Moon Over Miami

One of my favorite Betty Grable films! Beautiful scenery, beautiful songs and excellent choreography! Betty's costumes were really stunning and I wonder if the studio used a different designer for this film. It's all about losing out on an inheritance for the two Latimer sisters and their Aunt Susan because of taxes, so the three take off for Miami so Betty can find a millionaire husband. As usual, Betty doesn't have any trouble finding a man and that is when all the fun starts. They have a great time and so will you when you watch this film.

MGM is always the studio that film historians gush about for turning out great musicals. Unfairly snubbed is 20th Century Fox that used the richest, most brilliant color composition in the rainbow for its unforgettable string of Technicolor sundae delights starring Bette Grable. "Moon Over Miami" begins with the bouncy, adorable Texas Tommy Hamburger Drive-in sequence where Grable and Carole Landis show off their figures and talents. Quickly, the action shifts to a long gone Miami of l940 where people actually dressed up in stunning gowns and frocks by Travis Banton. Grable is unusually great looking in her gray ensemble trimmed in fur and she and Landis and Charlotte Greenwood prance around to "Oh, Me, Oh Mi-Ami!" Other fantastic numbers follow, showcasing Grable at her verviest--like her tap dance routine to "You Started Something," then onto "I've Got You All to Myself" and maybe the best, "Conga to a Nursery Rhyme." Banton's costumes, shimmering photography by Leroy Shamroy, electrifying charisma of Grable and the very hunky Don Ameche (who surprises with an outstanding singing vocie), all help make "Moon Over Miami" a sheer delight. Also, dig the decor of the fancy hotel suites, night clubs, the mansions.

Of course these Fox musicals of the 40's were flimsy. They were meant to be. They were what they were and MOON OVER Miami is one of the better Betty Grable flicks. Great color, location work, acting and especially the singing and dancing. Grable has been criticized for her singing and dancing. WHY? She was brilliant. Nice acting style for movies of this sort, wonderful voice and her dancing is up there with the best of them, Ginger Rogers, Judy Garland, and the rest of them. Have the Grable collection and they are all enjoyable but Fox needs to put the rest of her movies on DVD, especially MOTHER WORE TIGHTS, WABASH AVENUE; CONEY ISLAND and SPRINGTIME IN THE ROCKIES as well as BILLY ROSE'S HORSESHOE REVIEW. The plot of MOON is similar to THREE LITTLE GIRLS IN BLUE and the wonderful HOW TO MARRY A MILLIONAIRE. Yes, they CERTAINLY don't make em' like this anymore.

Betty Grable, Carole Landis, and Charlotte Greenwood, two sisters and their aunt work as carhops in a drive-up Texas diner and they get a letter from a lawyer. Another relative has up and died and left the family fortune to them. But after the court and Uncle Sam have taken their share, it's only several thousand apiece.

Betty has her sights set on landing a millionaire husband as any bright girl in that era would. Landis and Greenwood don't need much convincing to pool their resources and go to Miami and hang out where the millionaires do. Betty pretends to be a millionaire heiress herself with Landis as a secretary and Greenwood her maid.

I shouldn't say too much more, but as this was a film of pure escapism with happy endings required, you should be able to figure out the rest. The men sure liked looking at Grable and Landis and the women dreamed of being in their place, courted by the likes of Don Ameche and Bob Cummings.

Songwriting team of Ralph Rainger and Leo Robin contributed a good score that showcases the considerable musical talents of Ameche, Grable, Greenwood and Jack Haley who plays a suspicious waiter at the resort the girls are staying at. What I don't understand is that the title of the film is the title of a very big hit song from the Thirties and it is only used under the title credits and as background. Of course it wasn't written by Robin and Rainger, and maybe that was the reason, they didn't want their music competing with an established tune.

Even with world war once again breaking out in Europe, Africa, and Asia, audiences still loved this escapist stuff. Films like this are what made Betty Grable the GIs number one pin-up girl. This is what the GIs loved as Robert Strauss from Stalag 17 would so testify. After all, Animal did say he saw all her films on multiple occasions.

If he did, he was well pleased with Moon Over Miami.

Fox believed in remakes and this one was used again in THREE LITTLE GIRLS IN BLUE and HOW TO MARRY A MILLIONAIRE--three girls in search of a millionaire husband. While the plot is a flimsy one, it does give Betty Grable fans a chance to glimpse her in a fluffy technicolor musical (with location photography in Florida), engaged in romantic shenanigans with two leading men (Don Ameche and Robert Cummings), and supported by pros like Jack Haley, Charlotte Greenwood, Carole Landis and Minor Watson.

It's a typical Fox musical made to order for Grable fans and photographed in some scenic Florida locales serving as Miami. Robert Cummings and Don Ameche are impeccably clad and flashing the kind of smiles that belong in a toothpaste ad--thus serving as perfect foils for Betty's curvaceous blonde charms.

Some of the specialty numbers are good--especially those by the Condo Brothers--and Betty herself gets to do a couple of sprightly tap dance routines. None of the music is memorable but it's easy to see why Grable was so popular at the box-office in escapist films of this nature at a time when war weary audiences craved this kind of entertainment at the start of World War II. Her modest talents are on full display here--and Ameche and Cummings show that they had a definite flair for this kind of romantic comedy--especially Cummings who was always better in lighter assignments as opposed to dramatic roles--contrary to what another commentator says.

Carole Landis can do little with her role as Betty's sister (posing as her maid). She is very prettily photographed but walks through the role in an aloof manner that makes her almost invisible.