User Reviews

There were only a dozen or so films between 1943 and 1950 for 20th Century Fox musical comedy queen Betty Grable, and many of those films seem quite similar with their vaudeville or musical comedy settings, so it seemed a nice idea for 20th to take one of Betty's old films, give it a new setting and change the name. Other details have been altered too, but for the most part, the films are almost identical. They all focus on ownership rights of the leading hero over a dance hall or music hall, where Betty Grable just happens to be the star, actually quite a temperamental one. Grable had never been so hot and bothered in her characterizations before. Feisty, yes, but temperamental, no.

Once the curtain rise on Grable singing the title song amongst the chorus girls, you can't wait for her to break into singing and dancing on her own, and she does that with a winner of a number. "I wish that I could shimmy like my sister Kate" is a rousing dance number, and she has several of these, most memorably "May I tempt you with a big red rosy apple?" and the campy "Wilhemina". Other than that, this is more of the same, with practically every archetype character from "Coney Island" here to make the unmistakable perception that it was indeed the same story. James Barton is the equivalent of the same character Charles Winninger played, with Victor Mature taking on the role that equally rugged George Montgomery had played before.

One major addition was the inclusion of a Carrie Nation type temperance leader, here played by Margaret Hamilton in a zany fight scene that is truly comical with her subordinates going wild-swinging on chandeliers, throwing glasses at the bartenders, and even Hamilton breaking the mirror behind the bar. Phil Harris and Reginald Gardiner round out the leading players with roles straight out of its original source. This is a rare rambunctious musical for director Henry Koster whose previous musical films were those starring Deanna Durbin, quite a different leading lady than Ms. Grable.

My title is an abbreviated quote from Betty Grable(as Ruby), as she is explaining to Mike(Phil Harris) why she turned down his marriage proposal. The 'skunk' she is referring to is Andy(Victor Mature, Mike's sometimes nemesis, sometimes partner). More or less, a remake of Fox's huge wartime hit "Coney Island", also starring the singing, dancing and acting of Betty Grable. However, this screenplay is sited in Chicago during its World Fair of 1892, rather than the NYC area. Also, the songs and dances are all different and, on the whole, not as pleasing as the original and recycled songs of the original film. That is probably part of the reason why this film is not currently rated quite as high as the original film and was not near the box office success of the original(according to data at the IMDb sites). Also, as I taped both films off TV on the same day, I can say that the supporting actors were not, on the whole, as charismatic as those in the original. Also, the sets were, on the whole, not as varied nor as elaborate. This is not to say that this film isn't worth viewing, if you like this type of film. Betty was still in fine form, bringing her energy, charm and singing/dancing talent to the screen once more, after 10 years at Fox studios. Unlike some of her films, were she had male or female costars or supporting actors who were notable singers, dancers or comedic personalities, she had to pretty much carry this film herself in these departments. Perhaps the stage production "Wilhelmina", with a Danish theme, was the best of a number of musical productions.

If you prefer cocky Victor Mature over suave George Montgonery as her leading man(Andy), and Phil Harris to Caesar Romero as the sparing partner(so to speak) of the leading man(Mike),this version may be more to your liking. Mature's Andy seems more of a snake(in Betty's words) than Montgomery's version. For example, Andy incites a mob of temperance crusaders outside Mike's burlesque establishment to wreck it so that he can suggest to Mike that they resume their partnership and rebuild a classier establishment that will attract moneyed patrons, with Betty as the star attraction. Mike knocks out a man during this spectacular brawl. Andy has him taken out unconscious, then fakes his death and funeral, suggesting that Mike should be be charged with manslaughter. Later, there is Andy's infamous(if unbelievable) Ferris wheel seating switch caper. Andy and Mike largely lacked the brother-like love-hate relationship that was evident between Montgomery and Romero in the original. However, we see a repetition of the vacillating love-hate relationship between Betty and the leading man, as well as a steady father-daughter type relationship between Betty and his rival, who is her boss or manager....James Barton takes the place of Charles Winninger in the original, as a tipsy Irishman, who does a couple of impromptu song /dances.

This was the third musical romance in which Mature costarred with Betty, the other two being released 8 years earlier. "Song of the Islands" was a very slight musical, where Betty plays a semi-South Seas maiden on a tiny island, with Mature an unexpected new arrival and suitor. In "Footlight Serenade", which I haven't seen, Mature, as a charismatic heavy weight champion, spars with John Payne, frequent leading man for Betty. Since Mature's musical and comedic talents presumably were limited, he was mostly limited to being a hunk trouble maker, hero, and romantic suitor.