Lovely to Look At

"Roberta" (1935) was based on a play of the same name. Now here in 1952, MGM decided to remake it. However, they didn't really like the plot and the characters and so all they really kept were the songs and a few pieces here and there. Not exactly a re-make, huh?

I should point out that the reason I watched this is because I really like Red Skelton films. But, I don't usually like him in musicals because then his comedy clearly takes a back seat. Can this film somehow be a good musical AND a good Skelton vehicle?

Al (Skelton) and his two buddies (Howard Keel and Gower Champion) are trying to get backers for their Broadway show...but with no luck. Then, out of the blue, Al receives a telegram...his aunt in Paris has died and left him her fancy dress business. So, the three head to Paris...intent on selling the place and using the money for their show. But there's a problem...Al is smitten with one of the ladies running the business (Kathryn Grayson) and has a hard time telling her of his intentions. The same happens with his buddies and they decide, instead, to try to make the place even bigger and grander...and they seem to have forgotten about their play. This is odd...even odder is their idea of turning this dress shop into a combination dress shop and night club of sorts! If this sounds confusing, welcome to the club!!

The confusion gets worse when practically everyone seems to have fallen in love with Tony (Keel)...and you wonder whether he'll end up with Stephanie (Grayson) or Bubbles (Ann Miller) or the one he really seems to be in love with...Tony! As for the third friend, Jerry (Gower Champion) says very little and is really only there to do fancy dance numbers with his real life wife, Marge Champion.

So is this any good? Well, it depends. If you love a big, long and very splashy dance sequence at the end and don't mind that the film has many formulaic elements (pretty much all of them are embodied in Tony!), then you'll no doubt enjoy it. As for me, I wanted more comedy, more Skelton and less of everything else. Mildly entertaining and that's all.

This was a remake of the RKO Astaire-Rogers pastiche ROBERTA (1935), but it had its own merits. MGM used its 'Jack Cummings' unit of talent- most of the alumnae from SHOW BOAT and KISS ME KATE- to perform here. Howard Keel and Kathryn Grayson represent the singing couple (Irene Dunne essayed the role originally in ROBERTA, but her mate was the non-singing Randolph Scott), and do very nice renditions of the songs 'The Touch of Your Hand' and their witty first duet, 'You're Devastating.' The dancing couple was none other than Marge & Gower Champion, married in real life and presenting the dances with a bit more romance. They first dance to the call-and-response ditty 'I Won't Dance' in a fitting room with mannequins on wheels. Later, in an after-hours café, they discover they are falling in love and dance to an instrumental version of 'Smoke Gets In Your Eyes-' particularly breathtaking because it is staged as a love scene instead of a performance, and it makes the most of a dreamy, starry-night set piece, of which the dance floor is put to a great deal of use in its climax when the Champions swing each other around in romantic pirouettes. Finally, there is Red Skelton assuming the role of the actual salon heir, cutting up on a piano rag and narrating the gargantuan fashion show finale. The remake includes a sexier version of 'I'll Be Hard to Handle' tapped out by Ann Miller, and 'new' songs 'Tomorrow Night' and 'Lafayette.'

Typical MGM treatment. Not much plot but the musical numbers are beautifully staged and the whole production is much more enjoyable than the Astaire-Rogers version. Grayson and Keel blend well in their duets and Ann Miller is in top form. Marge and Gower Champion have a field day in their roles and certainly deserve the praises they received during their time together. Red Skelton was always a class act and this role is no exception.

'Roberta' with Irene Dunne, Fred Astaire and Ginger Rogers wasn't immune to flaws (Randolph Scott, lacking story execution), but on the whole it is a much better film, especially for the songs and their timeless renditions, production values, the choreography and the rest of the cast being used to great advantage.

'Lovely to Look At' certainly is lovely to look at, being filmed in absolutely glorious Technicolor and boasting opulent costume and set design. Jerome Kern's songs are as timeless as ever, "Smoke Gets in Your Eyes" is one of his classics though "I Won't Dance" and "I'll Be Hard to Handle" are the standout renditions of the film. They are accompanied by choreography that's witty and poised, again the delightfully charming "I Won't Dance" and Ann Miller's knockout performance of "I'll Be Hard to Handle".

Despite garnering a reasonably mixed reaction, the fashion show is sheer visual beauty and is where the energy and interest is most apparent. Some of the cast disappoint, but Marge and Gower Champion have a field day and triumph in "I Won't Dance". Ann Miller was a scene stealer in many of her films and anybody who loves her will in no way be disappointed by her enviously energetic and poised dancing in "I'll Be Hard to Handle". It has to be admitted too, that Howard Keel does sing sublimely, he is a tender singing partner in the title song and fares even better in "You're Devastating".

On the other hand, this cannot be said for the rest of the cast. Kathryn Grayson is not at her best, pouting her way through her role and she has been in better voice, sometimes very nice but at other times shrill and fatigued. As wonderful as Keel sounds, he is unusually stiff here and he and Grayson don't seem to share much chemistry together so some of their longer scenes border on the tedious.

Then there is Red Skelton (who always was a take or leave performer), who mugs embarrassingly and comes over as irritating, and Zsa Zsa Gabor whose performance generally lacks charisma and sass in a role that gives her little to do.

Much of the story is contrived and tedious, with flashes of greatness in two or three song renditions and the fashion show but falling flat especially in the scenes between Keel and Grayson. The script lacks the light-hearted touch that worked so well in 'Roberta', as well as its warm heart and wit, disadvantaged by the comedy falling so flat particularly with Skelton and the performances of the cast varying so wildly. Mervyn LeRoy directs quite sluggishly on the whole.

In conclusion, lovely to look at but to see this talented crew on better form look elsewhere. 5/10 Bethany Cox

The original treatment of this musical is from RKO in 1935 and called ROBERTA. It is possibly one of the most sublime movies, yet alone a musical, ever created. This healthy and sumptuous remake from 1952 has several genuinely jaw-dropping sequences, such is the lavish talent and extraordinary musical treatment from MGM at their musical zenith. Imagine Hollywood trying to come even close to making this film today! That is a genuine Mission Impossible. They would have to add a few killings to get the marketing dept to even understand it. That moan aside, I am very grateful to have LOVELY TO LOOK AT as well as ROBERTA in my life to charm me and to make me and my friends very happy. The two standout sequences in particular are "I won't dance" with Marge and Gower at their snazzy stylish dancing best...and yes all in one very clever take...and the astonishing fashion show finale, which should be mandatory for study in every part of every film school. The only misgivings are the lame and out of date comedy from Red Skelton hamming it up for the American Mid West audiences, and Howard Keel bellowing as usual. But for great women and eye popping clothes..the title says it all.