Reviews (75)

DESERVES A TEN!!!
My appreciation for this movie has sky-rocketed this last week. I recently watched the new Sabrina with Harrison Ford... it didn't even compare! This version is much much better! I've read the review for this movie... some think Bogart was too old for this movie or that the interplay between Hepburn and Bogart wasn't good. I definitely disagree! The chemistry between Audrey and Bogart is fantastic... the screen just sparks with it! I'm not sure of the behind the screens of this movie... some say that Bogart and Hepburn didn't work well together... all I know is that is produces something between them that is incomparable! Only couples like Cary Grant & Katharine Hepburn, Lauren Bacall & Bogart can produce this much chemistry on the screen!

I love the story of Sabrina...
Sabrina (Audrey Hepburn) is the plain looking daughter of a chauffer. She falls in love with the playboy son, David (William Holden), of the wealthy people her father serves. David doesn't notice her... Her father sends her off to a cooking school in Paris and there she becomes transformed into a dazzlingly gorgeous young lady. She comes home stunningly beautiful and catches the eye of the playboy son, David. Linus (Bogart) has worked out a merger with this company and rich family who owns sugarcane plantations. Part of the deal is that David is marrying their daughter. So Linus has to draw Sabrina away from David, because he's already engaged... and Sabrina falls in love with Linus... I won't give the end away... I'll just say it's worth the watch... It leaves you satisfied. Sometimes you watch a movie and at the end you are like... "So?" ... It didn't end well... Well this is not one of those movies! I love this movie to death! The best Actors, music, and chemistry! A definite watch!

Isn't It Romantic?
Audrey Hepburn simply sparkles as Sabrina Fairchild, the chauffeur's daughter in this enchanting romance classic. Bogart plays the eldest of two brothers (the other played by William Holden), a bookish industrialist who starts off competing for Sabrina's affections but winds up falling in love with her instead. Hepburn is magical as the lead, glittering like an angel atop a Christmas tree. Holden cuts a romantic, charismatic swath and figure as the devil-may-care playboy working himself up to marriage number three. Based on the play, Sabrina Fair, Billy Wilder directs with sardonic wit, charm and the ease of a true master of the cinema. This is a love story that remains timeless. Paramount hasn't restored the film, though there is nothing terribly wrong with the transfer as is. Fine details occasionally shimmer and once in a long while a scratch or chip in the camera negative can be detected by the naked eye. Over all though, this is a great looking DVD. Also included, a featurette that glosses over the making of the movie. Bottom line: Hepburn, Holden and Bogart prove themselves as not only stars, but American pop icons. Isn't it romantic? - Definitely!

Audrey's second film is my favourite
It almost begins like a fairy tale, how once upon a time, on the north shore of Long Island, some 30 miles from New York, there lived a small girl on a large estate. So goes the opening narration by Audrey Hepburn, which sets the story in motion and introduces the Larrabee estate and family, also goes on to describe an English chauffeur named Fairchild and his daughter, Sabrina, played of course by Hepburn, in this romantic comedy based on Samuel Taylor's play Sabrina Fair.

Sabrina's sent to a cooking school in Paris, which not only prepares her for a vocation, but to help her get over her crush over David Larrabee (William Holden), the dashing playboy who spent short periods at many colleges and even shorter periods with his three wives (consecutive, of course). Ironic, considering that Holden had a crush on Hepburn, which led to a brief affair, and for him, a torch he carried through the rest of his life. The advice she gets is "don't reach for the moon." The thing is, she's the last of the romantics, "l'amour toujours" as described by Linus Larrabee, the business brains behind the multimillion Larrabee holdings, which include land and water, copper, construction, and now, a new kind of plastic that's resilient and tastes sweet(!!)

After two years in Paris, she is a vision of beauty, chic, with a new haircut, and transformed, yet still the romantic, as she vows to be in the world and of the world, and "never ever run away from life, or from love either."

Linus plans to marry David off to Elizabeth Tyson, whose father owns the second largest sugar cane in Puerto Rico, the ceremonial part of a $20 million merger with Tyson. This is put in jeopardy with Sabrina's return, and David, who previously ignored her, is bedazzled. Yet Sabrina, who's reluctantly wooed by Linus to salvage the deal, finds out there's more to him than just the "cold businessman...with ice in his veins, ticker tape coming from his heart." She finds out he's nice and quite human.

"Remember, it's the 20th century" is a reminder that the Victorian days of knowing one's place is gone. Fairchild sees life as a limousine: "there's a front seat, there's a back seat, and a window inbetween." He later says "Nobody poor was called democratic for marrying someone rich." Mother and Father Larrabee believe that, as they are scandalized at David's affections towards Sabrina, and see her in terms of class status.

Other great scenes include the cooking school, but the party scene when Sabrina appears in her bare-shouldered white dress and becomes the belle of the ball dancing with David, shows her at her most radiant and resplendent.

Humphrey Bogart is great as Linus, scheduled, sensible, loyal, observant, honest, and yet with a softer side. John Williams is perfect as Tom Fairchild. And Jenny the maid is played by Nancy Kulp, best known as Ms. Hathaway in the Beverly Hillbillies TV series. But Francis X. Bushman as old Mr. Larrabee has some funny moments with a penchant for martinis and cigars (whenever his wife's not around). Hepburn would be reunited with director Billy Wilder in Love In The Afternoon.

However, Sabrina also sees birth of a long-time association between Audrey and a certain Hubert de Givenchy, who did her costumes for many of her films. No Oscar for Hepburn, though she was nominated, but this film got me on my Hepburn kick back in the 90's, and is especially wonderful for those living "la vie en rose" as Sabrina does. To conclude, forget the 1995 remake--watch the original instead.

Sabrina
Personally, I found this movie to be very boring and trite. In fact, I fell asleep through it twice. I am a big Audrey Hepburn fan, so I was very disapointed when I watched this and found it so incredibly dull. I did though very much enjoy the remake and have seen that several times.

A Wonderful Movie but I also like The Remake!
I saw Sabrina on TCM and I liked it and I think it's a wonderful movie and I think Audrey Hepburn, Humphrey Bogart and William Holden were terrific and I recommend this movie and I'm planning on buying the DVD! I will probably get slammed for saying this but I also liked the remake that starred Julia Ormond, Harrison Ford and Greg Kinnear and I plan on buying that movie on DVD too! They are both charming, delightful movies that can be enjoyed on their ownrights and though I have seen remakes that were horrible the remake of this movie was fine but I suspose that since I saw the remake first that I was able to enjoy it because I wasn't comparing it to the original! ... Read more

Reviews (5)

Deanna Dubdin DVD's
Well finally some movies that I have waited for from those old years are coming out. I have Three Smart Girls, and Three Smart Girls Grow Up. I have 3 CD's of Deanna Durbin, and I do love to hear her sing..... Can not wait to get this Sweetheart Pack.....

At home I was always playing over and over Invitation to the Dance and Loch Lomond and the Last Rose of Summer.....WOW !!

At Last!!
Finally! We, devoted fans of Deanna Durbin, will be able to own her wonderful movies on DVD! I disagree, though, with the reviewer who stated that SOMETHING IN THE WIND was one of her worst. There are NO worst Deanna Durbin films; simply favorites. It happens that SOMETHING IN THE WIND is one of my favorites, and 100 MEN AND A GIRL is not. In this case I shall be pleased with the new choice, but others will be disappointed. Hopefully, we shall see ALL of her movies on DVD eventually; and all shall all be pleased!

Three cheers for Deanna Durbin
I am so happy to hear that these Deanna Durbin movies are coming to dvd.I have seen all of these movies. I agree with the viewer from Ventura California. Please transfer all of Deanna Durbin's movies on to dvd. My favorite Deanna Durbin movies are "His Butler's Sister" and "Spring Parade". I hope that they will come out on dvd, in the near future.

Note: "100 Men and a Girl" no longer in DVD set
Unlike what Amazon's page and another reviewer indicate, it seems that in this DVD set "100 Men and a Girl" has now been replaced by "Something in the Wind."

Since "100 Men and a Girl" is considered one of her best movies and the replacement is considered one of her worst, I assume that the DVD studio was unable to obtain the necessary rights and was forced to find another Durbin film to fill the slot.

Deanna durbin Sweetheart Pack
At last Universal Pictures is going to release six of Deanna Durbin's movies on DVD i am certinly looking forward to her movies, finaly coming to DVD, "Three Smart Girls", "100 Men and a Girl", "First Love", "It Started With Eve", and her only movie in Tecnicolor "Can't Help Singing", and "Lady On a Train". Let's have the rest of Deanna's movies released on DVD, Universal. ... Read more

Amazon.com

Trouble in Paradise is the supreme example of "the Lubitsch touch," that mastery of comic timing, diamond-cutter precision, and Continental sophistication that made Ernst Lubitsch a household name and the real star of every movie he directed. A pair of prodigiously talented, utterly charming scoundrels (Herbert Marshall, Miriam Hopkins) become personal assistants to an aristocratic Parisian widow (Kay Francis). Their target is her fortune, but she's such an elegant lady, and so agreeably smitten with her new right-hand man, that he's tempted to pursue a secondary objective. Marshall, Hopkins, and Francis aren't remembered as major stars, but in this enchanted moment they are sublime. Likewise the peerlessly pixilated Edward Everett Horton and Charlie Ruggles as the widow's stuffed-shirt suitors. Trouble in Paradise is one of the best comedies ever made. There's not a line, word, or pause that doesn't belong exactly where it is, when it is, as it is. --Richard T. Jameson ... Read more

Reviews (20)

Paradise, Indeed
Splendid to see such a wonderful DVD transfer of TROUBLE IN PARADISE, Lubitsch's first talkie masterpiece. The wavishing Kay Fwancis and Herbert Marshall make the most skillful of romantic leads, and even Miriam Hopkins (a strong contender for most irritating actress in pictures until Madonna hit the screen) is a delight. Wonderful supporting work from the stalwart Charles Ruggles and Edward Everett Horton, and a nice turn from that Gallic favorite, C. Aubrey Smith. Great extras (bright, informative commentary from the leading Lubitsch scholar, and the German silent included is a real treat). The only downside to a viewing of TROUBLE IN PARADISE is you'll be extremely unhappy when you open today's movie ads and realize popular entertainment has fallen from these heights to the likes of JACKASS, THE REAL CANCUN, and Jim Carrey running amok. Thanks, Criterion, for helping to preserve such a glorious film heritage! Can we hope for TO BE OR NOT TO BE in the future?

A little-known movie with a real big wallop
An absolutely delicious, saucy romantic comedy by famed director Ernst Lubitsch -- a pre-Code gem that fell by the wayside after the dullardly Hayes Code swept through Hollywood. Miriam Hopkins, Herbert Marshall and Kay Francis are caught in an unusual triangle, as Hopkins and Marshall, a pair of high-stakes con artists, latch onto the wealthy, sexy -- and resolutely single -- Parisian socialite, Mariette Colet (Francis) and plan to rob her blind. Of course, trouble ensues as the suavely amoral Herbert teeters at the brink of honesty, after he starts to fall for the considerable charms of their intended victim. Kay Francis steals the show with her smoulderingly sensual performance -- and things *really* start to heat up towards the end, when she finally has her way with the dashing young thief -- if you're looking for a "strong" female character in the old, Depression-era cinema, Francis's Colet is a real doozy. Fine supporting roles by Everett Edward Norton, C. Aubrey Smith and Charles Ruggles as well. It may take you a little while to settle into this film's cheerfully salacious wavelength, but once you get into it, it pays off handsomely. A nice, fun movie.

charming and sublime
As many others have stated, this is a perfect movie. Storytelling, movement of the plot, dialogue, cinematography feel seamless; the way in which ideas are left to the imagination through implication and innuendo is simply delightful. I was amazed by the ensemble performances. I would differ somewhat from other reviewers in that I enjoyed the silent short (though the music felt odd, ie, why wasn't I hearing Die Fleidermaus?). I also found Mr Eyman's commentary enjoyable. Mr Bogdanavich's comments are interesting, but I would not watch this feature (if this movie is new to you) until after you have watched the movie (too much is given away, and this is one movie in which the delight comes in not knowing what is coming next). The radio program with Jack Benny, Lubitsch, Basil Rathbone, and Claudette Colbert is fun. The written comments are probably useful to a film student, but I found the Eyman commentary over the film more informative. If I had the dough (times being what they are, as Gaston/La Valle asserts), I would pick this up "like that."

Continental Craziness
Lubitsch's films are often described as "sophisticated," or the height of Continental elegance, but in many ways they're nothing of the sort. Remember that Lubitsch, though European, was no highbrow; he started as a slapstick comedian in German silents, and as a director, he kept a slapstick comic's ability to mock the pretentions of supposedly "sophisticated" people. Part of the appeal of a Lubitsch film is the way it combines well-mannered Continental characters with a comic sensibility that is not at all well-mannered. The actor deliver their lines with a stylized flair, but the lines themselves have the ring of the best of Broadway comedy (Lubitsch's writer, Samson Raphaelson, was imported from Broadway, and was most famous for writing play on which THE JAZZ SINGER was based). The characters try to act elegant and civilized, but Lubitsch undercuts their pretensions: The first shot of "exotic" Venice is of a singing garbageman; the "Baron" and "Countess" of the opening scenes turn out to be impostors; the world of the wealthy Mme. Colet is one of thieves and fools. The underlying sensibility is very American, and oddly close to that of a Marx Brothers movie -- the "lowbrow" crooks unmask the affectations of high society and prove to have more of a moral code than most of the "sophisticated" rich people they prey upon. The only sympathetic rich character is Mme. Colet (Kay Francis), who is sympathetic precisely because she has few pretentions. And like so many of Lubitsch's heroine, she secretly dunks donuts.

Samson Raphaelson's dialogue is some of the best ever written for the screen: He can get more laughs with the single word "tonsils" than most screenwriters can get in a whole comedy script. The film is also notable for Lubitsch's use of sound and music: Lubitsch was one of the first filmmakers to show how effectively sound could be used to suggest things that were happening offscreen, and the music score actually follows the actors' movements, like a silent film score (people doing scores for silent movies should study this film to get an understanding of what great silent filmmakers like Lubitsch expected music to do in otherwise silent scenes). This has always been one of my favorite movies, and it deserves its reputation as a masterpiece of comedy.

The print used for this DVD is not perfect -- a bit too dark in the opening scenes -- but it'll do, and it comes with the usual excellent Criterion bonuses, including a German silent film by Lubitsch (with a score that is serviceable but not really appropriate -- since the film is based on Johann Strauss's DIE FLEDERMAUS, shouldn't the score use music from Strauss's operetta?). Be sure to get the other Lubitsch/Raphaelson film available in the DVD format, THE SHOP AROUND THE CORNER, and hope for a release of their last masterpiece, HEAVEN CAN WAIT.

Paramount's Paradise
"Trouble in Paradise"... I had read sooooo much about this classic Lubitsch comedy, that I was afraid I would be disappointed upon watching, at last, this long awaited film, as it has happened to me many times before,..... well, I wasn't , it lived up to my expectations, A-B-S-O-L-U-T-E-L-Y.

We, ordinary people from this era, are not used to such delightful, delicate, sophisticated, witty and subtle screenplays & motion pictures. This film's pacing is perfect, the acting deft, the fun and enjoyment non-stop, Travis Banton's costumes are fabulous, the art-déco settings and the décors are top of the tops, and finally, the cast, an A++.

Herbert Marshall has never been so "bewildered" on the screen (so different from those dull characters he played, for example, in such films as those two landamark Bette Davis' melodramas of the early forties, "The Letter" and "The Little Foxes") as suave and elegant thief Gaston Monescu. Kay Francis (Mariette Colet) has never been so attractive, elegant, as a woman daringly, shamelessly, passionately and madly in love with debonair Marshall, and last but not least, Miriam Hopkins (Lily) was never so charming and beguilingly captivating, as Marshall's partner in crime and love. I will say no more -no spoilers here-, that's all you need to know before watching it.

Edward Everett Horton, Charlie Ruggles (as Francis' two feuding suitors) and C. Aubrey Smith (as the chairman to the board of directors of Francis' company), add expert supporting playing.

Beautifully photographed in black & white, one can easily understand why this motion picture is included in the top ten list of the best american films of all time, as the grandest example of the famed Lubitsch touch. By the way, I must say that the ending really caught me by surprise, a treat! ... Read more

Reviews (12)

A GREAT DRAMA! STANWYCK GIVES A TOUR-DE-FORCE PERFORMANCE!
"Stella Dallas" is an extraordinary emotional rollercoaster of a movie, and a must-see for fans of the legendary Barbara Stanwyck. Stanwyck is Stella Martin, a tough cookie mill girl who steps up in class by marrying the wealthy Stephen Dallas (John Boles). They have a daughter, Laurel (Anne Shirley), whom Stella lavishes love on. But although Stella has a heart of gold, her coarse manners and unrefined taste are looked down upon by society. Stella won't have her daughter looked down on, too, and in securing her daughter's future happiness, Stella realizes that she must make a sacrifice greater than any she could ever make...

Stanwyck walks off with the picture, absolutely perfect as Stella (Stanwyck, I believe, REALLY should have won the Oscar she was nominated for for this film). Anne Shirley is just a tad overly enthusiastic as Laurel, but she is also sincere and honest in her Oscar-nominated performance. John Boles is- fair in his relatively small role. Barbara O'Neil is excellent as Helen Morrison, a kind-hearted friend of Stephen Dallas. Alan Hale is perfectly vulgar in his meaty role of Ed Munn, a coarse friend of Stella's.

The film has a sensitive but wrenching screenplay which calls for handkerchiefs in many scenes: (One scene has Stella and Laurel waiting for children to come to Laurel's birthday party who never come because of Stella's notoriety, a scene in which Stella overhears Laurel's friends talking about her with snide remarks, and the final, heartbreaking scene...) King Vidor's direction rounds out the exquisite drama and makes "Stella Dallas" one of the most powerful dramatic masterpieces of all time.

One of Hollywood's greatest melodramas
It's funny how, in this day and age, golden-age dramas can fall very definitely into one of two categories: ridiculous, and sublime. Happily, Barbara Stanwyck's finest hour, 'Stella Dalls', falls firmly into the second category, thanks to a wonderful performance by Ms. Stanwyck as the titular heroine.

Stella Martin is the daughter of an impoverished steel-mill family. She is ambitious, however, and when she catches the eye of the recently-broke Stephen Dallas, he pushes his feelings for his wealthy ex-girlfriend aside and makes the best of a bad situation. Unhappily married to the uncouth Stella, he spends more and more time away from her, taking only short holidays with his beloved daughter, Laurel. Stella soon realises that a mother's love cannot provide the best social advantages for Laurel, and makes the ultimate sacrifice for the good of her family.

Stanwyck's supporting cast are of a type, but they're still good - John Boles as Stephen and Barbara O' Neil as Helen Morrisson give strong performances. Alan Hale does an excellent job with the character of Ed Munn, a good-time gambler on the road to self-destruction. He plays the role with a sensitivity and pathos rare to films of this era. Anne Shirley as Laurel is cloying and sentimental, but then again, she's supposed to be.

It's Ms. Stanwyck's performance as Stella that saves this movie from mediocrity, and catapults it into the ranks of other big-league melodramas such as 'Now, Voyager' and 'Imitation of Life'. As Stella, she is perfectly capable of forcing us to empathise, and we respond in kind. Surely, hers is the ultimate sacrifice, and we are with her every step of the way. Her eyes, her expressions of total selflessness and her total devotion to the betterment of her daughter give us a true sense of what motherhood is about.

Beautifully directed by King Vidor, it's a triumph that this picture is finally available on DVD. It's not a happy movie, but it is a testament to the once-extraordinary power of Hollywood to create beautiful and emotional pieces of cinema.

Stanwyck is the gem of this 1930s melodrama
As other reviewers have said, "Stella Dallas" is a highly sentimental, soap-operaish 1930s movie. But it's still a good film, despite that fact that many aspects of the plot and characterization are dated.

Barbara Stanwyck is the gem of this film, and she gives the most convincing performance (except for Alan Hale, her drunken friend, Ed). The movie begins with Stella, a girl from a working-class mill family, who dreams of marriage to Stephen Dallas, a well-to-do mill executive. With all the charm she can muster, Stella walks into Stephen's office at a crucial point in his life: he is in despair. She revives him, and the two are married within two weeks. What follows is rather predictable: the marriage was a mistake. Stephen's upper class society of manners and Stella's burning desire to experience the passion and wealth of life are sorely incompatible. After the birth of their daughter, Laurel, they part ways: he lives in New York, and she stays in Boston with their daughter. However, they do not divorce for nearly 15 years. Stella raises Laurel, and Stephen takes the child on vacations often. As Laurel grows older, it is obvious that her intellect and mannerisms mirror her father, and not her working-class, garish mother. Despite the fact that Laurel is essentially the only person or thing that Stella loves, Stella contrives a plot to deceive Laurel so that the teenage girl will willingly go live with her father, his new, beautiful, wealthy wife, and her three sons in a New York mansion.

Stanwyck's acting is superb, one of the best in her career. She convincingly portrays a woman who is trapped in her lower-class social status, but desperately reaches for money and associations with the "right people." Anne Shirley, who plays Laurel in her teen years, seems to overact at times, but she delivers a top-notch performance as an innocent, wholesome teen torn between her separated parents. John Boles' performance is stiff and restrained, as usual, and his character is very flat (but it's supposed to be). Barbara O'Neil earns the audience's respect as the only person who genuinely understands Stella. And Alan Hale is brilliant as the crass, drunken, party-animal Ed Munn, and Stella simply can't resist his zest for life (at least initially).

Although the film is encumbered with overly sentimental dialogue and a bit of overacting, it's a pretty good 1930s melodrama.

Barbara Stanwyck's Finest Hour - Classic Tear-Jerker
Barbara Stanwyck, although barely 30, convincingly plays the loving mother to a young adult daughter. Coming from a working-class background, the young "Stella" is determined to climb the social ladder. Her meeting with executive "Mr. Dallas" seemed to be mutual love-at-first-sight. Soon after their child, Lollie, is born, Stella's disposition changes. When hubby suggests the family move to New York to be near his business dealings, Stella flat refuses.

The action skips about 16 years, showing a grown-up Lollie, still happily living with her mother. During a visit with the father and his wealthy new wife, Lollie is showered with expensive presents, and asked to stay with them permanently. Lollie refuses, insisting that her place is with Mother.

Here is where the Kleenex moments come in: Having overheard some cruel dialogue about them while traveling with Lollie in a train compartment, Stella, unable to provide the lavish life her daughter was sure to enjoy with the father, puts on a bawdy act of meanness and cruelty, to turn the daughter away. The ultimate heartbreak is the scene of Lollie's Wedding Ceremony (which I will not devulge).

Lollie's character is basically a sweet young woman, devoted to her mother. When at an outing with her friends she denies the mother (who is making somewhat of a spectacle of herself in a drug store), my sympathy for Lollie drops significantly. The scene is reminiscent of "Imitation Of Life", where the entire story is centered around the daughter's shame for her mother. This one spoiling scene seems unnecessary in the otherwise brilliant film. Still I highly recommend "Stella Dallas" to fans of the leading lady. The original radio play is also well worth the time!****

One of Stanwyck's greatest roles and an all time favorite
Tearjerker supreme, with a top-notch performance by Barbara Stanwyck, who impersonates and gives true life to coarse, low class, self-effacing Stella Dallas, "mother above all". This is one of the greatest and strongest dramatic performances ever achieved on the screen by an American actress.

Stanwyck plays an ambitious girl of humble origins, who falls in love and marries recently impoverished aristocratic Boles (Stephen Dallas), whose social differences eventually separate them. She raises their little child, Laurel, suffering, crying and sacrificing herself for her daughter's sake, from then onwards.

John Boles is quite effective, but, as usual, lacks punch as Stephen Dallas. On the other hand, Anne Shirley is believable and very good as grown-up Laurel. Alan Hale is simply incredible and the epitome of vulgarity, as lowbrow and ever-partying Ed Munn; and Barbara O'Neil (future Scarlett O'Hara's mother) is rightly patrician, well-bred and classy, as Boles' old-time fiancée and friend.

In spite of its 30's ultrasentimentality by today's standards, absolutely recommended viewing. The DVD quality is good indeed. ... Read more

Amazon.com

Universal Studios hit box-office gold when they drafted vaudeville comedians and radio stars Bud Abbott and Lou Costello and turned them into one of the most successful screen teams of the 1940s and 1950s. After a tryout as supporting characters in the musical One Night in the Tropics, they starred in Buck Privates as con artists who accidentally enlist while hiding out from New York street cop Nat Pendleton. Naturally he winds up their drill sergeant and comic foil as they wreak havoc on the armed forces. It's vaudeville in fatigues, with the bare bones of a story provided by spoiled millionaire playboy Lee Bowman, his strapping All-American former chauffeur Alan Curtis, and the girl-next-door they both pursue, Jane Frazee. The lackluster subplot is directed with little verve by Arthur Lubin, and the film's energy comes completely from the snappy by-play of the comedians and Costello's flustered double takes and jumpy physical comedy (including a hilarious rifle drill in which the out-of-step soldier marches to the direction of a different compass). The Andrews Sisters sing "You're a Lucky Fellow, Mr. Smith" and "Boogie Woogie Bugle Boy," among others, and future Stooge Shemp Howard shows where the "mess" in mess hall comes from as a cook on the receiving end of Costello's KP tomfoolery. This modest comedy became a smash hit and made Abbott and Costello Universal's most valuable commodity, prompting a quick follow-up with another peacetime armed forces comedy, In the Navy. --Sean Axmaker ... Read more

Reviews (15)

The first army thought of comic relief.
When my adopted son went off to boot camp and later Korea, these movies were a must to beef-up moral: ABBOTT and COSTELLO in BUCK PRIVATES, BUCK PRIVATES COME HOME; and BILL MURRAY in STRIPES. All display a humorous perspective on army life and an after-army attitude that can survive drill sargeants. Laughs R Lou and Bub Personally, I also love the song and dance routines of THE ANDREW SISTERS, too. Many try but none can compare to their jazzy- swing combination of harmonized tunes.

Buck Up
In order to avoid arrest, A&C enlist in the army and get tangled in a romantic subplot involving a millionaire, his former valet, and a camp hostess. Silly fun takes place on the eve of World War II, with Abbott and Costello scoring laughs and the Andrews Sisters singing "Boogie Woogie Bugle Boy" and "Apple Blossom Time." Funny, despite the silly romance.

Running and Pushing??
It is my own reflections that you cannot judge the A and C Films in a singular way. If you watch just one of their best it looses its impact,rather, I suggest that you catch three at a time in this way you can fall into their brand of absurd comedy.

I was hooked as a kid and guess what , their films have more legs than most of the comedy giants of the past..for sure..

Jane Frazee is here ,along with the likes of Lee Bowman and even Shemp Howard..> The Andrews Sisters provie a bit of pace without slowing it all down too much..and these DVD transfers are fine..all proving once again that there has never been a better "straight " man than the peerless Bud Abbott..
CP

Not so funny
This guys maybe were funny in 1950 but today... Tons of cliches of old times comedy and nothing original. Better buy Stan and Laurel!

One of the beat
You will love this movie.There is plenty of funny scenes with costello and the sergent.Buy this.Its their first full film apperanece(besides One Night in the tropics). This is a classic. ... Read more

Reviews (7)

AWFUL
My title sums it up. This movie struck us as sad and drawn out. The ending though satisfying is preceeded by a series of rather shocking scenes. It caught us totally unawares. I shall never watch this movie again.

Good early Stewart and Lombard
This is an early film is the careers of stars James Stewart and Carole Lombard. They star as a young impulsively-married couple who go through all the tribulation that entails. The performances are all top-rate and the cast includes Charles Coburn as Stewart's hearing-impaired boss and a cameo by Ward Bond as a reluctant pilot.

It is a light comedy-drama with a good script and great acting. My one complaint is that the last half-hour is mostly taken up with a soap-ish baby sickness scare that does little to expand the story, but gives Lombard an opportunity for an "Oscar clip" level crying scene and to look beatific praying to a statue of Jesus. This is in retrospect, however, as I was riveted to the screen throughout the ordeal.

All in all, a good (not excellent) film and a realistic portrayal of married life (sans housekeepers, of course) buoyed by terrific acting all around.

LOMBARD ROCKS!!!!
Although not her best, this film still stands the test of time. The film is simple, but that is what makes it a classic. Lombard will make you fall in love with her character. Not many actresses can do that today. Jimmy Stewart is as dependable as ever as the husband. If you like Lombard, check out "Nothing Sacred" as well. It is a great comedy with a wonderful screenplay by Ben Hect.

MEDIOCRE SOAP
The trials and tribulations of a young married couple. Carole Lombard was that rarest type of actresses - a beautiful woman who was also funny. Seen today, it is very much a film of the Hollywood past, and without the pleasing performances of the leads, would have little to recommend it. By 1939, she had established herself as a top-flight comedienne, and it had begun to bother her; she felt that she needed to prove her dramatic abilities. David O. Selznick agreed with her and commissioned Jo Swerling to write an original screenplay about the problems of a young married couple. Lombard's humour shines through, even though the part doesn't call for comedy, and Stewart is in his element as the shy but sunny, diffident yet optimistic all-American. Both Selznick and Lombard felt that the perfect actor to play the husband would be James Stewart, which required a loan-out from MGM in order to play in this United Artists production. The film was a modest success but not the winner Selznick had hoped for; the scene in which the serum is brought to the baby (he has pneumonia) via a plane in snowstorm barely passed muster in 1939, today it borders on the ludicrous.

Soap Poisoning
My wife and I expected SOME comedy - after all, Carol Lombard and Jimmie Stewart have BOTH done excellent work in that field, and the reviews we'd seen CALLED it a "comedy-drama". But alas, the only funny part of this movie was unintentional humor, particularly the "dramatic" sequence at the end, with a biplane pilot flying precious "serum" (on New Year's Eve, apparently) over the Rockies in a blinding blizzard (some wing spars on that plane!) and eventually bailing out somewhere over the Susquehannah (some fuel tanks that biplane had!) while newspaper headlines track his progress - all in one night? As a (former USAF) pilot, I laughed myself out of my seat throughout THIS sequence - it is totally ludicrous.

This "weepie", made in 1939, is infinitely dated. It looks much like a prototype for "It's A Wonderful Life", and maybe film buffs can check it out bearing *that* in mind, but if you are expecting ANY sort of humor, forget it. Stewart lurches from one setback to another, while his wife stays home with the baby and the mother-in-law (and the maid - don't forget the maid....). Trying to think of a single "funny" scene, I suppose the two seconds Stewart spends poking a bottle at the baby could bring a smile, but the scene where he comes home completely drunk is like watching a train wreck.

As another reviewer wrote, the DVD transfer is awful. The sound seems to come from the bottom of a 55-gallon drum stuffed with cotton - turning the volume up only gets you an earful of hiss and crackle. And extras....well, what do you expect at this price? The "art work" is a single lobby card (and that's shown so small that I can't imagine why it was even included), and "biographies" is a single page for Stewart, nothing for Lombard or anyone else.

The film this reminded me of most was "Cavalcade", but without the high spots. Even if you like "weepies" like "Penny Serenade", there is precious little in this archaic creaker to interest you. I highly recommed passing. Or better yet - go for "It Happened One Night". ... Read more

Description

Description Rudy Bronson is an aspiring singer with dreams of making it big. After being rejected by his idol bandleader Ted Grant, Rudy and his band sneak into his home to give a surprise audition. When the neighbors accuse them of being burglars, the group poses as Ted Grant and his orchestra. They accept the neighbor’s invitation to play a charity concert and a zany tale of impersonation ensues. This is the DVD premiere of the lost film classic that spawned the Vallee hit, "I'm Just a Vagabond Lover"!DVD Features:

- A very special interview with Eleanor Vallee!

-One full serial episode of Zorro’s Fighting Legion!

-Colorful interactive DVD menus, including production notes! ... Read more

Reviews (2)

A charming, sweet, antique film!
Rudy Vallee was a self-taught saxophonist from Maine who was considered to be one of the better instrumentalists of his day. He took a year off from his studies at Yale in 1924 to play with the excellent Savoy Havana dance orchestra in London (lead by Reg Batten), where he played first saxophone to famous oboe-soloist, composer, and future bandleader, Van (Alexander Van Cleve) Phillips' second. In London, Vallee also played first saxophone with Carroll Gibbons' orchestra. Gibbons lead one of the top-notch musical aggregations in England and never settled for a second-rate performance, much less a second-rate musician. Further, Vallee played in an instrumental quartet backing-up two HMV recordings made by Beatrice Lillie and Gertrude Lawrence. Vallee's musicianship was apparently of the highest quality.

Vallee returned to the US after a year had passed and completed his degree work in philosophy and romance languages. He then directed the Yale band at the 1926 Yale-Harvard football game and began making a name for himself in local music circles. He began receiving national attention in 1928 when his band got booked into the Heigh-Ho Club in New York City where Vallee served as the master of ceremonies and began singing. Popular male vocalists of that period can be grouped largely into two types: 1) the singing/shouting carnival-barker type (Al Jolson; Harry Richman; Irving Kauffman); and 2) the high-pitched, gentle delivery type (Gene Austin; Jack Fulton; Smith Ballew). Vallee was a type 2 singer at that time when the type 2s were in their ascendancy (Austin's "Ramona" was the #1 hit of 1928). The Heigh-Ho radio broadcasts turned Vallee into a national star over night. Fans were impressed with his sincerity, polished mannerisms, quick wit, and of course, his saxophone playing and his singing.

Vallee began his own, hour-long radio broadcast in 1929, "The Fleischmann Hour," and this show became and remained one of the most popular variety shows in the US until Vallee terminated it in 1938. Vallee's show can be credited with "discovering" Alice Fay, Milton Berle, Edgar Bergen, Frances Langford, Red Skelton, Joe Penner, Dorothy Lamour, and many other stars of the 1930s-1950s. Vallee was also successful on Broadway, starring in George White's Scandals of 1931, and made 43 films, the last of which was the extremely forgettable "Sunburst" in 1975.

"Vagabond Lover" was Vallee's third film appearance. He previously made two shorts in 1929, both of which are now lost. Vallee's acting is wooden, dull, and lifeless. Co-star Sally Blane (19 year-old sister of Loretta Young) awkwardly fluffs her lines more than once. The dance routines look more like rehersals than finished numbers. The saving grace for the acting in this film is the stellar performance by Marie Dressler. However, in 1929, it is not certain that actors or directors really knew how to function in the new medium of talking pictures. I feel that Vallee's non-performance holds up well to other film contemporaries' non-performances such as, Charles King (Broadway Melody), Frank Fay (Show of Shows), or anyone at all in Paul Whiteman's disaster of 1930 (King of Jazz).

"Vagabond Lover" is a sweet, innocent, gentle film with an intentionally minimal plot that was made primarily as a showcase for the musical talents of the rising, luminous star of 1929, Rudy Vallee. Vallee's and his orchestra's (The Connecticut Yankees) musical performances are absolutely superb and eminently enjoyable. More than just a film, "Vagabond Lover" is a window to our popular music past and the culture that created it. It is, therefore, worthwhile seeing and enjoying on multiple levels of awareness.

VALLEE THE CROONER.
In this rather trite offering from 1929, Bandleader Rudy Bronson (Vallee) dreams of becoming a big star with his college band. While it was spare on plot and dramatics, THE VAGABOND LOVER does showcase Vallee at the height of his popularity. Simplistic at best, the movie is badly hampered by Vallee's wooden "acting" performance and by the fact that director Marshal Neiland went on a drunken spree during production, following the death of his mother. Rudy goes through the entire gamut of emotions without moving a muscle! But believe it or not, his singing in the film was relished by his admirers of the day. The film is credited for being the first talkie in which the legendary Marie Dressler appeared. Dressler steals the show as the society dame who carries on a feud with her rival, well-played by Nella Walker. Vallee burst upon the entertainment scene in 1928, quickly becoming a popular club, radio, vaudeville and record attraction with his band, The Connecticut Yankees. By 1929, he was quickly developing into the nation's first singing idol. This film is a result of his quickly-found but ultimately fleeting fame (Vallee's style of crooning - unfortunately - doesn't stand the test of time). ... Read more

Reviews (12)

One of Hollywood's greatest melodramas
It's funny how, in this day and age, golden-age dramas can fall very definitely into one of two categories: ridiculous, and sublime. Happily, Barbara Stanwyck's finest hour, 'Stella Dalls', falls firmly into the second category, thanks to a wonderful performance by Ms. Stanwyck as the titular heroine.

Stella Martin is the daughter of an impoverished steel-mill family. She is ambitious, however, and when she catches the eye of the recently-broke Stephen Dallas, he pushes his feelings for his wealthy ex-girlfriend aside and makes the best of a bad situation. Unhappily married to the uncouth Stella, he spends more and more time away from her, taking only short holidays with his beloved daughter, Laurel. Stella soon realises that a mother's love cannot provide the best social advantages for Laurel, and makes the ultimate sacrifice for the good of her family.

Stanwyck's supporting cast are of a type, but they're still good - John Boles as Stephen and Barbara O' Neil as Helen Morrisson give strong performances. Alan Hale does an excellent job with the character of Ed Munn, a good-time gambler on the road to self-destruction. He plays the role with a sensitivity and pathos rare to films of this era. Anne Shirley as Laurel is cloying and sentimental, but then again, she's supposed to be.

It's Ms. Stanwyck's performance as Stella that saves this movie from mediocrity, and catapults it into the ranks of other big-league melodramas such as 'Now, Voyager' and 'Imitation of Life'. As Stella, she is perfectly capable of forcing us to empathise, and we respond in kind. Surely, hers is the ultimate sacrifice, and we are with her every step of the way. Her eyes, her expressions of total selflessness and her total devotion to the betterment of her daughter give us a true sense of what motherhood is about.

Beautifully directed by King Vidor, it's a triumph that this picture is finally available on DVD. It's not a happy movie, but it is a testament to the once-extraordinary power of Hollywood to create beautiful and emotional pieces of cinema.

One of Stanwyck's greatest roles and an all time favorite
Tearjerker supreme, with a top-notch performance by Barbara Stanwyck, who impersonates and gives true life to coarse, low class, self-effacing Stella Dallas, "mother above all". This is one of the greatest and strongest dramatic performances ever achieved on the screen by an American actress.

Stanwyck plays an ambitious girl of humble origins, who falls in love and marries recently impoverished aristocratic Boles (Stephen Dallas), whose social differences eventually separate them. She raises their little child, Laurel, suffering, crying and sacrificing herself for her daughter's sake, from then onwards.

John Boles is quite effective, but, as usual, lacks punch as Stephen Dallas. On the other hand, Anne Shirley is believable and very good as grown-up Laurel. Alan Hale is simply incredible and the epitome of vulgarity, as lowbrow and ever-partying Ed Munn; and Barbara O'Neil (future Scarlett O'Hara's mother) is rightly patrician, well-bred and classy, as Boles' old-time fiancée and friend.

In spite of its 30's ultrasentimentality by today's standards, absolutely recommended viewing. The DVD quality is good indeed.

Stanwyck is the gem of this 1930s melodrama
As other reviewers have said, "Stella Dallas" is a highly sentimental, soap-operaish 1930s movie. But it's still a good film, despite that fact that many aspects of the plot and characterization are dated.

Barbara Stanwyck is the gem of this film, and she gives the most convincing performance (except for Alan Hale, her drunken friend, Ed). The movie begins with Stella, a girl from a working-class mill family, who dreams of marriage to Stephen Dallas, a well-to-do mill executive. With all the charm she can muster, Stella walks into Stephen's office at a crucial point in his life: he is in despair. She revives him, and the two are married within two weeks. What follows is rather predictable: the marriage was a mistake. Stephen's upper class society of manners and Stella's burning desire to experience the passion and wealth of life are sorely incompatible. After the birth of their daughter, Laurel, they part ways: he lives in New York, and she stays in Boston with their daughter. However, they do not divorce for nearly 15 years. Stella raises Laurel, and Stephen takes the child on vacations often. As Laurel grows older, it is obvious that her intellect and mannerisms mirror her father, and not her working-class, garish mother. Despite the fact that Laurel is essentially the only person or thing that Stella loves, Stella contrives a plot to deceive Laurel so that the teenage girl will willingly go live with her father, his new, beautiful, wealthy wife, and her three sons in a New York mansion.

Stanwyck's acting is superb, one of the best in her career. She convincingly portrays a woman who is trapped in her lower-class social status, but desperately reaches for money and associations with the "right people." Anne Shirley, who plays Laurel in her teen years, seems to overact at times, but she delivers a top-notch performance as an innocent, wholesome teen torn between her separated parents. John Boles' performance is stiff and restrained, as usual, and his character is very flat (but it's supposed to be). Barbara O'Neil earns the audience's respect as the only person who genuinely understands Stella. And Alan Hale is brilliant as the crass, drunken, party-animal Ed Munn, and Stella simply can't resist his zest for life (at least initially).

Although the film is encumbered with overly sentimental dialogue and a bit of overacting, it's a pretty good 1930s melodrama.

Barbara Stanwyck's Finest Hour - Classic Tear-Jerker
Barbara Stanwyck, although barely 30, convincingly plays the loving mother to a young adult daughter. Coming from a working-class background, the young "Stella" is determined to climb the social ladder. Her meeting with executive "Mr. Dallas" seemed to be mutual love-at-first-sight. Soon after their child, Lollie, is born, Stella's disposition changes. When hubby suggests the family move to New York to be near his business dealings, Stella flat refuses.

The action skips about 16 years, showing a grown-up Lollie, still happily living with her mother. During a visit with the father and his wealthy new wife, Lollie is showered with expensive presents, and asked to stay with them permanently. Lollie refuses, insisting that her place is with Mother.

Here is where the Kleenex moments come in: Having overheard some cruel dialogue about them while traveling with Lollie in a train compartment, Stella, unable to provide the lavish life her daughter was sure to enjoy with the father, puts on a bawdy act of meanness and cruelty, to turn the daughter away. The ultimate heartbreak is the scene of Lollie's Wedding Ceremony (which I will not devulge).

Lollie's character is basically a sweet young woman, devoted to her mother. When at an outing with her friends she denies the mother (who is making somewhat of a spectacle of herself in a drug store), my sympathy for Lollie drops significantly. The scene is reminiscent of "Imitation Of Life", where the entire story is centered around the daughter's shame for her mother. This one spoiling scene seems unnecessary in the otherwise brilliant film. Still I highly recommend "Stella Dallas" to fans of the leading lady. The original radio play is also well worth the time!****

A GREAT DRAMA! STANWYCK GIVES A TOUR-DE-FORCE PERFORMANCE!
"Stella Dallas" is an extraordinary emotional rollercoaster of a movie, and a must-see for fans of the legendary Barbara Stanwyck. Stanwyck is Stella Martin, a tough cookie mill girl who steps up in class by marrying the wealthy Stephen Dallas (John Boles). They have a daughter, Laurel (Anne Shirley), whom Stella lavishes love on. But although Stella has a heart of gold, her coarse manners and unrefined taste are looked down upon by society. Stella won't have her daughter looked down on, too, and in securing her daughter's future happiness, Stella realizes that she must make a sacrifice greater than any she could ever make...

Stanwyck walks off with the picture, absolutely perfect as Stella (Stanwyck, I believe, REALLY should have won the Oscar she was nominated for for this film). Anne Shirley is just a tad overly enthusiastic as Laurel, but she is also sincere and honest in her Oscar-nominated performance. John Boles is- fair in his relatively small role. Barbara O'Neil is excellent as Helen Morrison, a kind-hearted friend of Stephen Dallas. Alan Hale is perfectly vulgar in his meaty role of Ed Munn, a coarse friend of Stella's.

The film has a sensitive but wrenching screenplay which calls for handkerchiefs in many scenes: (One scene has Stella and Laurel waiting for children to come to Laurel's birthday party who never come because of Stella's notoriety, a scene in which Stella overhears Laurel's friends talking about her with snide remarks, and the final, heartbreaking scene...) King Vidor's direction rounds out the exquisite drama and makes "Stella Dallas" one of the most powerful dramatic masterpieces of all time. ... Read more

Reviews (7)

AWFUL
My title sums it up. This movie struck us as sad and drawn out. The ending though satisfying is preceeded by a series of rather shocking scenes. It caught us totally unawares. I shall never watch this movie again.

Good early Stewart and Lombard
This is an early film is the careers of stars James Stewart and Carole Lombard. They star as a young impulsively-married couple who go through all the tribulation that entails. The performances are all top-rate and the cast includes Charles Coburn as Stewart's hearing-impaired boss and a cameo by Ward Bond as a reluctant pilot.

It is a light comedy-drama with a good script and great acting. My one complaint is that the last half-hour is mostly taken up with a soap-ish baby sickness scare that does little to expand the story, but gives Lombard an opportunity for an "Oscar clip" level crying scene and to look beatific praying to a statue of Jesus. This is in retrospect, however, as I was riveted to the screen throughout the ordeal.

All in all, a good (not excellent) film and a realistic portrayal of married life (sans housekeepers, of course) buoyed by terrific acting all around.

LOMBARD ROCKS!!!!
Although not her best, this film still stands the test of time. The film is simple, but that is what makes it a classic. Lombard will make you fall in love with her character. Not many actresses can do that today. Jimmy Stewart is as dependable as ever as the husband. If you like Lombard, check out "Nothing Sacred" as well. It is a great comedy with a wonderful screenplay by Ben Hect.

MEDIOCRE SOAP
The trials and tribulations of a young married couple. Carole Lombard was that rarest type of actresses - a beautiful woman who was also funny. Seen today, it is very much a film of the Hollywood past, and without the pleasing performances of the leads, would have little to recommend it. By 1939, she had established herself as a top-flight comedienne, and it had begun to bother her; she felt that she needed to prove her dramatic abilities. David O. Selznick agreed with her and commissioned Jo Swerling to write an original screenplay about the problems of a young married couple. Lombard's humour shines through, even though the part doesn't call for comedy, and Stewart is in his element as the shy but sunny, diffident yet optimistic all-American. Both Selznick and Lombard felt that the perfect actor to play the husband would be James Stewart, which required a loan-out from MGM in order to play in this United Artists production. The film was a modest success but not the winner Selznick had hoped for; the scene in which the serum is brought to the baby (he has pneumonia) via a plane in snowstorm barely passed muster in 1939, today it borders on the ludicrous.

Soap Poisoning
My wife and I expected SOME comedy - after all, Carol Lombard and Jimmie Stewart have BOTH done excellent work in that field, and the reviews we'd seen CALLED it a "comedy-drama". But alas, the only funny part of this movie was unintentional humor, particularly the "dramatic" sequence at the end, with a biplane pilot flying precious "serum" (on New Year's Eve, apparently) over the Rockies in a blinding blizzard (some wing spars on that plane!) and eventually bailing out somewhere over the Susquehannah (some fuel tanks that biplane had!) while newspaper headlines track his progress - all in one night? As a (former USAF) pilot, I laughed myself out of my seat throughout THIS sequence - it is totally ludicrous.

This "weepie", made in 1939, is infinitely dated. It looks much like a prototype for "It's A Wonderful Life", and maybe film buffs can check it out bearing *that* in mind, but if you are expecting ANY sort of humor, forget it. Stewart lurches from one setback to another, while his wife stays home with the baby and the mother-in-law (and the maid - don't forget the maid....). Trying to think of a single "funny" scene, I suppose the two seconds Stewart spends poking a bottle at the baby could bring a smile, but the scene where he comes home completely drunk is like watching a train wreck.

As another reviewer wrote, the DVD transfer is awful. The sound seems to come from the bottom of a 55-gallon drum stuffed with cotton - turning the volume up only gets you an earful of hiss and crackle. And extras....well, what do you expect at this price? The "art work" is a single lobby card (and that's shown so small that I can't imagine why it was even included), and "biographies" is a single page for Stewart, nothing for Lombard or anyone else.

The film this reminded me of most was "Cavalcade", but without the high spots. Even if you like "weepies" like "Penny Serenade", there is precious little in this archaic creaker to interest you. I highly recommed passing. Or better yet - go for "It Happened One Night". ... Read more

Reviews (2)

VINTAGE SWANSON CURIO.
In this early talkie from 1931 - in which everyone does their best in an essentially mediocre film - a 32 year-old Gloria Swanson plays a lady with a past. Gloria, who is involved with a writer (Ben Lyon) discovers that Lyon's sister has her old flame as her new fiancee... With good reason, Swanson had misgivings about this film which is weak both plot-wise and musically: her fears unfortunately proved right. Leo McCarey, the director, was promised his "big break" with this film and Ben Lyon was - rather unbelievably - considered a major coup for a leading man, therefore, Swanson agreed to do it for United Artists. Perhaps the most capable performer is Arthur "Dagwood" Lake as Buster Collins. Swanson had just priorly turned down Paramount's offer of a guaranteed 1 million-dollar-a-year contract (!).

Good Movie, but DO'NT buy DVD "Madacy" copy!!!
The movie itself is good. But the "Madacy" Company copied a lousy, badly worn, faded, repaired 16mm copy on to the DVD and is miserable to watch! The film must have been shown 100's of times. It is so badly spliced, in some scenes you can't even understand the dialog! The whole last half of the movie, the sound is extremely garbled! Very poor visual quality. You would expect a DVD to be higher in quality - not this one. Record the movie off of TV! ... Read more

Reviews (6)

this was good
i liked this flick a lot. i'm sorry for not doing the kids review. but all in all, it was good. i'm about to cry cuz i regret it

Enjoyable, but Plot is Definitely Iffy
The basic plot centers around the daughter (Jane Powell) going to Rio for a job and her mother, Ann Southern (who looks and behaves more like her sister), trying to thwart a "masher" whom she thinks is after her daughter. Carmen Miranda provies some wonderful scenes in her second of only two MGM movies. Watch for the umbrella number! It's simple over-the-top lavishness and downright craziness is what made her the highest-paid female star of the 40's! Basically, the movie is enjoyable, but the plot (and the scenery--the backdrop of Rio from the hotel room is hilarious to look at) are rather contrived, even for a musical.

2 Sexy Female Leads In A Hot Film!
Ann Sothern (Fame As Maisie Raiver In The Maisie Series) And Jane Powell(LAter In Time 7 Brides For 7 Brothers Fame), To Me, Are About Two Of The Sexiest Females In Hollywood Around This Era! I Found Out About This Film On The Web, And Told One Of My Girlfriends About It, And She Bought It For Me! I Fell In Love With Jane's Should Be Famous, Sassy Number, "Nancy Goes To Rio". The SASS To This Is "Keep Those Latins Guessin'" And "A Brazillian Millionaire!"
How Rude! Barry Sullivan Is The Man That Not Only Saves Nancy (Jane) From A "Masher", But Also Falls In Love With Her Mother Frances, And proposes marriage to her. Carmen Miranda Is Great As The One That Spices The Film's Dull Plot Up. Louis Calhern Is NAncy's Skirt-Chasin Grandpa. All In All, This Is A ALL_STAR SEXY FILM WITH ALL STARS!

a great and colorful film!
The costumes and scenery are so brilliant and colorful in this film. It's a very entertaining musical. Jane Powell and Anne Southern are cast perfectly as mother daughter in it. It's feast for the eys to see.

MUSICAL MAGIC
This glittering musical is highlighted by dynamic performances. The Barklays are a three-generation musical theatre family--grandpa (Louis Calhern), his daughter (Ann Southern) and his granddaughter, Nancy.(Jane Powell)

After closing her current musical hit, Ann Southern decides to travel to Rio with grandpa to study for her new play set in Brazil. Nancy remains behind to fulfill committments in summer theatre activities. Ann's producer has promised to see Nancy in her summer stock production and he is so pleased with her performance that he decides to use her in the part he had planned for her mother. Thrilled and dazed, Nancy decides to take a cruise to Rio to join her mother, unaware that she was offered the part first.

Matters are further complicated on the cruise when Carmen Miranda mistakes Nancy for being in a family way and she asks her boss, Barry Sullivan, to take Nancy under his wing. Nancy mistakes his attention as romantic and falls head over heals for him--a fate shared later by her mother when they arrive in Rio. Riotous un-doings add to the delight of the film as mother and daughter vie for the same part and the same man.

The musical numbers are dazzling. Ann Southern leads out with the beautiful TIME AND TIME AGAIN. The Barklays join forces for a heartwarming SHINE ON HARVEST MOON. Miss Miranda gives us a rousing YIPSEE-I-O and CA-ROOM! PA-PA. Jane Powell sparkles in some of her finest screen work in MAGIC IS THE MOONLIGHT, the lovely MUSETTA'S WALTZ and the sensational finale LOVE IS LIKE THIS.

Highly recommended for an evening of fun and really good music. ... Read more