User reviews

Jane Powell sparkles as Texas gal Elizabeth Rogers who travels to Europe with her single father and finds romance with a young man--and also meets the mother she never knew. MGM musical on a less-than-grand scale, yet underrated Powell really pours on the charm and her song numbers are fairly witty. The picture is a bit encumbered by the studio's restrictions--there are hardly any scenes set outdoors, and the shots of Paris are obviously fillers from MGM's stock--but the cast (including Una Merkel, Fernando Lamas and Wendell Corey) is colorful and the screenplay (worked on by Sidney Sheldon) is lively and fun. **1/2 from ****

One of Jane Powell's best musicals for MGM is Rich, Young and Pretty and Ms. Powell winds up all three and married to boot.

She and father Wendell Corey and housekeeper Una Merkel are in Paris where Wendell is on business for the United Nations where he works.

But he wasn't always a high powered diplomat. After the first World War he took a French bride, Danielle Darrieux, back to Texas. Texas didn't agree with Danielle and she left Wendell and her infant daughter. Wendell has told Jane her mother had passed away.

Of course all this deception by Corey leaves room for more deception by Danielle upon Jane's arrival in Paris. With a little subterfuge Darrieux and Powell meet. And Powell's also got eyes for a young French official, Vic Damone and she's forgetting about the boy she's seeing back home.

The story line of Rich, Young, and Pretty gets a little too cute, but there are some talented players here to smooth out the rough spots. And Nicholas Brodzsky and Sammy Cahn wrote some nice songs. One of them, Wonder Why, was nominated for Best Song, but lost to In the Cool Cool Cool of the Evening. Still Wonder Why is a very pretty ballad, sung by both Damone and Powell.

My favorite song however is Paris, a city that certainly has inspired some of our best songwriters. Here it's done by Fernando Lamas and sung well.

Fans of this talented cast will want to see their stars perform even though the story is a bit silly.

RICH, YOUNG AND PRETTY is a perfect example of how not to film a musical. First of all, the script is a shambles, even if Sidney Sheldon did have a hand in it. The story is trite from beginning to end, Jane Powell's voice is completely wasted with forgettable songs, and I kept thinking how this was the sort of plot featured in so many Deanna Durbin films--but done with more skill and polish for Durbin.

As bad as the film is, there are a couple of compensations. First, Danielle Darrieux is charming and skillful in her role as Jane's mother, even tossing off a few songs in a professional manner. Her song partner, Fernando Lamas, has a rather thankless role but reveals a fine baritone voice for a couple of uninspired songs.

Wendell Corey sports a mustache and seems to be filling in for Walter Pidgeon, as someone else suggested. Nevertheless, his is a pleasantly foolish role and he plays it with style, even when forced to warble off key in a silly nightclub number.

For Jane Powell's fans, there is nothing distinctive about the songs she's given to sing. In fact, all of the best numbers are delivered by Danielle Darrieux who does well by them.

The whole plot is so irritatingly simple-minded, with Vic Damone giving his worst performance ever in a romantic leading role and never bothering to sound the least bit like the Frenchman he's supposed to be. Jane is a rich girl who doesn't find out until the film's last moments that Darrieux is the mother who deserted her father way back when. And naturally, in time for the last clinch, Jane's father decides it's okay for her to marry the Frenchman (Damone).

The artificial MGM settings are rigged to make us believe we're in Paris, but even that doesn't work. For an MGM musical of the '50s, this one is the pits. It's really a B-film wrapped up in A-film status but not making the grade.

No need to recap the plot, which at the beginning resembles that of Giant (1956). Musicals generally live or die by the quality of the music. By that standard, this one is pretty much a snoozer following a string of forgettably bland numbers, which at least don't annoy.

The movie itself stands as a clear instance of lead performers outshining the material— mainly, the always sparkling Jane Powell and a fabulous Danielle Darrieux. Even the seemingly miscast Corey, so usually dour, manages an agreeable father. While in a tacked-on role, a hunky Fernando Lamas is clearly on his way up. One can sympathize, however, with boyish crooner Damone in his first film-- his self-consciousness almost flies off the screen.

I expect critics are right about the problems caused by Powell's pregnancy. The production has a less polished, more constrained look than the usual high MGM standard. This could well be due to a hurry-up schedule and Powell's growing girth. Whatever the reason, the movie's a chance to catch the ravishing French actress Darrieux in one of her few American roles. Otherwise, it's pretty forgettable.

There are a few good songs in this movie, but most are as forgettable as the characters. Wendell Corey is not convincing as a Texan and looks hungover during the movie. He also cannot sing and does a terrible version of 'Deep in the Heart of Texas'. The characters are all shallow and Jane barely cares that Danielle deserted her as a child.

I did like Hans Conried as a pushy waiter and the Four Freshmen have a nice musical number. Worth a look if you like any of the stars or you are a big fan of the genre.

Very late July, and it is my silly season for watching films. I love diversity, and I am drawn to what I call ' easy ' old films, from any country, and almost any genre. This musical is bearable because it has Danielle Darrieux in it, singing two of the most passable songs in the film. Jane Powell is always good to watch, but the Paris it is set in is beyond fake, bordering on the ridiculous. Wendell Corey and Vic Damone are awful, and the latter could not act at all. My main gripe is that it has every French stereotype in the cinematic book, some scenes cringe worthy and one example is when Corey sings a song ( badly ) called I think ' Deep in the Heart of Texas ' in a Paris restaurant. And forces other to sing along with him. No one went to Paris to make this mediocre film, and it seems to me it was a Joe Pasternak produced piece of froth firmly directed to middle America who could fantasise over Paris cliches. Darrieux holds the film together and no spoilers on the contrived plot. I have no idea why in 1951 she wanted to be in it, considering she was at her career peak with films like ' Occupe Toi D'Amelie '. A 5 for every scene that manages to bring this nonsense to life. She is superb.

The previous reviewer found nothing to like in this movie, and I would agree in all respects but one. It is a typical movie musical in that the thin plot serves only to get from one musical number to the next. But in this case, the musical numbers are all forgettable and not worth getting to. Then there is the casting: it is impossible to accept Vic Damone as a Frenchman. But there is one interesting element: Danielle Darrieux. Darrieux had been one of the great stars of French cinema in the 1930s, making first-rate films like Mayerling with Charles Boyer (1936). By 1951, when this movie was made, she was no longer a young woman, but still a stunning beauty and a great actress. Setting her against Jane Powell, who is cute and perky here (she would be both more attractive and more interesting in other films), makes Powell look weak by comparison. It was another poor job of casting, in a sense, but it provides about the only thing worth watching in this otherwise completely forgettable movie.

This lovely, little-known MGM musical from 1951 stands above most others of its genre by utilizing a strong, often (unintentionally) disturbing and moving storyline as a background for its delightful musical numbers and melodic score.

Jane Powell is fresh as the first day of spring, and in fine voice. Vic Damone's equally engaging as her romantic interest. But the real surprise is the depth and vivacity of the "adult" performers -- Wendell Corey, Fernando Lamas (whose resonant baritone voice is fully utilized) and the delicious Danielle Darrieux in one of her few American movies. She provides charm, elegance and alluring sex-appeal as a woman who abandoned her daughter (Powell) shortly after her birth, divorced her husband (Corey), returned to her native France, and resumed her career as a Parisian nightclub performer, currently in love with her cabaret co-star Lamas. Corey unwittingly takes his daughter to Paris for a vacation, having no idea she will eventually discover the identity of her supposedly "deceased" mother.

The sad undercurrents of the plot are glossed over by a lush Technicolored production and one riveting song after another. The riveting finale is staged and photographed and sung to vivid perfection.

A delicious diversion, with a glorious cast doing full justice to its entrancing score and poignant screenplay. Simply a pity that the delectable, saucy Ms. Darrieux was never teamed with Fred Astaire, though Ms. Powell was one year later in the knockout "Royal Wedding".

I saw this film in the TCM listings and wondered why i had never heard let alone seen this musical.I thought that i knew most of the MGM musicals.well the reason is self evident,it is a real clinker.Everything about this film is second rate.there is not one single redeeming feature.I know that one does not expect too much from the plot in musical films but this was just ridiculous.Wendell Corey seemed as if he was trying to do a Walter Pigeon imitation.Even Jane Powell was lost in this mess.The songs were totally unmemorable and unnameable,This despite the fact that there was an Academy nomination for one song.The colour was effective was about the only thing to this films credit.

I read a review that stated that this movie was filmed before Royal Wedding, but this isn't so. Royal Wedding, starring Fred Astaire, was filmed before this movie and it was Royal Wedding which made Jane Powell no longer a teenage movie star but a full blown adult performer! Her movie Three Weeks With Love with Ricardo Montalban was a tell tale sign that it was time for Jane Powell to throw away her teenager costumes once and for all and become an adult. She, Debbie Reynolds, and Natalie Wood were just three of the very few who made it from teenage performer to adult performers in the movies.

So, after Royal Wedding, Jane Powell was slated for Rich, Young, and Pretty, but there was a problem; she found out that she was pregnant, so much of the shooting had to be done as quickly as possible with many of scenes filmed waist up. Danielle Darrieux had made her film debut in the U.S. in "The Rage of Paris" and hated the movie so much that there was nothing that could stop her from returning to Paris, but the script, her role, and the fact that she got to sing and dance in a Technicolor musical was enough to entice her back for Rich, Young, and Pretty! Good thing too! She was great!

This was Vic Damone's first movie for Hollowood, and as my Mom said, "Everyone was swooning over Vic's Cow-eyes! What can one say about Una Merckle? Una is Una. She played servant in the Jeannette McDonald version of The Merry Widow and repeated the same role in the Lana Turner version, which was the best of the two, and repeated the servant role in Rich, Young, and Pretty, with a pretty, good, feisty performance especially in the end.

As far as the songs are forgettable? This will sum up this movie and my review. Because of lack of space, I could give you word for word of all the songs in the movie, and I'm going to prove it:

"They say that Paris is charming and light hearted, over and over again. They said in Paris no star shines as brightly, as Paris again, and again. They say her bonnets are lyrical sonnets. They've said it with word and with pen. They say that Paris makes April complete. They say that Taxi's makes songs in her streets. Although these things they repeat and repeat, but I like to think instead: That Paris is sort of the things that left, unsaid!"

The songs are forgettable and not memorable? I don't think so!

Rich, Young, and Pretty isn't on the same level as some of MGM's other musicals from the 50s, but it is enjoyable and delightful just the same. The film is a vehicle for Jane Powell but features a wonderful and talented cast including Vic Damone in his film debut, the always entertaining Una Merkel, Wendell Corey, Fernando Lamas, and a lovely Danielle Darrieux.

The film features some truly great songs including the Oscar nominated Wonder Why, sung divinely by Vic Damone and repeated later as a duet with Vic Damone and Jane Powell, and We Never Talk Much, which is such a fun number and has always been one of my favorites.

The plot of the movie is simple, but fun, and slightly different from other musicals of the time as it features a divorced couple as a central plot device. You see the end coming from the beginning but it's still fun getting there.

Though this is a Jane Powell-led movie the real star to me has always been the captivating Danielle Darrieux. She gives a wonderful performance here as a mother trying to secretly reconnect with her daughter and her musical numbers are some of the best in the movie. She has good chemistry with Fernando Lamas, which shows itself particularly well in their musical numbers.

I recommend Rich, Young, and Pretty to anyone who is a fan of musicals of this era.

Easily one of the dullest, most boring movies I've ever sort of seen.

"Sort of," because after about 15 minutes I payed this film only the most cursory attention. Jane Powell is in Paris, meets Fernando Lamas, and sings one syrupy ballad after another that all sound the same. Her long-lost mom, who she thinks is dead, shows up and wants to be reunited with her daughter. Her father is played by Wendell Corey, who was far too creepy in "Rear Window" to be acceptable as anyone's father.

The film is so inconsequential and uninvolving it's amazing to think that enough people gathered enough collective energy to actually make it.

The soundtrack boasts the Academy Award-nominated song "Wonder Why," which sounds exactly like every other song in the film.

Grade: F

In 1951 MGM brought out two musicals set in Paris, the immortal *An American in Paris* and this forgotten movie. That they were produced in the same studio the same year is interesting. Because while much of *An American in Paris* is striking and very memorable, this is pleasant and instantly forgettable.

It's not that there is no talent here, at least on the screen. Danielle Darrieux comes across very well, somewhat upstaging Powell. Vic Damone is about as French as Frank Sinatra, but he sings his few numbers very well. Marcel Dalio provides another in his collection of eccentric Frenchmen. Fernando Llamas looks very handsome, which is about all he was called on to do. Wendell Corey adds nothing, and is out of place here.

But the music is the problem. There is a lot of it, and while it is all pleasant, none of it sticks with you.

And so, neither does this movie.

Go watch *An American in Paris* again instead, to see what MGM was doing at its best in 1951. This movie has nothing to offer.

Take Doris Day at her most insipid (like she was in "Romance On The High Seas", made at around the same time as this dullard). Shave off a few pounds and, lo and behold, you have Jane Powell. Then change studios from Warners to MGM, exchange Curtiz for one of the true Tinseltown schlockmeisters, Norman Taurog, team Powell up with a greaseball with whom she has zero chem, add a fine dramatic actor (Wendell Corey) utterly lost in the world of froth, even bland froth like this, along with a Gallic actress who can do both drama and comedy brilliantly and who I hope was well compensated for appearing in this dreck, make sure the songs are totally unmemorable, along with the cinematography and the dialogue, and wonder at how I managed to last thirty five minutes before pulling the plug, thus sparing me greaseball #2, (Fernando Lamas). C minus.

Firstly, I had seen Miss Darieux in several movies. In this one, not even a trace of a French accent - amazing. Also, enjoyed Lamas, an Argentinian with a what-kind-of accent. By the way, whatever happened to his heart-throb son? Back to "Rich, Young and Pretty," I say pooh - double pooh - or poohpooh to the naysayers who dissected this movie and found fault with the performers and/or the script.

The songs were good, but certainly not MGM's best. The happiest surprise was "Deep In the Heart of Texas" - what a joy, and the song involving the great Four Freshmen.

The ballads were fairly decent - nothing more, nothing less. As for the fellow with the cane and cigar box who does not like Jane Powell - to quote Gen. McAuliffe when asked about surrendering to Germany - NUTS! I don't know if she was pretty or cute, so I settle for pretty cute. Her voice, not quite as strong as Kathryn Grayson, is still quite beautiful.

One of that era's best singers was Vic Damone who could sing powerfully, or pleasantly. I enjoyed him.

I loved the ending with its flying saucers - and knives, forks, spoons, and French cuisine.

Yes, I enjoyed the movie, and I'm proud to admit it. Onward and upward.

I am old school, meaning I like older movies with plots that are clean! To all the naysayers regarding this movie, most movies today are pure trash laced with violence in competition with one another, vulgarity and skin and sex as a draw for viewers. Unfortunately the adage in the world "sex sells" is the norm today for most screen writers, producers, directors, etc. etc. Yes the movie may be quirky, actors don't fit the demographics as such, but so what??? Enjoy something made for family viewing, something wholesome. If it is a movie from yesteryear and doesn't fit the mode of what people watch today then why turn to watch it. Get a life. We're all certainly entitled to our opinions of movie content, plots, and story lines but if you don't have something positive to say then just let it lay. It is a good movie. So it didn't win an Oscar or two or seven or whatever, so what. Professional actors here accepted their roles and played them good. The musical score was good as well. Appreciate the efforts of all the personnel.