“You start worrying about your kids the day they’re born, and you never stop. Even after they bury you, I bet you never stop worrying.”
Genres, Themes, Actors, and Directors:
… [Dan] Dailey at his crassest:
… and [Marilyn] Monroe, thank heaven, at her 20th Century Foxiest”.
Indeed, other than its Irving Berlin-ful score, Monroe will be the main draw for most viewers — though her supporting role here seems decidedly shoehorned into the narrative, and she’s paired with the worst possible choice of romantic interests in her entire movie career.
(No offense meant to O’Connor; they’re simply utterly mismatched. Ray would have been a much better choice — but his character is sent off into priesthood!)
Meanwhile, as pointed out by DVD Savant, “the production is rather garish and empty (an awful lot of wide screens full of billowing, sequined drapes)”, and while “this is supposed to [represent] the gaudy world of vaudeville… the final kiss of death is that a lot of the stuff Marilyn is made to wear here is just plain ugly” (!!).
While it possesses a couple of nicely staged and performed Berlin tunes, the movie’s sole point of interest for film fanatics is the chance to watch a handful of little-seen cinematic performers — Merman (primarily a Broadway star), Gaynor (primarily a voiceover singer), and Ray (primarily a musician) — onscreen; but the vehicle they’re given is such a clunker that it’s really not worth their efforts, or ours.
Redeeming Qualities and Moments: