Keeping the movie star image going after "Best Foot Forward", Lucille Ball plays a stage star doing her part for the war effort by agreeing to star in a musical revue commenting on the conditions of the factory worker. Unfortunately, author Dick Powell has a one sighted view of what wartime entertainment should be. Hoping to get him to change his mind about how the show should be done, Lucy goes to work in the same factory he works in, one ironically that puts on shows the way she believes that his show should be like. Of course, she falls for him, and hopes that his feelings for her will also open his eyes about the type of entertainment that will keep the audiences uplifted in addition to being enlightened.
I find that unless you are familiar with the styles of entertainment done during this era, you might be aggravated, bored or even angry of what was considered funny in the 1940's. Even I, having studied the war years through movies, theater and music, can be annoyed by some styles of comedy. Bert Lahr, beloved for "The Wizard of Oz", is definitely a comic of his time, and his styles are best in small doses. I cringe at parts of "King of the Forest" and here, he gets only a few moderately guffaws from me. Virginia O'Brien comes off a lot better, but her comic solo about being a physical abuse victim may not be amusing to some. I admit that I found it hysterical the first time I heard her sing it 20 years ago, but perhaps it's her deadpan style that is funny.
Specialties by Spike Jones and Vaughan Monroe's orchestras and a bit of rising star June Allyson offer some swinging moments, featuring a chimpanzee as Hitler and a bumbling actor as Mussolini. Lucy, of course, is glamorous, but the lack of color (which was used to great advantage in four big MGM musicals) is a missed opportunity. Powell, desperately trying to get away from musicals, only briefly sings. This is the type of film that represents an era, more MGM's viewpoint than the real worlds, and not at the top of the line for MGM musicals or the many Hollywood musicals that were rushed into release to keep the public uplifted. It has curiosity value, though, and a few moments shine while others dim the lights of what they had intended on producing.
I find that unless you are familiar with the styles of entertainment done during this era, you might be aggravated, bored or even angry of what was considered funny in the 1940's. Even I, having studied the war years through movies, theater and music, can be annoyed by some styles of comedy. Bert Lahr, beloved for "The Wizard of Oz", is definitely a comic of his time, and his styles are best in small doses. I cringe at parts of "King of the Forest" and here, he gets only a few moderately guffaws from me. Virginia O'Brien comes off a lot better, but her comic solo about being a physical abuse victim may not be amusing to some. I admit that I found it hysterical the first time I heard her sing it 20 years ago, but perhaps it's her deadpan style that is funny.
Specialties by Spike Jones and Vaughan Monroe's orchestras and a bit of rising star June Allyson offer some swinging moments, featuring a chimpanzee as Hitler and a bumbling actor as Mussolini. Lucy, of course, is glamorous, but the lack of color (which was used to great advantage in four big MGM musicals) is a missed opportunity. Powell, desperately trying to get away from musicals, only briefly sings. This is the type of film that represents an era, more MGM's viewpoint than the real worlds, and not at the top of the line for MGM musicals or the many Hollywood musicals that were rushed into release to keep the public uplifted. It has curiosity value, though, and a few moments shine while others dim the lights of what they had intended on producing.