Wem die Sterne leuchten

If only the life of a starlet in the 50s was this bland. No Hollywood wolves, no casting couch, etc.

The film is still boring with a plot stretched thin. There are no good lines. This film is so dull it doesn't even have camp value.

It does give jobs to Universal contract players. It got Julie Adams out of the Black Lagoon. It was a start for John Gavin who went on to become Universal's male beauty for the next seven years. Grant Williams was soon dropped after this picture.

Others along for this sleepwalk are the three European actresses and body builder turned wooden actor George Nader.

YouTube saved this film from total oblivion.

Actor Judson Pratt IS credited.

Art Direction by Alexander Golitzen and "Haworth". It can be assumed this is Ted Haworth.

Music Supervision by Joseph Gershenson; "Rhapsody for Four Girls" composed by Alex North

Assistant Director: Dick Maybery (one "r")

CinemaScope/Technicolor.

Credits above are from the film print itself.

Also, I have tried MANY times to get this credit added - to no avail: Jose Ferrer appears UNCREDITED as a movie director in this film.

This Hollywood drama begins with a world-wide search for an actress to play the title role in an upcoming epic "The Story of Esther", since Manning Studios is having issues with their temperamental star Rita Holloway (Helene Stanton). Four are finally chosen: an Austrian (Marianne Cook (Koch)), an Italian (Elsa Martinelli), a Frenchwoman (Gia Scala) and an American (Julie Adams), all brunette beauties. There's some fascinating backstage, back-lot sequences, all shot on the Universal-International sets. Some of the women find love after some trials and tribulations. The men include George Nader, John Gavin, Sydney Chaplin, Grant Williams, Maurice Marsac. There's also an unexpected denouement at the end. The story receives tremendous boost by being photographed in color and Cinemascope (although I haven't seen it in widescreen). The day and night beach scenes are striking, the music by Alex North is fascinating, costumes by Rosemary Odell beautiful. The supporting cast is filled with familiar faces, all excellent, with Mabel Albertson in particular a standout as Adams' pushy stage mother.

An fine example of the sort of film that isn't made anymore. Studio engineered vehicle to spotlight a crop of its newest and most promising contract players.

The men are more or less disposable and none had careers of much distinction, though John Gavin had a good run of leads in the late 50's/early 60's. Too bad he was such a mechanical actor he certainly had the looks of a leading man.

Likewise none of the ladies ever made it to major stardom but all reached some level of renown in their native countries and all four are incredibly beautiful. The lone American, Julie Adams in particular had a very successful 60 year long career as a respected performer. Martinelli had a brief Hollywood run and a decent career in Italy as did Koch once she returned to Germany. Even the ill-fated but exquisite Gia Scala had some memorable roles before her personal problems ruined her career and life.

Here they all get their moment to shine in a story that was probably old hat in silents, the plucky actresses who have to compete for a crack at the big time. It's lush, plush and pretty empty with some outdated 50's sensibilities but if you like films made with exceptional care with that old studio sheen this is one worthy checking out.

When the movie begins, the studio is trying to sign a temperamental actress for an upcoming Biblical epic. However, her demands are so excessive, the studio decides instead to use a publicity stunt to cast the lead actress. They'll have a contest where women from around the world will be brought to Hollywood for screentests to find the perfect Esther in the epic.

Four unknown actresses are chosen...an Italian, an Austrian, a French woman and an American. THe story consists of their efforts to secure the roles and focuses mostly on how studios operate (or want the public to think they operate) and offers a lot of interesting stories.

The acting is generally very good, though I do think Elsa Martinelli was a poor choice in the film because her accent was too heavy. I am glad I had captions though audiences of 1957 must have struggled with her. The story is clever...with dramatic, humorous and romantic potions throughout. Overall a most enjoyable film...one which is better than I expected.