There's No Business Like Show Business

The film was, perhaps, the splashiest of the year's musicals… It dealt with the joys, loves and heartaches experienced by a vaudeville family called the Donahues (spending their lives singing and dancing and touring) with Merman and Dailey as mother and father, and Ray, Gaynor and O'Connor as their talented offspring…

All of them get to perform a large catalog of new and old songs by Irving Berlin in sumptuous arrangements, beautiful settings and on a big Hippodrome extravaganza…

Daily and Merman hit the top; O'Connor—who had liked to build a barbed-wire fence around Marilyn—did it Scottish and came with some fine dances; Gaynor's love was dancing… and she was really cute; and while Ray got some thinking to do, he sells a very beautiful song ("If You Believe").

Marilyn (appearing after 29 minutes screening) was deliciously charming, seducing and very appealing… She sang "After You Get What You Want" and "Lazy," and did that tropical version of 'Heat Wave.'

Contrary to what a lot of people seem to think of this film, my biggest complaint with it is Marilyn Monroe. The studio shoehorned her into this film in their attempt to make the biggest musical extravaganza ever, and she just doesn't fit. She's so out of sync with the other characters that she might as well be from a different planet.

Don't get me wrong. I'm not a huge Marilyn fan, but she was good (and well-cast) in "Some Like It Hot". She's just all wrong for "No Business Like Show Business", and she looks and sounds ridiculous.

To be fair, Johnnie Ray often doesn't hold up well before modern audiences, either, when he sings. It's not that he's bad; it's that his style has come and gone and hardly been seen since. Everything in this movie tends to be at least a little overdone, and asking Johnnie Ray to exaggerate his singing does not produce flattering results.

Still, Donald O'Connor and Mitzi Gaynor are as brilliant and exuberant as you could hope. Ethel Merman is, well, Ethel Merman, and exactly right for her part. Dan Dailey is like a reliable locomotive that never disappoints.

The story is a bit plodding at times, but it only exists to set up one gala musical number after another. It only really bogs down when it gets caught up with Marilyn's character. If the studio had just left Marilyn out of it, perhaps giving Mitzi Gaynor the love interest role, and toned down the general effort level just a hair, this would've been one of the all-time greats.

It's still absolutely worth seeing -- in widescreen format, if you possibly can.

The first time you watch this movie, you'll think it's long, boring, and stupid. The second time you watch this movie, you'll love it. I can't begin to tell you why, but it's the truth. (I had the chance to show this film to an audience during a Donald O'Connor film festival. People came up to me weeks later to say that they had caught it again on cable, and loved it the second time through.)

Marilyn is definately "ehh". This movie was filmed during her worst years of personal abuses, and it shows all over her face and her work, lending a shadowy sadness to her character for modern audiences. Donald O'Connor's character also takes on a new depth for modern viewers familiar with his own life's history, oftentimes with a sharp poignance that helps him grab control of so many scenes, and turn his character's story into the strongest sub-plot of the film.

Merman is BRILLIANT as the real head of this family, giving us a wonderfully unique character. Her role as the strong, smart, powerful, and loving mother is truly a standout for the 50's in general, and musicals in particular.

Two scenes surprise, both with Marilyn Monroe: her singing of the "After You Get What You Want..." number in a ultra-tight, combination flesh-colored/white gown. It's obvious that the image portrayed is that she could be nude, with the frilly white covering her talents. The second is the famous "Heat Wave" number, in a skimpy outfit, with her navel appropriately covered, yet below is a flesh-colored "window" for more erotic symbolism. In 1954 nudity could NOT be shown, but those scenes probably BARELY squeaked by the censors. The film depicts the traveling, singing/dancing Donahue Family, headed by brassy Ethel Merman and Dan Dailey, with sons Donald O'Connor, Johnnie Ray (who wants to be a priest), and daughter Mitzi Gaynor. It's obvious the Monroe character was an afterthought to boost the film's success; the actress really didn't want to do the part, the studio allegedly counteracted by upping her salary and promising her the lead in "The Seven Year Itch" (1955). Nevertheless, Monroe looks great and is unforgettable, comedically, dramatically and musically. O'Connor is great fun and Gaynor is a knockout dancer. Between some slow stages, musical numbers are expertly staged, with magnificent sets and superb color schemes all throughout. The finale is surprisingly touching with a rousing title tune reprise by all; only way to watch this is on the pristine-restored widescreem (2:55 to 1) DVD.

"There's No Business Like Show Business" was never intended to be great film-making or storytelling, so please do not watch it with those things in mind.

Sure, it was over-staged, over-produced, in some cases over-acted and any other "overs" you can think of, but it's just fun to relax and watch and listen to. I've seen the film maybe dozens of times (I own the DVD) and it's obvious to me that despite a few on screen gaffes and off-screen problems for at least a couple of the actors, Hollywood had a whale of a good time making it. Some of the characters are unrealistic and I'm sure if you could ask the actors, all would say it was by far not their best work.

Furthermore, if we didn't know it before, "Show Business" proved that Johnnie Ray, the part crooner, part rock belter of the era, couldn't act his way into or out of a paper bag. But so what?? This ain't Hamlet. Ray was cast to do here what he did best: sing the heck out of a couple of songs that were arranged precisely to suit his performing style. And he also just managed to pull off an unusual plot twist that I'm sure audiences of the era did not expect.

We're all asked to suspend temporarily all logic and reason when we turn on our TVs or go to the movies. Why stop with "There's No Business Like Show Business"? So grab the munchies, sit back and let Ethel Merman and Gang entertain you for a couple of harmless, gaudy hours.