III_Max_III

this is a film for people who love big song and dance numbers (as well as Marilyn Monroe and Mitzi Gaynor fans). it almost is 'pre- reminiscent' of Bollywood in how it moves from one song to the next, with only the most meager connections between song and storyline. the storyline itself is thin enough, that in slow moments i was struck by how contrived the plot was. the purpose of this movie seemed to be to have several Irving Berlin songs choreographed into vaudeville-like song and dance numbers. what better way to do this than by following the lives of a couple of old vaudeville stars who met, married, had babies, and stayed on the road all the while. it all leads to the climactic scene (here's the spoiler, if this film can be said to have one) of ethel merman paying homage to herself and her role as Annie Oakley by singing 'there's no business like show business'. pay attention to how they managed to jigger the storyline such that ethel got her solo for that number (remembering that the family had five members plus a confounding love interest at that point, and the script writers had to somehow get all of them but ethel off the stage). another number, where johnny ray sings a gospel tune, has 'vehicle' written all over it. and as mentioned by the reviewer above, Marilyn Monroe was hot enough property that she was given two 'vehicle' numbers--although her character does not appear to have been penciled into an otherwise completed script, as suggested above. Marilyn's character is critical to the unfolding of the plot, such as it is. notice also how the script writers cleverly played upon Marilyn's reputation for a breathy, contrived diction.

so if you like BIG musicals with huge song and dance production numbers and little plot, this is for you (9 or 10 stars). if you do not, skip this one (1 or 2 stars, this is a bomb). averaged out to about a 6, but really more likely a 'love it' or 'hate it' movie. but then again . . .

there was something in the 'exposed ducts' construction that made me curious enough about how and why it was made the way it was, that i looked up the answers to many of my questions. were the songs composed specifically for this, or a jumble of odds and ends? (the latter). why was ethel merman given the climatic solo? (as mentioned, she was reprising a big number from her signature role as Annie Oakley in 'Annie Get Your Gun', which was one of the most successful Broadway shows ever at the time). who was that guy who played Steve Donahue, and please explain the strange juxtaposition of his commanding stage presence when singing, and that effete concealment of androgyny when not--as well as the 'cast-to-type' plot twist that sends him into the clergy . . . ? (look up a biography of johnny ray). so, if you want a peek into the movie-making process at the tail end of the studio-system era, this movie has a barely concealed super-structure that reveals how a hoped-for 'blockbuster' was constructed in those days.