Four Girls in Town

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.

Rita Holloway, the temperamental actor, always seen from behind wants a 50% cut for being the lead in a film made by a film studio. The film is being made by Universal Studios in the mid-1950's and the producers fight against her wishes and look for a woman to replace her. End of logic. The studio travels around Europe bringing Marianne Koch from Austria; Elsa Martinelli from Italy; Gia Scala from France and only Julie Adams from America. Why they go so far afield is never really explained and George Nader has to find the right actor for the part. The casting couch is hilariously not mentioned despite the fact that each woman has an ardent admirer. One of the failed choices goes off to Las Vegas for the fun of it with Grant Williams an actor in reality who was being gently pushed out of Universal Studios himself. No more spoilers. ' Four Girls in Town ' starts with a great film score composed by Alex North, and it sets off the momentum which does not let up. This is a ' lost ' film to be found on YouTube and it is not in its original Cinemascope. Despite the sad fact that few people know much about these actors in 2024 it should be restored. In its own way it is examining Hollywood practices of the time and most of the acting is very good. Sydney Chaplin and Marianne Koch are exceptionally fine in their roles, and Elsa Martinelli is a joy to watch. Even the words ' The End ' are hilariously placed, and when it comes down to it it is all about Rita Holloway. A fun film with serious aspects; not least the loss in Hollywood of most of its actors.

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.

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.

From its animated opening credits to the presence of such icons as George Nader and Julie Adams, this is one of those movies which could only have come out of the 1950s. It's glossy, it's superficial, it's utterly unconvincing in its depiction of behind-the-cameras Hollywood, and yet it has the sort of entertaining, audience-pleasing quality which a number of current movies seem to have lost. Of the four women who come to Hollywood via a talent search, each gets involved in a subplot which is neatly tied up before the final fade-out. Gia Scala gets lost in the shuffle but the other three women come across well, especially Elsa Martinelli who dominates every scene she's in with a slightly over-the-top performance. She and Julie Adams and Marianne Cook all have swimsuit scenes but Gia Scala does not.

George Nader also has a swimsuit scene but the other two "hunks" whom Universal was grooming for stardom -- John Gavin and Grant Williams -- do not.

Very little is actually shown of the film-making process and what is depicted is almost laughably unconvincing. Hollywood has always had a problem in filming "Hollywood" and this curio from the 1950s is no exception.