Producer: Joe Pasternak. A Henry Koster Production. A Metro-Goldwyn-Mayer picture. Copyright 26 February 1946 by Loew's Inc. New York opening at the Capitol: 6 June 1946. U.S. release: April 1946. U.K. release: 24 June 1946. Australian release: 17 October 1946. 10,229 feet. 113 minutes.
SYNOPSIS: Two Boston girls go to New York to find song and/or romance.
NOTES: One of the top 36 boxoffice attractions in U.S.-Canadian cinemas for 1945-46.
COMMENT: Bright and breezy musical especially in its first half before the plot gets too involved with grand opera and the aristocratic Lawfords. Mr Durante is in top form and has some really funny dialogue and made-to-order patter songs. The climax, an imaginary opera Marie Antoinette, obviously designed to utilize Adrian costumes from the Norma Shearer film, does not otherwise impress, especially as it is played straight when earlier on the whole notion of grand opera is gently ridiculed.
Miss Grayson's voice as usual is poorly recorded. Melchior is hammy even when playing straight, Miss Allyson is much as usual. It is Mr Durante and the movie's supporting players that are its real joy. Harry Hayden in particular is given some delightfully stinging additional dialogue by James O'Hanlon and Harry Crane.
Koster's direction is more lively than usual. Surtees has given it a nice period atmosphere and flavor with unusual-for-a-musical film noir lighting. Dance director Jack Donohue is at his best in the zesty Bowery numbers.
SYNOPSIS: Two Boston girls go to New York to find song and/or romance.
NOTES: One of the top 36 boxoffice attractions in U.S.-Canadian cinemas for 1945-46.
COMMENT: Bright and breezy musical especially in its first half before the plot gets too involved with grand opera and the aristocratic Lawfords. Mr Durante is in top form and has some really funny dialogue and made-to-order patter songs. The climax, an imaginary opera Marie Antoinette, obviously designed to utilize Adrian costumes from the Norma Shearer film, does not otherwise impress, especially as it is played straight when earlier on the whole notion of grand opera is gently ridiculed.
Miss Grayson's voice as usual is poorly recorded. Melchior is hammy even when playing straight, Miss Allyson is much as usual. It is Mr Durante and the movie's supporting players that are its real joy. Harry Hayden in particular is given some delightfully stinging additional dialogue by James O'Hanlon and Harry Crane.
Koster's direction is more lively than usual. Surtees has given it a nice period atmosphere and flavor with unusual-for-a-musical film noir lighting. Dance director Jack Donohue is at his best in the zesty Bowery numbers.