Scanialara You won't be disappointed!

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

JohnHowardReid Songs by Arthur Schwartz (music) and Leo Robin (lyrics): "I Happened To Walk Down First Street" (Carson, Morgan, Paige and Greene), "A Solid Citizen of the Solid South" (Carson and Paige), "Through a Thousand Dreams" (Morgan and Vickers, accompanied by Cavallaro), "A Gal in Calico" (Morgan, Carson, Paige, Vickers), "A Rainy Night in Rio" (Morgan, Carson, Paige, Vickers), "Oh, But I Do" (Morgan). Miss Vickers' singing voice dubbed by Sally Sweetland. Dances directed and staged by LeRoy Prinz. Music adapted by Frederick Hollander, arranged by Dudley Chambers, orchestrated and conducted by Ray Heindorf. Music director: Leo F. Forbstein. Copyright 28 December 1946 by Warner Brothers Pictures, Inc. A Warner Brothers-First National picture. New York opening at the Strand: 26 December 1946. U.S. release: 28 December 1946. U.K. release: 26 May 1947. Australian release: 22 January 1948 (sic). 9,483 feet. 105 minutes.SYNOPSIS: A musical highbrow (well played by Donald Woods) tries to stop the next-door nightclub from putting on a show.NOTES: "A Gal in Calico" was nominated for the year's Best Song award, but lost out to "Zip-A-Dee-Doo-Dah" from Song of the South.COMMENT: Engagingly acted by all concerned (especially by the lovely Martha Vickers and gold-digging Angela Greene), this is a bright, colorful musical comedy with two standout songs: "A Gal in Calico" and "A Rainy Night in Rio". The plot provides some amusing variations on the standard putting- on-a-show ploy and does tend to become a bit overloaded with material, presumably to ensure that all six of the principals (Morgan, Carson, Vickers, Paige, Sakall and Greene) enjoy a fair share of the action. Intending viewers are warned, however, that S.Z. Sakall manages to figure in rather more than a strictly equitable shake. For instance, he's not just a spectator of the musical numbers, but also tries to conduct the orchestra (whilst getting dressed, yet). I thought he was entertaining, but if you're not particularly partial to S.Z.'s visual and aural shenanigans, better give this Place a miss. On the other hand, everyone's favorite pianist (and mine), Carmen Cavallaro (later to win fame for his superlative dubbing for Tyrone Power in "The Eddy Duchin Story") is present both in person and on the sound track — and that is a major treat that surely no fan in his right senses would want to miss.

dougdoepke Pleasant musical, colorfully produced, but with more plot and talk than necessary for a musical. The plot's well worn—the guys and gals want to put on a musical in spite of a couple of killjoys (Bates & Woods). Seems the money needed for the show keeps getting passed around between good guys and not-so-good guys. Anyway, count on Morgan and Carson to get things right. The musical numbers are eye-catching, especially the rope-twirling "Calico", along with tap-dancing whirlwinds the Condo Brothers. I expect one reason for the talk is the large number of featured players, from Morgan to Bates. Each name player has to get enough dialogue to maintain status and pay-rate.This is still early in the Morgan-Carson pairing, so fans may be disappointed they don't get more shtick. Nonetheless, their chemistry shows promise. And, of course, there's Cuddles Sakall doing his ain't-I-adorable bit, which of course he is. But the real surprise, to me at least, is noir vamp Martha Vickers. None of that here; instead, she shines in a sparkly role I would never have suspected. Too bad she never rose to the level her talent clearly warranted. For those fans of 40's women's big hats, catch Paige's menacing flower combo early on. I'm surprised the actress kept her head.Anyway, it's an eye-catching 100-minutes, and if not memorable, at least entertaining.

calvinnme I watched this because it had a middling rating on IMDb and yet was nominated for at least one Oscar because it was on Turner Classic Movies' 31 Days of Oscar. I always watch these and then look afterwards at what nominations the film got to see if I correctly guessed. This time I came up empty.It's a good film to watch if you are recovering from a nervous breakdown because there is little to no real conflict of consequence going on. Dennis Morgan and Jack Carson - the Hope and Crosby of Warner Brothers - are going to open up a club next door to the home of opera singer Victoria Cassel and symphonic conductor Ladislaus Cassel, granddaughter and grandfather, played by Martha Vickers and S.Z. Sakall, respectively. I guess we can talk about the bizarre zoning that would allow a nightclub next to a mansion another time. Their manager (Donald Woods sporting a ridiculous looking mustache) tells Morgan and Carson that he will have them shut down because they are hindering his clients' ability to practice their kind of music in peace.So Morgan and Carson invite Victoria and her grandfather over to listen to "their kind of music" and they admit there is nothing wrong with it. The real instigators of the trouble are the manager and the grandfather's wife, an ex opera singer herself, so the club is still shut down over the ignored protests of grandfather and Victoria.The rest of the film is about Morgan and Carson attempting to "put on a show" instead of opening their club. Of course there are complications. Vicki and Morgan's character begin a romance of sorts, but Morgan tells her he is not the marrying kind. That issue is never settled by the way. There is a gold digging woman who is the image of Scarlet Johansson who is either helping or hindering the show financially depending on whether or not she thinks Morgan's character is sweet on her versus her desire take a Texas oilman (Alan Hale) for all he is worth. The eternal struggle of muscles versus money. So the main issues are will the show ever get enough financial backing to open and how will that happen, and will the trouble-making manager, who seems to be doubly threatened since he seems to have a thing for Vicki, thwart Vicki's involvement in the show and her involvement with Morgan. One weird thing about the music - it turns out the film was nominated for best song for a very forgettable number. In fact, all of the numbers are pretty forgettable with the exception of the very hummable "Rainy Night in Rio". Also, all through this film, there is supposed to be a running argument about swing/jazz music versus symphonic music, with the swing music being what the show is supposed to be about and why the original nightclub was closed in the first place. The "show" that is the creation of Carson's and Morgan's characters consists of what I would call pseudo-symphonic music and production numbers tame enough for any garden variety MGM musical at the time.Summarizing - I wasn't at all impressed by the music, although Dennis Morgan's voice is always pleasant to listen to. So it's both Morgan and Carson doing their usual comic schtick with Morgan being the smooth one and Carson being the cruder and more forward of the two that is the draw along with the well intentioned S.Z. Sakall also being pretty amusing.

bkoganbing Warner Brothers did for Dennis Morgan and Jack Carson something that Paramount until the Road To Bali never did for Bing and Bob. The Time, The Place And The Girl was done in some really nice technicolor and they gave the musical numbers by Arthur Schwartz and Leo Robin full production numbers. They could do this because a great deal of the film has a nightclub setting.A nightclub setting that Morgan and Carson own and are trying to open. But they are next door to S.Z. Sakall and Florence Bates and their townhouse. Sakall is a symphony conductor and their granddaughter Martha Vickers is studying grand opera. Funny we hear no operatic notes from her. What to do but send the old lady killer Morgan into action. But he really falls for Vickers. I think you can figure the rest out.The musical numbers are not as elaborate as Busby Berkeley stuff in the Thirties, but are more elaborate than Road films numbers which only had the Crosby/Hope personalities to put them across and they certainly didn't do a bad job.One interesting bit of casting is that of Donald Woods as Sakall's business manager who plays it like Edward Everett Horton and threatens to close the whole club down and ruin Morgan and Carson. A change of pace for Woods who was never quite a leading man, but was a chameleon like actor who fit into many characters without a bit of personality usually. Here he borrows Horton's.Dennis's light tenor and Carson's antics are always entertaining.