Rich, Young and Pretty

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.

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.

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.

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.

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.