Du Barry Era um Pedaço

Nightclub singer dreams of marrying into money but is in love with a poor fellow. Fluffy musical comedy plays like a variety show, with minimal plot holding together musical numbers and comedy skits. The film looks good in Technicolor, with red hairs of Skelton and Ball (dyed for this film and kept so thereafter) featured prominently. It's nothing special, but it's not terribly painful to watch either. Lucy mostly plays it straight while Skelton provides the comedy as a hat check man who wins the sweepstakes and woos Lucy. In only his second film, Kelly completes an unlikely love triangle as Lucy's poor and sullen boyfriend.

Most people who know of Lucille Ball's career arc are aware that this was one of her higher-profile films, with a large budget, vibrant color, and A-list co-stars. What could go wrong? Well, nothing at the time. But with the passage of time the movie has gotten a bit stale, and drags in several parts. Ball's materialistic character is not very likable from the start, and she's introduced in a ghastly musical number with very conspicuously dubbed vocals. Couldn't they have found someone who's voice actually sounded like it could possibly be coming out of Lucille Ball?

They should have cast Ethel Merman, who played May Daly on Broadway. After all, the character didn't HAVE to be drop dead gorgeous. But it does help explain why two men would continue to pursue such an obviously shallow diva, even if she can't really sing.

The main event of this film is a dream sequence, but the setup to that point seems interminable! And all we have to keep us watching in between is one outstanding dance number by a game Gene Kelly and mildly witty banter between Red Skelton and an underused Virginia O'Brien. Skelton would be much better later in his career by toning down the Vaudevillesque physical comedy, which only appears more cloyingly corny with age. (Bert Lahr, who played the stage role was the same way.) There is also a musical interlude with three gentlemen who do vocal impressions that will definitely have you pushing the fast-forward button on your remote.

If you have the patience, there are some enjoyable musical numbers and just a few genuine laughs to keep you amused. The funniest line by far in the film is delivered by uncredited old lady Clara Blandick (Auntie Em from "The Wizard of Oz") in one of the Cleanest Subway Cars Ever to be used as a movie setting. That says it all about the dialogue between the leads. (The reason being is the good stuff from the Broadway show was deemed too lewd for the film.)

Obviously a lot went into the costumes and scenery for this film, and that alone makes it worth watching, as well as for the cast members who are always worth watching even if this isn't their best by any stretch.

The movie was slow action. At points, almost boring. But for someone who wants to see up-coming and major stars of this time period, this movie has many. From Ball, Skelton, Kelly, and even O'Brien, Mostel, and finally Tommy Dorsey and his band, this movie has the stars. A good sample of their earlier works.

On reviewer said that only a 5th grade child could appreciate this movie. Well, when I first saw it-the year of it's release-I was a 2nd grade child. Red Skelton's prat falls and his mugging seemed hilarious to me-then! Otherwise, I was clueless as to what was going on.

What stayed in my memory for decades after was the dazzling color, This was probably the first technicolor movie I had even seen. Technicolor movies were still scarce and a great novelty. Thus, the color itself was enough to etch this film in my memory. Also, all the color was amped up beyond any connection to real life, and the sets, the clothing and even Lucy's hair were bright and saturated color. Wow!

Now, unfortunately, the movie lacks wit and it drags a bit. I now worry that Skelton might injure himself in one of his multitudinous falls. Lucy is not at all funny, and, despite her showy looks, not a whit sexy. Virginia O'Brien is very good. Too bad she didn't have more songs. No one in the movie seemed to have any more of an idea of who Dubarry was and what her relationship to Louis X IV was than I did at the age of seven. The music was good and Ziggy Elman and Buddy Rich were happily prominent..

When a bunch of young women parade in front of the camera, you can expect that one or two go on to some movie fame. I spotted Marilyn Maxwell and Hillary Brooke in this movie. It had enough to keep me watching, and it brought back colorful memories of a distant world to me.

This 1943 Arthur Freed production had a great cast, gorgeous Technicolor, various personalities of the day like Tommy Dorsey (and Dick Haymes and Jo Stafford singing in the flashback sequence), but it's a rather boring film. It's a movie made for a person with the intellect of a fifth grader. I had to stop the film after an hour and watch it the next day to complete it, as my patience had reached its limit for the day. I will say that many musicals of the day had puerile plots, but this one really was on the lower half of the scale.

Lucy and Red, both talented, didn't strike me as all that funny. And Lucy singing with Rita Hayworth's voice double Martha Mears looked and sounded strange. When you're looking for Rita, and you get Lucy, it is quite the shock. I will admit that after checking my facts Martha sang for Lucy before she sang for Rita in Cover Girl one year later, but I still "heard" Rita singing.

Gene was good as always but I couldn't quite see why he wanted Lucy so much. She was beautiful but cold in an icy manner.

Clara "Auntie Em" Blandick had a small bit in a subway which was quite good. And Lana Turner also appears in the film in an uncredited cameo.

Virginia O'Brien, always fun, helped the proceedings as well.

If you're a fan of the MGM musical, you should see it, but it's not a film that will make a list of the top film musicals.