goes and Call Me Madam. That's two more than Mary Martin did.
Anyway, I think the genesis of There's No Business Like Show Business probably came about when Call Me Madam became such a hit and the movie money people saw how the chemistry was between her and Donald O'Connor. So O'Connor was signed to play one of her three children. The other two children were Johnnie Ray and Mitzi Gaynor.
The plot such as it is, is the story of the Donahue family between both World Wars. The father of the aforementioned children is Dan Dailey and he and Merman do some good Irving Berlin numbers together. I've always marvelled at how graceful Dan Dailey moved on the screen in his musical films. He was not a creative sort in the same way Fred Astaire or Gene Kelly were. Probably if he had been, his reputation would be higher today. But he was a pleasing entertainer every time you saw him.
By all accounts it wasn't a happy film for Ethel. Marilyn Monroe is in the film and Ethel was jealous of her. Not that Monroe wasn't her usual difficult self. Probably that helped the plot because it does call for the two to be at odds. Merman believes that Monroe has led Donald O'Connor astray.
Mitzi Gaynor was a wonderful talent as well. Too bad she wasn't born twenty years earlier, what a big star she would have been in the thirties and forties in Hollywood musicals then. Good singer and one fabulous dancer.
The plot does get kind of sticky in spots and Johnnie Ray didn't set the screen on fire when he wasn't singing. No accident he didn't become a film star.
Still for those of us who bless the day Irving Berlin put down his first notes of an original song, it's worth watching.
- bkoganbing
- Jan 20, 2006
- Permalink
Contrary to what a lot of people seem to think of this film, my biggest complaint with it is Marilyn Monroe. The studio shoehorned her into this film in their attempt to make the biggest musical extravaganza ever, and she just doesn't fit. She's so out of sync with the other characters that she might as well be from a different planet.
Don't get me wrong. I'm not a huge Marilyn fan, but she was good (and well-cast) in "Some Like It Hot". She's just all wrong for "No Business Like Show Business", and she looks and sounds ridiculous.
To be fair, Johnnie Ray often doesn't hold up well before modern audiences, either, when he sings. It's not that he's bad; it's that his style has come and gone and hardly been seen since. Everything in this movie tends to be at least a little overdone, and asking Johnnie Ray to exaggerate his singing does not produce flattering results.
Still, Donald O'Connor and Mitzi Gaynor are as brilliant and exuberant as you could hope. Ethel Merman is, well, Ethel Merman, and exactly right for her part. Dan Dailey is like a reliable locomotive that never disappoints.
The story is a bit plodding at times, but it only exists to set up one gala musical number after another. It only really bogs down when it gets caught up with Marilyn's character. If the studio had just left Marilyn out of it, perhaps giving Mitzi Gaynor the love interest role, and toned down the general effort level just a hair, this would've been one of the all-time greats.
It's still absolutely worth seeing -- in widescreen format, if you possibly can.
Don't get me wrong. I'm not a huge Marilyn fan, but she was good (and well-cast) in "Some Like It Hot". She's just all wrong for "No Business Like Show Business", and she looks and sounds ridiculous.
To be fair, Johnnie Ray often doesn't hold up well before modern audiences, either, when he sings. It's not that he's bad; it's that his style has come and gone and hardly been seen since. Everything in this movie tends to be at least a little overdone, and asking Johnnie Ray to exaggerate his singing does not produce flattering results.
Still, Donald O'Connor and Mitzi Gaynor are as brilliant and exuberant as you could hope. Ethel Merman is, well, Ethel Merman, and exactly right for her part. Dan Dailey is like a reliable locomotive that never disappoints.
The story is a bit plodding at times, but it only exists to set up one gala musical number after another. It only really bogs down when it gets caught up with Marilyn's character. If the studio had just left Marilyn out of it, perhaps giving Mitzi Gaynor the love interest role, and toned down the general effort level just a hair, this would've been one of the all-time greats.
It's still absolutely worth seeing -- in widescreen format, if you possibly can.
20th Century Fox was no match for MGM when it came to musicals. Daryl F. Zanuk decided to gamble with this film where the talents of a Broadway star, Ethel Merman, would be showcased. Ms. Merman in spite of being the toast of Broadway, never made it big in Hollywood. After all, she was not a radiant beauty, but oh, could she belt a song that could be heard at the top of the balcony! Phoebe and Henry Ephron were brought on board to write the screen treatment and Walter Lang directed.
The musical was also blessed in that Irving Berlin's music is heard throughout in all its glory. Ms. Merman was the perfect actress to interpret the songs written by Mr. Berlin. They made a perfect duo, even though, for some viewers not used to Ethel Merman's singing style, it might prove an uneasy combination.
The story is simple enough. It follows the Donahues from the early days of vaudeville through some glittering years after. Molly and Terence Donahue had two sons, Tim and Steve, and a daughter, Katy. As the children grow up, the parents' popularity began to recede. The film deals with Tim, as a young man, as he falls for Vicky Parker, a beautiful singer who makes it big on her own. Vickie, who is more interested in her own career neglects Tim. As a result, Tim goes on his own to find himself, away from his family and Vickie.
The best thing in the film is Ethel Merman. She was a legendary figure and as Molly Donahue, she is at her best. Dan Dailey was the perfect partner for Ms. Merman. Donald O'Connor is also seen doing some fine dancing. Marilyn Monroe was a lovely woman to look at. As a singer, she had a small voice, but she used it well making the songs her own. Mitzi Gaynor plays Katy. Johnnie Ray, a popular singer of that period is terribly miscast. His Steve is the worst thing in the movie.
Although predictable, this film has some great things going for it. Some of the musical numbers are well staged and will not disappoint. On the whole as the camaraderie expressed by the title of the film is evident in the musical.
The musical was also blessed in that Irving Berlin's music is heard throughout in all its glory. Ms. Merman was the perfect actress to interpret the songs written by Mr. Berlin. They made a perfect duo, even though, for some viewers not used to Ethel Merman's singing style, it might prove an uneasy combination.
The story is simple enough. It follows the Donahues from the early days of vaudeville through some glittering years after. Molly and Terence Donahue had two sons, Tim and Steve, and a daughter, Katy. As the children grow up, the parents' popularity began to recede. The film deals with Tim, as a young man, as he falls for Vicky Parker, a beautiful singer who makes it big on her own. Vickie, who is more interested in her own career neglects Tim. As a result, Tim goes on his own to find himself, away from his family and Vickie.
The best thing in the film is Ethel Merman. She was a legendary figure and as Molly Donahue, she is at her best. Dan Dailey was the perfect partner for Ms. Merman. Donald O'Connor is also seen doing some fine dancing. Marilyn Monroe was a lovely woman to look at. As a singer, she had a small voice, but she used it well making the songs her own. Mitzi Gaynor plays Katy. Johnnie Ray, a popular singer of that period is terribly miscast. His Steve is the worst thing in the movie.
Although predictable, this film has some great things going for it. Some of the musical numbers are well staged and will not disappoint. On the whole as the camaraderie expressed by the title of the film is evident in the musical.
This CinemaScope musical follows the lives and loves of the Donahues, a family of vaudeville performers: father Terrance (Dan Dailey), mother Molly (Ethel Merman), elder son Tim (Donald O'Connor), daughter Katy (Mitzi Gaynor), and younger son Steve (Johnnie Ray). They persevere through changing tastes, the stock market crash, and the start of WW2. Tim falls for co-star Vicky (Marilyn Monroe), while Katy finds romance with writer Charles (Hugh O'Brian), and Steve pursues a different calling.
The threadbare story merely serves to connect a series of elaborate musical numbers designed to make the best of the new widescreen CinemaScope format. Director Lang and choreographer Robert Alton turn in some excellent work, and Donald O'Connor reportedly called this his favorite of his films (over Singin' in the Rain?!?). I watched this for Monroe, who doesn't impress much here. She supposedly didn't want to appear in this, but did so in order to win the lead in The Seven Year Itch. This was one of Fox's most expensive productions to date, and despite selling a lot of tickets, it ended up being a money-loser. It earned Oscar nominations for (inexplicably) Best Story (Lamar Trotti), Best Score (Alfred & Lionel Newman), and Best Color Costumes (Charles Le Maire, Miles White, Travilla).
The threadbare story merely serves to connect a series of elaborate musical numbers designed to make the best of the new widescreen CinemaScope format. Director Lang and choreographer Robert Alton turn in some excellent work, and Donald O'Connor reportedly called this his favorite of his films (over Singin' in the Rain?!?). I watched this for Monroe, who doesn't impress much here. She supposedly didn't want to appear in this, but did so in order to win the lead in The Seven Year Itch. This was one of Fox's most expensive productions to date, and despite selling a lot of tickets, it ended up being a money-loser. It earned Oscar nominations for (inexplicably) Best Story (Lamar Trotti), Best Score (Alfred & Lionel Newman), and Best Color Costumes (Charles Le Maire, Miles White, Travilla).
The film was, perhaps, the splashiest of the year's musicals
It dealt with the joys, loves and heartaches experienced by a vaudeville family called the Donahues (spending their lives singing and dancing and touring) with Merman and Dailey as mother and father, and Ray, Gaynor and O'Connor as their talented offspring
All of them get to perform a large catalog of new and old songs by Irving Berlin in sumptuous arrangements, beautiful settings and on a big Hippodrome extravaganza
Daily and Merman hit the top; O'Connorwho had liked to build a barbed-wire fence around Marilyndid it Scottish and came with some fine dances; Gaynor's love was dancing and she was really cute; and while Ray got some thinking to do, he sells a very beautiful song ("If You Believe").
Marilyn (appearing after 29 minutes screening) was deliciously charming, seducing and very appealing She sang "After You Get What You Want" and "Lazy," and did that tropical version of 'Heat Wave.'
All of them get to perform a large catalog of new and old songs by Irving Berlin in sumptuous arrangements, beautiful settings and on a big Hippodrome extravaganza
Daily and Merman hit the top; O'Connorwho had liked to build a barbed-wire fence around Marilyndid it Scottish and came with some fine dances; Gaynor's love was dancing and she was really cute; and while Ray got some thinking to do, he sells a very beautiful song ("If You Believe").
Marilyn (appearing after 29 minutes screening) was deliciously charming, seducing and very appealing She sang "After You Get What You Want" and "Lazy," and did that tropical version of 'Heat Wave.'
- Nazi_Fighter_David
- Jun 29, 2007
- Permalink
- tippusmaximus
- May 1, 2005
- Permalink
"There's No Business Like Show Business" was never intended to be great film-making or storytelling, so please do not watch it with those things in mind.
Sure, it was over-staged, over-produced, in some cases over-acted and any other "overs" you can think of, but it's just fun to relax and watch and listen to. I've seen the film maybe dozens of times (I own the DVD) and it's obvious to me that despite a few on screen gaffes and off-screen problems for at least a couple of the actors, Hollywood had a whale of a good time making it. Some of the characters are unrealistic and I'm sure if you could ask the actors, all would say it was by far not their best work.
Furthermore, if we didn't know it before, "Show Business" proved that Johnnie Ray, the part crooner, part rock belter of the era, couldn't act his way into or out of a paper bag. But so what?? This ain't Hamlet. Ray was cast to do here what he did best: sing the heck out of a couple of songs that were arranged precisely to suit his performing style. And he also just managed to pull off an unusual plot twist that I'm sure audiences of the era did not expect.
We're all asked to suspend temporarily all logic and reason when we turn on our TVs or go to the movies. Why stop with "There's No Business Like Show Business"? So grab the munchies, sit back and let Ethel Merman and Gang entertain you for a couple of harmless, gaudy hours.
Sure, it was over-staged, over-produced, in some cases over-acted and any other "overs" you can think of, but it's just fun to relax and watch and listen to. I've seen the film maybe dozens of times (I own the DVD) and it's obvious to me that despite a few on screen gaffes and off-screen problems for at least a couple of the actors, Hollywood had a whale of a good time making it. Some of the characters are unrealistic and I'm sure if you could ask the actors, all would say it was by far not their best work.
Furthermore, if we didn't know it before, "Show Business" proved that Johnnie Ray, the part crooner, part rock belter of the era, couldn't act his way into or out of a paper bag. But so what?? This ain't Hamlet. Ray was cast to do here what he did best: sing the heck out of a couple of songs that were arranged precisely to suit his performing style. And he also just managed to pull off an unusual plot twist that I'm sure audiences of the era did not expect.
We're all asked to suspend temporarily all logic and reason when we turn on our TVs or go to the movies. Why stop with "There's No Business Like Show Business"? So grab the munchies, sit back and let Ethel Merman and Gang entertain you for a couple of harmless, gaudy hours.
- dodgerdiva
- Aug 14, 2005
- Permalink
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.
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.
- tadpole-596-918256
- Feb 3, 2014
- Permalink
Yeah, yeah. It's hokey, it's sentimental, it's gaudy and it's loud. It's also the most entertaining, involving and unpretentious movie about Show Business ever filmed. The cast is perfect, particularly Merman, Daily and O'Connor. (Ethel Merman and Dan Daily as Donald O'Connor's Mom and Dad? Well, maybe it shouldn't have worked, but it does.) Marilyn is not at her best in the "dramatic" scenes, but all 3 of her big numbers are memorable. Johnnie Ray plays a priest(!) Well, at least he could sing. And Mitzi Gaynor hardly sings at all (thankfully), but is given the opportunity to dance quite often (thankfully). It's big, it's garish and it wear its great big heart on its sleeve. A movie to love and watch over and over.
NOTE: For all TNBLSB buffs, one of the numbers that was deleted from the release print for time, has recently been unearthed. It is included in an American Movie Classics' special documentary, entitled "Hidden Hollywood". It includes many musical numbers that were edited out of 20th Century-Fox musicals of the 30's, 40's and 50's. This one is "Anything You Can Do, I Can Do Better", and is the ONLY number to feature the FOUR Donahues: Ethel, Dan, Mitzi and Donald. It's great. (I don't think anybody would mind sitting through an extra 5 minutes of running time to catch this delightful musical moment.)
NOTE: For all TNBLSB buffs, one of the numbers that was deleted from the release print for time, has recently been unearthed. It is included in an American Movie Classics' special documentary, entitled "Hidden Hollywood". It includes many musical numbers that were edited out of 20th Century-Fox musicals of the 30's, 40's and 50's. This one is "Anything You Can Do, I Can Do Better", and is the ONLY number to feature the FOUR Donahues: Ethel, Dan, Mitzi and Donald. It's great. (I don't think anybody would mind sitting through an extra 5 minutes of running time to catch this delightful musical moment.)
There are two main types of musicals--those where the emphasis is clearly on the music and others where the music is incidental to the story. While which style you like is up to you, for me, I much prefer those with less music--where the story is predominant. So, because of my personal preference, movies like "There's No Business Like Show Business" are NOT exactly my cup of tea, so to speak.
The film is about a fictional show business family, the Donohues. When the film begins, the three children are young. But then through the miracle of movie magic, soon about 15-20 years pass--and the children are now grown (and include Donald O'Connor and Mitzi Gaynor). Oddly, the parents, Dan Dailey and Ethel Merman, didn't seem to age a day. Even more noticeable is Marilyn Monroe--you see her early in the film and after all those years she looks as if she hasn't aged a day. Even if it was only 10 years--still, she looked EXACTLY the same! While the film follows the family with their ups and downs (and the third child when he decides to become a priest), all of it seems to be there just to provide a chance to sing and dance...a lot. Many of the songs are very familiar. Overall, very glossy and enjoyable if all you want is lots of singing and dancing...which I didn't. Watchable for a guy like me, but only just, as the story didn't seem strong enough to handle all the songs.
The film is about a fictional show business family, the Donohues. When the film begins, the three children are young. But then through the miracle of movie magic, soon about 15-20 years pass--and the children are now grown (and include Donald O'Connor and Mitzi Gaynor). Oddly, the parents, Dan Dailey and Ethel Merman, didn't seem to age a day. Even more noticeable is Marilyn Monroe--you see her early in the film and after all those years she looks as if she hasn't aged a day. Even if it was only 10 years--still, she looked EXACTLY the same! While the film follows the family with their ups and downs (and the third child when he decides to become a priest), all of it seems to be there just to provide a chance to sing and dance...a lot. Many of the songs are very familiar. Overall, very glossy and enjoyable if all you want is lots of singing and dancing...which I didn't. Watchable for a guy like me, but only just, as the story didn't seem strong enough to handle all the songs.
- planktonrules
- Feb 4, 2012
- Permalink
A pretty weak, overlong musical chronicling the Five Donovans, a family vaudeville act who make an uneasy transition to Broadway after vaudeville collapses (as far as I can tell, this is not a biopic, but fiction). Dan Dailey and Ethel Merman are the parents. As adults, the three kids are played by Donald O'Connor, Mitzi Gaynor and Johnnie Ray. Marilyn Monroe joins them, much to Merman's consternation, as O'Connor's love interest, later in the picture. The songs are by Irving Berlin, but the arrangements are awful. Ethel Merman's shrill renditions of "Alexander's Ragtime Band" have been haunting me since I saw this picture. I never want to hear that song again. The film only really comes to life when Monroe is center stage. The costumes and production design are pretty good. Unbelievably, of the three Oscar nominations this received, one was for its screenplay!
When Darryl F. Zanuck virtually forced exhibitors and most of his fellow studio mogul rivals to adopt CinemaScope as a panacea for TV's devastation of Hollywood's weekly box office bonanza, he dictated that virtually all of Twentieth's output was to be filmed in that eye-stretching process. "There's No Business Like Show Business," directed by that old pro, Walter Lang, seems to be the prime example of Darryl's minions saying to their boss: "You want wide? We'll give you W-I-D-E!!"
Everything about it was designed and lensed to emphasize the original ratio of the CinemaScope process and viewing it on a video that isn't letterboxed must look like what a one-eyed person must experience in everyday life. I never did see it in a theater but I have seen it on a TV broadcast which more-or-less recreated its widescreen ratio. It's a glorious mish-mash. Every Berlin tune that could be stuffed into it is given at least one run-through; John de Cuir's production design must have occupied every inch of several of Twentieth's West Los Angeles soundstages; Ethel Merman, after her terrific movie repeat of her Broadway success in "Call Me Madam" for Fox (and now, as of 2005, available on video), trumpets away in number after number (Must have been an ear-rending experience over those original four-track stereophonic sound systems.); Dan Dailey, Donald O'Connor and Mitzi Gaynor give it their energetic best; and then there's Marilyn. What can we say, with all that so sadly, in her personal life, came after she reluctantly fulfilled her contractual obligation in this one? She dazzles in, let's face it, a rather vulgar way, and seems shoehorned in to boost the potential box office. And they even added Johnnie Ray, a huge jukebox success at the time (and, due to his hearing deficiency, performing his songs at an even greater volume than La Merman.)
All in all this one shouldn't be missed if you want to view an example of Hollywood at its brassiest, in a production fairly bulging with elements that may not coalesce very harmoniously but which was, no doubt, worth the price of admission to those movie palaces before they were carved up to become the precursors of today's sterile multiplexes.
Everything about it was designed and lensed to emphasize the original ratio of the CinemaScope process and viewing it on a video that isn't letterboxed must look like what a one-eyed person must experience in everyday life. I never did see it in a theater but I have seen it on a TV broadcast which more-or-less recreated its widescreen ratio. It's a glorious mish-mash. Every Berlin tune that could be stuffed into it is given at least one run-through; John de Cuir's production design must have occupied every inch of several of Twentieth's West Los Angeles soundstages; Ethel Merman, after her terrific movie repeat of her Broadway success in "Call Me Madam" for Fox (and now, as of 2005, available on video), trumpets away in number after number (Must have been an ear-rending experience over those original four-track stereophonic sound systems.); Dan Dailey, Donald O'Connor and Mitzi Gaynor give it their energetic best; and then there's Marilyn. What can we say, with all that so sadly, in her personal life, came after she reluctantly fulfilled her contractual obligation in this one? She dazzles in, let's face it, a rather vulgar way, and seems shoehorned in to boost the potential box office. And they even added Johnnie Ray, a huge jukebox success at the time (and, due to his hearing deficiency, performing his songs at an even greater volume than La Merman.)
All in all this one shouldn't be missed if you want to view an example of Hollywood at its brassiest, in a production fairly bulging with elements that may not coalesce very harmoniously but which was, no doubt, worth the price of admission to those movie palaces before they were carved up to become the precursors of today's sterile multiplexes.
- gregcouture
- Jun 2, 2003
- Permalink
this is a film for people who love big song and dance numbers (as well as Marilyn Monroe and Mitzi Gaynor fans). it almost is 'pre- reminiscent' of Bollywood in how it moves from one song to the next, with only the most meager connections between song and storyline. the storyline itself is thin enough, that in slow moments i was struck by how contrived the plot was. the purpose of this movie seemed to be to have several Irving Berlin songs choreographed into vaudeville-like song and dance numbers. what better way to do this than by following the lives of a couple of old vaudeville stars who met, married, had babies, and stayed on the road all the while. it all leads to the climactic scene (here's the spoiler, if this film can be said to have one) of ethel merman paying homage to herself and her role as Annie Oakley by singing 'there's no business like show business'. pay attention to how they managed to jigger the storyline such that ethel got her solo for that number (remembering that the family had five members plus a confounding love interest at that point, and the script writers had to somehow get all of them but ethel off the stage). another number, where johnny ray sings a gospel tune, has 'vehicle' written all over it. and as mentioned by the reviewer above, Marilyn Monroe was hot enough property that she was given two 'vehicle' numbers--although her character does not appear to have been penciled into an otherwise completed script, as suggested above. Marilyn's character is critical to the unfolding of the plot, such as it is. notice also how the script writers cleverly played upon Marilyn's reputation for a breathy, contrived diction.
so if you like BIG musicals with huge song and dance production numbers and little plot, this is for you (9 or 10 stars). if you do not, skip this one (1 or 2 stars, this is a bomb). averaged out to about a 6, but really more likely a 'love it' or 'hate it' movie. but then again . . .
there was something in the 'exposed ducts' construction that made me curious enough about how and why it was made the way it was, that i looked up the answers to many of my questions. were the songs composed specifically for this, or a jumble of odds and ends? (the latter). why was ethel merman given the climatic solo? (as mentioned, she was reprising a big number from her signature role as Annie Oakley in 'Annie Get Your Gun', which was one of the most successful Broadway shows ever at the time). who was that guy who played Steve Donahue, and please explain the strange juxtaposition of his commanding stage presence when singing, and that effete concealment of androgyny when not--as well as the 'cast-to-type' plot twist that sends him into the clergy . . . ? (look up a biography of johnny ray). so, if you want a peek into the movie-making process at the tail end of the studio-system era, this movie has a barely concealed super-structure that reveals how a hoped-for 'blockbuster' was constructed in those days.
so if you like BIG musicals with huge song and dance production numbers and little plot, this is for you (9 or 10 stars). if you do not, skip this one (1 or 2 stars, this is a bomb). averaged out to about a 6, but really more likely a 'love it' or 'hate it' movie. but then again . . .
there was something in the 'exposed ducts' construction that made me curious enough about how and why it was made the way it was, that i looked up the answers to many of my questions. were the songs composed specifically for this, or a jumble of odds and ends? (the latter). why was ethel merman given the climatic solo? (as mentioned, she was reprising a big number from her signature role as Annie Oakley in 'Annie Get Your Gun', which was one of the most successful Broadway shows ever at the time). who was that guy who played Steve Donahue, and please explain the strange juxtaposition of his commanding stage presence when singing, and that effete concealment of androgyny when not--as well as the 'cast-to-type' plot twist that sends him into the clergy . . . ? (look up a biography of johnny ray). so, if you want a peek into the movie-making process at the tail end of the studio-system era, this movie has a barely concealed super-structure that reveals how a hoped-for 'blockbuster' was constructed in those days.
- III_Max_III
- Jun 18, 2006
- Permalink
Married vaudeville duo Ethel Merman and Dan Dailey (as Molly and Terry Donahue) continue their success over three decades when children Johnnie Ray (as Steve), Mitzi Gaynor (as Katy) and Donald O'Connor (as Tim) re-join the act as adults. But "The Five Donahues" are rocked by Mr. Ray's desire to become a priest and Mr. O'Connor's involvement with bawdy stage rival Marilyn Monroe (as Victoria "Vicky Parker" Hoffman). Seeing these six people perform a string of Irving Berlin songs live on stage would be an unimaginable treat, but they are rendered gross in 20th Century Fox' weakly plotted CinemaScope extravaganza...
O'Connor and Ray are the most mismatched. The former, playing the youngest kid, has no romantic "chemistry" with Ms. Monroe. Ray is too vague in in the "reverential" role, with both his wailing ballad and sexualized jazz sounds underused. Monroe's sex appeal is thankfully on display, with her "Heat Wave" being a highlight, but she arrives on screen after you're first yawn. Nobody thought about letting Monroe and Ray cut loose in a duet. The show does go on, however, with Ms. Merman belting them out and never letting go. Mr. Dailey and Ms. Gaynor are overshadowed, but all remain game, "Even with a turkey that you know will fold..."
****** There's No Business Like Show Business (12/16/54) Walter Lang ~ Ethel Merman, Marilyn Monroe, Donald O'Connor, Johnnie Ray
O'Connor and Ray are the most mismatched. The former, playing the youngest kid, has no romantic "chemistry" with Ms. Monroe. Ray is too vague in in the "reverential" role, with both his wailing ballad and sexualized jazz sounds underused. Monroe's sex appeal is thankfully on display, with her "Heat Wave" being a highlight, but she arrives on screen after you're first yawn. Nobody thought about letting Monroe and Ray cut loose in a duet. The show does go on, however, with Ms. Merman belting them out and never letting go. Mr. Dailey and Ms. Gaynor are overshadowed, but all remain game, "Even with a turkey that you know will fold..."
****** There's No Business Like Show Business (12/16/54) Walter Lang ~ Ethel Merman, Marilyn Monroe, Donald O'Connor, Johnnie Ray
- wes-connors
- Aug 7, 2012
- Permalink
- JohnHowardReid
- Jul 22, 2017
- Permalink
Stage legend Ethel Merman is one of those acclaimed stage actors that never made it big in Hollywood. In fact, most of her successful Broadway roles were given to other actresses for the film adaptation. Fortunately, "Call Me Madam", her film comeback after 15 years of absence from screen, and one of her 2 Broadway roles she reprises(the other being "Anything Goes"), gives audiences the best idea of how she would look like on stage.
After the successful "Call Me Madam", this film was suppose to recreate the magic by re-teaming Ethel Merman, Irvin Berlin, Walter Lang, Donald O'Connor, and choreographer Robert Alton, among others. However, this film feels half-beat off, perhaps due to the intrusion of Marilyn Monroe(she was hired just to boast its box office potential).
The altered storyline manage to come off well, but it sometimes felt like she was a miscast, since she could not pull off a musical number like the way Ethel Merman does("Heat wave" was meant for Merman), and she makes an ironic love interest of Donald O'Connor. In contrast, the pairing of Donald O'Connor and Vera-Ellen in "Call Me Madam" was one of the key things that people praised about the film. Also, anyone familiar with Johnnie Ray, in his only notable film appearance, may find him playing a priest weird. Dan Dailey and Donald O'Connor are very likable in their respective roles.
Still, the film is worth watching for the fine Irvin Berlin's songs(I would love to cut out "Tattoo" though), great choreography, and the talented cast(despite of my casting issues). It is shot in widescreen format and is very well transferred to DVD. Proceed with caution, though, as it is rather corny.
After the successful "Call Me Madam", this film was suppose to recreate the magic by re-teaming Ethel Merman, Irvin Berlin, Walter Lang, Donald O'Connor, and choreographer Robert Alton, among others. However, this film feels half-beat off, perhaps due to the intrusion of Marilyn Monroe(she was hired just to boast its box office potential).
The altered storyline manage to come off well, but it sometimes felt like she was a miscast, since she could not pull off a musical number like the way Ethel Merman does("Heat wave" was meant for Merman), and she makes an ironic love interest of Donald O'Connor. In contrast, the pairing of Donald O'Connor and Vera-Ellen in "Call Me Madam" was one of the key things that people praised about the film. Also, anyone familiar with Johnnie Ray, in his only notable film appearance, may find him playing a priest weird. Dan Dailey and Donald O'Connor are very likable in their respective roles.
Still, the film is worth watching for the fine Irvin Berlin's songs(I would love to cut out "Tattoo" though), great choreography, and the talented cast(despite of my casting issues). It is shot in widescreen format and is very well transferred to DVD. Proceed with caution, though, as it is rather corny.
- szekeong123
- Jul 27, 2006
- Permalink
This is one of my favorite movies. It's a nice portrait of a show business family. It's a little on the corny side, but that's what's great about it. This is a great look at a family that began in Vaudeville, and worked their way up to headliners in their own act. The Film does a good job portraying the families closeness, and while it's a little hard to swallow a good looking actor like Dan Daily with someone like Ethel Merman for a wife, the two share a definite chemistry and a lot of humor.
This is probably the best that Ethel Merman ever looked and she is fantastic as the family matriarch and her comic talents work great with her hard-to-handle brood.
Although her part is pretty much left to singing and dancing, Mitzi Gaynor gives a spirited performance that we later see her give in the hit movie "South Pacific" as Nellie Forbush.
Donald O'Connor takes a more dramatic turn as the troubled son Tim. I have to admit, while some of his attempts to act like a drunk are a little hard to believe, his performance is one of his best, and his dancing in the film is almost as good as it was in "Singing In The Rain".
The odd duck out is the eldest brother Johnny Ray, who could certainly belt out a song with all the flamboyance and gusto that made him a star in the fifties. However, his acting skills left a lot to be desired. Still, his bad acting works for the character who was struggling to find his own identity when he decides becomes a priest. Perhaps Johnnie projected his own struggles with his bisexuality to guide him.
The most memorable aspect of this movie is Marilyn Monroe, who star was at it's zenith when this movie was being made. In a smart move, Monroe agreed to star in the film if the studio allowed her to also star in "The Seven Year Itch", but in a lot of ways, I feel this is one of her best movies.
First of all, she was clearly head and shoulders above the rest of the cast in terms of molten sexuality.
An example is in the number "Heatwave", which was initially intended for Mitzi Gaynor. The studio made a wise decision handing it over to Monroe who performed the number with so much heat that it's hard to envision the sweet Gaynor conveying that kind of performance.
The number "After you get what you want you don't want it" was also a standout and Marylin's costume was amazing and a precursor to the outfit Britney Spears would later make famous.
Marilyn also brings her tremendous vulnerability that no other comic actress could convey with believability, Marilyn could play wounded characters, perhaps because she was so wounded herself.
Watching her character suffer over her love for Tim and her desire for a career is very believable.
For me, the most amazing part of this movie are the gorgeous costumes. This movie, surprisingly has fantastic costumes made by the famous Travilla, who had already worked with Marilyn in almost all of her films including "River Of No Return", "Monkey Business" as well as "Gentleman Prefer Blondes" and "The Seven Year Itch".
Every costume seemed tailor made for every character.
This is a treat of a movie, with great music, great dancing, wonderful costumes and mostly Marilyn, who proves she could make anything work. It ranks right up there with some of her greatest work.
This is probably the best that Ethel Merman ever looked and she is fantastic as the family matriarch and her comic talents work great with her hard-to-handle brood.
Although her part is pretty much left to singing and dancing, Mitzi Gaynor gives a spirited performance that we later see her give in the hit movie "South Pacific" as Nellie Forbush.
Donald O'Connor takes a more dramatic turn as the troubled son Tim. I have to admit, while some of his attempts to act like a drunk are a little hard to believe, his performance is one of his best, and his dancing in the film is almost as good as it was in "Singing In The Rain".
The odd duck out is the eldest brother Johnny Ray, who could certainly belt out a song with all the flamboyance and gusto that made him a star in the fifties. However, his acting skills left a lot to be desired. Still, his bad acting works for the character who was struggling to find his own identity when he decides becomes a priest. Perhaps Johnnie projected his own struggles with his bisexuality to guide him.
The most memorable aspect of this movie is Marilyn Monroe, who star was at it's zenith when this movie was being made. In a smart move, Monroe agreed to star in the film if the studio allowed her to also star in "The Seven Year Itch", but in a lot of ways, I feel this is one of her best movies.
First of all, she was clearly head and shoulders above the rest of the cast in terms of molten sexuality.
An example is in the number "Heatwave", which was initially intended for Mitzi Gaynor. The studio made a wise decision handing it over to Monroe who performed the number with so much heat that it's hard to envision the sweet Gaynor conveying that kind of performance.
The number "After you get what you want you don't want it" was also a standout and Marylin's costume was amazing and a precursor to the outfit Britney Spears would later make famous.
Marilyn also brings her tremendous vulnerability that no other comic actress could convey with believability, Marilyn could play wounded characters, perhaps because she was so wounded herself.
Watching her character suffer over her love for Tim and her desire for a career is very believable.
For me, the most amazing part of this movie are the gorgeous costumes. This movie, surprisingly has fantastic costumes made by the famous Travilla, who had already worked with Marilyn in almost all of her films including "River Of No Return", "Monkey Business" as well as "Gentleman Prefer Blondes" and "The Seven Year Itch".
Every costume seemed tailor made for every character.
This is a treat of a movie, with great music, great dancing, wonderful costumes and mostly Marilyn, who proves she could make anything work. It ranks right up there with some of her greatest work.
- flowergirlz_us
- Oct 8, 2005
- Permalink
Memo to Twentieth Century Fox: Leave the musicals to MGM. On paper, this big-budget musical extravaganza filmed in CinemaScope must have looked like a sure-fire winner. Unfortunately, if not for the presence of a delicious young Marilyn Monroe in a small but showy role, "There's No Business Like Show Business" would have been relegated to the forgotten-films bin. Overlong at 117 minutes, the corny story of a vaudeville family is regularly interrupted by musical numbers that lumber on interminably. Even standards like "Alexander's Ragtime Band" and the title tune are botched.
Besides Monroe, Donald O'Connor survives the film; however, his perky performance and effortless hoofing call for a partner like Gene Kelly. Dan Dailey and Mitzi Gaynor also do well, but Ethel Merman has always been too much for the big screen; a stage icon, she plays to the rear seats in the fourth balcony. Which brings us to Johnnie Ray. The man may have an important place in music history, but definitely not in movie history. To be fair, the subplot about the eldest son becoming a priest is cloying and unconvincing to begin with; James Dean would have gagged on the lines. But Ray's voice and demeanor are just grating. When asked why he never made another film, Ray replied that he had never been asked. A viewing of "There's No Business Like Show Business" makes it perfectly clear why he was never asked.
Devotees of Marilyn Monroe want to see her every performance, and she is charismatic eye-candy here. Although her sexy "Heatwave" number is already famous, she acquits herself well even in a silly routine with O'Connor and Gaynor. Beyond Monroe and O'Connor, however, little stands out. The storyline is too thin to bear scrutiny, the characters are superficial, and the direction by Walter Lang perfunctory. The best scenes have already been included in Monroe compilations; the rest can be relegated to the bin.
Besides Monroe, Donald O'Connor survives the film; however, his perky performance and effortless hoofing call for a partner like Gene Kelly. Dan Dailey and Mitzi Gaynor also do well, but Ethel Merman has always been too much for the big screen; a stage icon, she plays to the rear seats in the fourth balcony. Which brings us to Johnnie Ray. The man may have an important place in music history, but definitely not in movie history. To be fair, the subplot about the eldest son becoming a priest is cloying and unconvincing to begin with; James Dean would have gagged on the lines. But Ray's voice and demeanor are just grating. When asked why he never made another film, Ray replied that he had never been asked. A viewing of "There's No Business Like Show Business" makes it perfectly clear why he was never asked.
Devotees of Marilyn Monroe want to see her every performance, and she is charismatic eye-candy here. Although her sexy "Heatwave" number is already famous, she acquits herself well even in a silly routine with O'Connor and Gaynor. Beyond Monroe and O'Connor, however, little stands out. The storyline is too thin to bear scrutiny, the characters are superficial, and the direction by Walter Lang perfunctory. The best scenes have already been included in Monroe compilations; the rest can be relegated to the bin.
- iloveteach
- Jul 22, 2005
- Permalink
What should have been a great movie fell short even in the hands of the great Walter Lang. Instead of sparkling with many great song-and-dance routines it tends to slump, overloaded with far too many numbers at the expense of plot. The wonderful Donald O'Connor performs some of his comedic routines: but he worked best as a second lead, not the lead in a film. Monroe is clearly the star, but it is as if she has been reluctantly shoe-horned in instead of building the film around her. Much of the acting and script is pedestrian, and Ethel Merman's singing is bearable until we are treated to too many rather average songs and reprises. Monroe's appearances, for all the constant razzamatazz, are easily the most memorable, and possibly not so much because of outstanding on her part but as a welcome breath of fresh air amid the rather lacklustre cacophony.
- Chris_Docker
- Dec 16, 2017
- Permalink