The I Don't Care Girl

1953 "The Wild and Wonderful Musical About the BAD Girl of Show Business!"
6.2| 1h18m| NR| en
Details

This semi-film within a film opens in the office of producer George Jessel, who never saw a camera he couldn't get in front of, who is holding a story conference to determine the screen treatment for the life of Eva Tanguay, and Jessel is unhappy with what the writers present him.He tells them to look up Eddie McCoy, Eva's one-time partner, for the real inside story on the lusty and vital Eva. Eddie's version is that he discovered her working as a waitress in an Indianapolis restaurant in 1912, wherein singer Larry Woods and his partner Charles Bennett get into a fight over her and both land in the hospital, and McCoy convinces the manager to put Eva on as a single to fill their spot. She flopped, but McCoy arranges for Bennett to be her accompanist, and she went out of his life. The writers look up Bennett, now head of a music publishing company, who says McCoy's story is phony, and it was Flo Zigfeld who discovered Eva for his Follies.

AD
AD

Watch Free for 30 Days

All Prime Video Movies and TV Shows. Cancel anytime. Watch Now

Trailers & Clips

Reviews

ReaderKenka Let's be realistic.
GazerRise Fantastic!
Teringer An Exercise In Nonsense
Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...
edwagreen I didn't like the ending in this 1953 entertaining movie. Nice seeing David Wayne attempting a song and dance routine. Even though he mouthed the words, he got through it nicely.The film tells the story of the making of a film based on Broadway luminary Eva Tanguay.The dances and the songs centered around the theme of I don't care are marvelously staged.Wayne appears in and out of the film and his telephone drunk scene was so similar to when he gave up Susan Hayward (Jane Froman) to Rory Calhoun via the phone again the year before in "With A Song in My Heart."The film tells of different men in her life telling her story with differences that seem to come all together at the end.
boblipton The musical comedy biopic gets the Rashomon treatment in this faked-up biopic of Eva Tanguay, one of the great stars of turn-of-the-century vaudeville. Mitzi Gaynor, as always, gives a great performance and it's a pity that, with the exception of the movie version of SOUTH PACIFIC, she was always Fox's B musical star, doing whatever they gave her. The musical numbers are all overdone, as if choreographer Jack Cole is mocking the form; the semi-strip-tease to jazzed up Mozart (I'm not making this up! It's the most out-of-place dance number outside of Sally Forrest's weird one in EXCUSE MY DUST) and other numbers that recall LADY IN THE DARK -- all very modern for the era and absolutely bizarre in context.Oscar Levant plays the piano magnificently a few times and David Wayne gives a typically graceful performance in support.
theduchess86 perhaps now twentieth century fox are at last releasing Mitzi's bloodhounds of Broadway, they might set about putting out the full version of the I don't care girl, it would be great, although it was a silly plot and not at all true to the life of Eva Tangway, and Mitzi leading men did not help her at all, Mitzi 's fabulous dance numbers showed why she was completely wasted in Hollywood, would love this film to be released with all the great production no's that were cut, also great to see Mitzi's TV shows being released on DVD, why do these things take so long? another great mitzi film although it was pure sinatra, not released is the great film the joker is wild, lets hope that one is released too
Williams Not the greatest of musicals I've ever seen, but I was fascinated by the combination of Mozart & The Johnson Rag. The intricate dancing was dazzling & I replayed this sequence several times. Turns out that the Italian lyrics were not the original ones but the combination of Mozart & jazz dance steps I thought were brilliant. One of the most intriguing dance routines I've seen. Being 20th C Fox & not MGM, this has never been given the credit it deserves. Oscar Levant, as always, was a bonus.