User Reviews

The Girl Most Likely has the dubious distinction of being the last film ever shot by RKO before the studio folded. If it looks familiar it is a musical remake of the Ginger Rogers classic Tom, Dick, and Harry. Standing in for Ginger is Jane Powell recently of MGM and directing is Mitchell Leisen. But even with those two considerable talents, The Girl Most Likely is a far cry from some of the classic expensive musicals that Powell did at MGM like Seven Brides For Seven Brothers.

The serviceable, but unmemorable score was written by the songwriting team of Hugh Martin and Ralph Blane who also did better things at MGM like Meet Me In St. Louis.

The Girl Most Likely does faithfully follow the plot of the film from which it was adapted. Jane who was getting a little old for these kind of parts now despite her diminutive size plays a young woman newly in the work force, but with an eye for marriage. And she accepts at different times proposals of marriage from three different guys, go getting real estate salesman Tommy Noonan, Bohemian auto mechanic Cliff Robertson, and her millionaire boss Keith Andes whom she really set her cap for.

Tom, Dick and Harry had some imaginary sequences where Ginger Rogers imagined life with each of her three prospective husbands and those do lend themselves to musical numbers. Somehow I think if this had been done at MGM by the Arthur Freed unit it would have come out a lot better.

In the supporting cast take note of Kaye Ballard as Jane's best friend in the Eve Arden part and Frank Cady and Una Merkel as her parents.

As The Girl Most Likely follows the plot of Tom, Dick and Harry those of you who saw that film know who Jane winds up with. But you won't get that out of me.

Jane Powell is "Dodie", who toys with men, and then gets them to propose. Cliff Robertson, Keith Andes, and Tommy Noonan all want to marry her, but now she must make her choice. The story of this film production is more interesting than the plot itself... apparently it was filmed as RKO was going under, but Universal ended up releasing it. The one really bright spot here is Kaye Ballard, who was a fixture and sidekick in so many hollywood films. Ballard performed frequently around LA and Palm Springs, and was SO talented. and of course, Frank Cady was in Petticoat Junction and Green Acres. SO much singing in here....(too much). kind of a gidget film, but Powell is already much older. (sandra dee was only 17 when she played Gidget ! although this film might have inspired Gidget, two years later. ) Robertston went on to some pretty big things. Noonan died quite young. Script is so-so. Looks like it was all television for director Mitchell Leisen after this one. a big yawn. Skip this ... there's probably something better showing.

This is one of the last 50s style musical comedies and the final film to present Jane Powell as a singing star. She is supported by Keith Andes, who can truly sing, and comedy by Tommy Noonan and Kaye Ballard. Cliff Robertson's singing is dubbed by Hal Derwin. The songs are only serviceable, even though they are written by Hugh Martin and Ralph Blane, who gave us "Meet Me in St. Louis" and "Best Foot Forward". The best musical number, however, is the title tune, actually written by Nelson Riddle, with a vocal by the Hi-Los. Riddle's arrangements, which never seem to date, keep the music interesting. As for the plot, there isn't much of one. As for the comedy, both Noonan and Ballard were better served elsewhere. The choreography, however, is spectacular; this is Gower Champion's first attempt to stage dances for performers other than himself and wife Marge. From here, Champion went to Broadway and became a legend.

Is regrettably viewing it through a 21st century lens. It was not made in the 2000s. It was made in the 1950s, and should be judged accordingly. For its time, it was witty, clever, whimsical, and sharp, with inspired choreography by Gower Champion and direction by screwball comedy master Mitchell Leisen. The cast is giving it their all. Una Merkel, Jane Powell, Cliff Robertson and supporting cast go a long way toward overcoming the modest budget and not-entirely-original story. It's a romantic-comedy-musical that's fun and full of life. How on earth anyone could expect it to conform to a politically correct standard of the 2020s is beyond comprehension. Yes, Howard Hughes had run RKO into the ground by the time this film was made, and it shows around the edges. But if you let yourself be swept into the fifties fantasy suspension of disbelief, there are riches galore and enjoyment on a grand scale to be had. I love this movie.

This movie features mostly people not known for their singing or their dancing... singing and dancing. The story is pretty weak and the musical numbers and dances are uninspired to put it mildly. Some of the principals were fortunate enough to be in much better films than this; how they ended up here I don't know but it's just a lame effort. The sets and color are nice enough and there are some interesting period touches for the 1950's, but overall, it's not a movie you'll finish watching (if you DO finish it) and want to see it ever again.

Jane Powell plays Dodie, a young lady who is itching to marry a millionaire. While that is certainly her right, in the process she treats the men around her pretty shabbily. First, one guy asks her to marry him and she agrees...but also thinks it's okay to keep looking in case she can find a millionaire instead! Second, she meets a guy who she thinks is a millionaire...and she he isn't, she's angry at HIM! She later becomes engaged to him as well. And, finally, she meets an actual millionaire and accepts his offer to marry him. Considering her word in nothing and she uses men, the film "The Girl Most Likely" sure has a lot working against it! After all, you would expect to like the leading lady in a romantic musical comedy!!! This is a huge strike against the picture, that's for sure...and she's either a bad person or a very dim one!

Unfortunately, the movie doesn't just suffer when it comes to the leading character. The music, unfortunately, isn't very good and a few of the production numbers are downright irritating, such as "Gotta Keep Up with the Joneses" and "I'm Just Crazy About Crazy Horse". Who thought of these songs??

Overall, a very unappealing film from start to finish.

This role was so beneath Powell. You can see why she left Hollywood two years later. She is almost 30 years old here and still being given the part of the young innocent being courted for marriage. I have no problem with the premise but the storyline and direction is totally amateur hour. This is really at the beginning of movies taking a turn for the worse as the studio system collapses. The one interesting thing about this film from a sociological perspective is you can really see the beginning of the sexual revolution as there is a scene here where there are teams of couples on the beach wrapped around each other (you will see a lot more of this in the next five-year period with all of the beach party movies).

There were quite a few low budget musicals made during the '50s that were mostly insignificant but very watchable because they made no pretense at being "great." "The Girl Most Likely" is one of the more likable. There's some wonderfully exuberant choreography by Gower Champion and the score contains a few songs that any musical would be proud to own. This was a musical remake (as so many of this type were) of Garson Kanin's "Tom, Dick and Harry."

This was almost identical to Ginger Rogers' "Tom,Dick and Harry" from 1941.

JANE POWELL seems to be enjoying herself in this cheerful little mixture of music and romance. However, the film itself never succeeds in looking much more than a low-budget musical with fake RKO sets that belong in a B-movie rather than a color musical. Despite this, there are pleasant performances by Jane Powell, Cliff Robertson, Tommy Noonan, Keith Andes and Kaye Ballard that compensate for a story that's been told before as "Tom, Dick and Harry" with Ginger Rogers back in 1941 (in B&W and without music).

Jane is just as pert and pretty as Ginger Rogers in the role of a girl who can't decide which man puts her on cloud nine until she finally wakes up at the last moment on the basis of the right kiss. It's all strictly fluff meant to entertain and in its own way it succeeds beautifully, thanks to Powell's effortless charm.

She's also in good voice but is given a number of songs by Blaine and Martin that have no lasting appeal. She delivers them all in a lilting and rich vocal style. Cliff Robertson was obviously a bit ill at ease in his musical sequences but provides a hunky presence as one of her smitten suitors. Tommy Noonan provides most of the comedy relief and Keith Andes has a role he can do virtually nothing with.

There's a rather imaginative American Indian song-and-dance routine that is sure to offend some of the politically correct crowd who can't accept the sort of stereotyping that was done in films of the 1950s. A similar number from ANNIE GET YOUR GUN (and one of the highlights of the MGM film) was cut from the latest Broadway version to placate the PC protesters.

It's the last theatrical film directed by Mitchell Leisen who was then near the end of his distinguished career directing a variety of films. This has got to be one of his lesser efforts but it has a certain charm as the last gasp of the musical era. RKO was virtually at a shutdown by the time the film was completed and it was released two years after being made on the lower half of a double bill.

Disappointing 1957 musical where within an 1 hour and 40 minutes, Jane Powell gets engaged to 3 guys at the same time.

The Gauer Champion choreography is its usual greatness. Dancing sequence of "Keeping up with the Joneses" is memorable as well as the scene with all the dancing in Mexico.

Powell does nicely in the part but is not convincing in the comedy scenes where she has had one too many.

Tommy Noonan is good as her original guy who is an ambitious salesman. Cliff Robertson, who she meets by jumping over-board is young and simple. Keith Andes, as the wealthy guy, looks old for 1957.

Una Merkel, who seemed to fit in nicely in the 1950s in mother roles, is along for the ride.

The ending is somewhat of a surprise and proves that wealth isn't everything.

A most dispiriting way for good director Mitchell Leisen to call it a career. Just a tired, somnolent, lifeless affair all around with songs by Blaine and Martin that show just how far Balboa is from St. Louis in time, space and musical quality. Aside from an interesting Gower Champion choreographed dance number that nicely subverts the 1950s ethos of materialism, status and conformity (and which is itself promptly subverted by the entire film's underlying message that all a woman needs to be fulfilled is a man to take care of her) and some interesting glimpses of Orange County's South Bay before it became an official adjunct of Palm Beach this is Newt Minnow's vast wasteland five years before the FCC chair made that infamous statement re: TV. Oh well, at least it performed one vital public service, namely removing Jane Powell from the big screen. Give it a C.

This is one of my all time favorite movies. I love the soundtrack and the musical numbers. I bought the soundtrack first and fell in love with music without even knowing what the movie was about. Then I saw the movie and loved it! The cast is wonderful! Jane Powell is beautiful and her voice...amazing! Cliff Robertson, Keith Andes, and Tommy Noonan are great as the intendeds and Kay Ballard plays a great sidekick. The musical number at the beach is so fun and energetic and I love the musical number with Jane and Cliff as an Indian couple with a tribe of kids. It's a delightful, happy movie to curl up to and enjoy. It takes you back to much simpler, innocent days. I love seeing the small California beach towns, such as Balboa, as they were in the 50's. I've looked everywhere to try to find a copy of the movie and I can' t find it. I hope it is re-released someday soon!

This was the end of Jane Powells career in the movies. It's not a very good movie to end a brilliant career with, but it's entertaining, and the history of the cast should be mentioned: First we have Jane Powell who started out in movies as a child performer and made it to big time which is something that most child actors and actress' couldn't do. Very few made it such as Jane Powell, Debbie Reynolds both born of April Fools Day, Natalie Wood, just to mention a few. Cliff Robertson was a known actor but never really made it to star-status. Keith Andes was a fine singer and had played the lead role in Kiss Me Kate on Broadway, but never really made it in Hollywood as an actor or the excellent singer that he was. Kaye Ballard was known for her cukoo comedy talents and had appeared as one of the Wicked-Step Sisters in the original Juile Andrews version of Rogers and Hammerstein's Cinderella on T.V., and played in the Mothers-In-Law on T.V. with the other Mother in Law Eve Arden. Una Merkel made herself into a star by playing secondary roles such as Kitty Kelly in The Merry Widow with Land Tuner and the housekeeper in Rich, Young, and Rretty, again, with Jane Powell. Kelly Brown appeared in the movie Oklahoma and Seven Brides for Seven Browthers as one of town-folks line-dancer, but if you were a dancer you knew who he was, and Tommy Noonan made himself into a star by playing secondary roles such as Marily Monores dim-witted husband to be in Gentlemen Prefer Blondes, but his best role was as the gum-chewing Pianist in A Star is Born with Judy Garland. In fact, Noonan showed that he was a fine actor by stealing the last scene from Judy Garland in A Star Is Born when he tells her how pitiful she's behaving since Norman Maine had committed suicide, but there is one person in the line-dancers that's had a history that no one knows about.

Here's in Cincinnati, Ohio, we have had our share of famous actors and actress' such as Doris Day, Tyrone Power, George Chikarus, Vera Ellen, and a very famous criminal with the initials of C.M. that we don't like to talk about. Harvey Evens is from our area. He had been studying dancing with Harris Rosedale, I know this to be a fact because I was there too, but his name was Harvey Honnacker. I guess he changed his last name to Evans because he couldn't get his last name up in lights. Too long. So, I remember one day he came into the studio and said, "I have nothing here" and went to study with Leo and Rita McNeil. Later he went to New York. Then he went to Hollywood where he did chorus work in The Pajama Game, West Side Story under his original name, and The Girl Most Likely. Later he did the T.V. version of Applause playing the gay hair-dresser and friend of Margo Channing played by Lauren Bacall. Since I knew LeRoy Reams who played the role originally, I asked LeRoy if he had recommended Harvey to play his role, and he said no; that he got it on his own. I'm not sure, but I heard through certain channels that Harvey passed away. What a talent he was. I remember seeing him in a dance recital given by the O'Neils when he was there and he sang a jazzed up version of Indian Love Call and did a dance ending up with his jumping up on the side on stage and back down like James Cagney did in Yankee Doodle Dandy. What a talent he was. It's just a shame he, like many others, were never allowed to show the full power of their talent in the entertainment field!

This is an odd, but charming, little film. A remake of an old Ginger Rogers film called Tom, Dick or Harry. But somehow in musicalizing it and making the changes necessary for the new location, something has been lost and I just can't quite put my finger on it.

Your have a great cast! Jane Powell, fresh from her MGM days. Kaye Ballard in one of her very rare movie roles (there are times when she still seems to be playing to the balcony) and a great supporting cast of people like Frank Caddy, Una Merkel, Cliff Robertson, Tommy Noonan and Keith Andes, who was also rarely seen on film. The choreography by Gower Champion is bright and inventive, especially the number on the beach and a score by Hugh Martin and Ralph Blane. What else could someone want?

I still don't know.

Ms Powell's character has no redeeming characteristics. She is out for one thing and one thing only - to marry a rich man and she doesn't care who she steps on along the way. Then when she does have the millionaire she just drops him suddenly,on the very hour of their wedding, to go back to Fiancée #2, the mechanic, with no thought to Fiancée #1 (her childhood friend) who seems to be the only one honestly in love with her. Ah love - one can never understand it.

The Girl Most Likely - 1958

Jane Powell and the entire cast of this excellent and very enjoyable musical are completely wonderful. The cast just knocked themselves out in order to bring forth a really, really good romantic comedy.

I was very impressed with the way the movie made me feel, which, after all is one of the considerations as to why someone would want to see it. This has the most charming song sequences. I was particularly enamored with the lyrics of the songs, as well as the terrific choreography of Gower Champion. A few of these songs were Jane Powell's character Dodie's daydreams, which are meant to be sparked with humor and fantasy. Several songs are hilarious exaggerations of how someone might daydream when they are trying to crystallize into words, the deepest feelings that they are searching to understand. In light of this, I find the lyrics to be superb. If you see the movie several times, you just have to marvel at the complexity of the way each song is staged, and yet how smoothly the scenes of each song are all put together. These scenes are genius.

When this musical was released, rock and roll was grabbing people's attention, so it did not get the attention that I feel it deserves. In looking back on it, I think that it is one of the most fantastic of productions. The cast, the directing, the staging, and the continuity of the film is something simply amazing. The character, Dodie, was someone in her 20's and so was the actress when she portrayed this role. In the 1950's when this was made, many young women that worked still lived at home until they married, so it is typical of family life in those times. Some were going to college and some were not. The plot does not say that she had not been to college, it simply was not mentioned. All we know is that she was of marriageable age. I love this movie and every thing about it.

I saw this one at a theater in Westwood, California during its initial release and hadn't remembered much about it except for the lilting title song performed by the Hi-Lo's (the very best of the male singing quartets of that era) and the lively "Balboa" dance number with a flotilla of dancers splashing through the water's edge on a partially flooded soundstage setting.

Turner Classic Movies showed it earlier today and, oh my!, what a tremendous waste of the various talents involved. Almost everyone in the cast, except for Cliff Robertson, whom I've always found to be close to terminally bland, is criminally underused. The Newport/Balboa Island setting for most of the action isn't capitalized on, except for the title sequence. The production numbers are almost all sub-par, not coming close to the norm in Jane Powell's M-G-M extravaganzas. The treatment of Mexican nationals and American Indians is typical of 1950s all-white heedlessness. And the script is about as silly as they come by any standard, with Jane's final choice of her three suitors (cued by that "Pink Cloud Feeling") being the fadeout disappointment.

Gower Champion's ability to get a troupe of talented dancers into showing some real razzle-dazzle is best showcased in the "Balboa" number and Nelson Riddle's arrangements almost redeem the surprisingly lackluster songs by the usually reliable Ralph Martin and Hugh Blane (who weren't responsible for the listenable title song). All in all, if RKO Radio Pictures weren't already moribund, this one was sure to provide the final nail in its coffin.

I saw this film last night on the TCM network and it was really strange. There was a rather un politically correct dance sequence that involved Native Americans (well actually not native Americans) and Cliff Robertson appeared as a "Chief" who appears to be smoking something rather strong in his peace pipe as he passes out a few times during the number. There is also another scene in which the rich guy drives Jane Powell home from Tijuana in a taxi with the cab driver in the back seat and the rich guy is drunk as a lord, yikes what would MADD have to say about that! Overall the musical score was weak but there was an interesting dance number on a flooded stage that was shall we say unique. I'm not quite sure I would recommend this film unless the watcher had some of that stuff that Cliff Robertson had in that pipe in the Indian number but hey it is a surreal film who knows you might like it.