A considerably reworked remake of "Twenty Million Sweethearts" (1934), this one features Doris Day in the Dick Powell part. Most contemporary critics found it disappointing after Romance on the High Seas, but there are plenty of songs (even if there are no musical production numbers at all – let alone Busby Berkeley set- pieces). Most contemporary critics also complained that the script lacked wit and originality. Frankly, the lack of production numbers didn't worry me. The songs themselves are put over with a great deal of verve and bounce – with the exception of the Lee Bowman numbers which are delivered at a slower pace but sung quite pleasantly by Hal Derwin.
Doris Day handles herself with the same pep and confident charm she displayed in "Romance on the High Seas". As for the script, I found it very amusing. True, the plot is old-hat, but it makes a good vehicle for witty lines. Furthermore, there are so many inside jokes, that it's a real fun picture for those of us who know our Hollywood. For instance, the guy who pesters Carson for money is his real-life brother, Robert. In real life, of course, it was the other way around. And I love the bit when Doris Day's "Martha Gibson" is so anxious to meet a radio talent scout at her uncle's bar that she brushes aside one of Hollywood's greatest directors, William Wyler! And how about when Doris is gonged by Ray Heindorf (here playing a night club owner) and Carson advices Doris to take no notice: "That guy is tone deaf!" In another sequence, Curtiz himself can actually be glimpsed – smiling yet! – behind Carson's right shoulder at a radio rehearsal. Unfortunately, the film comes to a good climax when our heroine finally breaks into the big radio time – but, alas, it doesn't end there but continues for a sluggish twenty minutes or so in order to tie up all the romantic loose ends. This last portion of the film deserved to be considerably trimmed.
Also rather uninspired, in my opinion, is the very well thought-of cartoon sequence in which Carson and Day cavort in juvenile Easter Bunny outfits with a technically mediocre and harmlessly unfunny Bugs Bunny. The song for this sequence, "Freddie, Get Ready", was easily the least tuneful in the whole movie. I really enjoyed all the others and – as I said above – Doris Day both sings and acts with presence and charm. She gets great support from Jack Carson and the rest of the cast, particularly Eve Arden, S.Z. Sakall, Lee Bowman, Edgar Kennedy, Sheldon Leonard and Franklin Pangborn. Menjou is only moderately effective (and despite his high billing, his role is relatively small). Curtiz's direction is certainly admirably polished. But, aside from a long take in Menjou's office, it is technically uninventive – but that's the way most fans like it!
Doris Day handles herself with the same pep and confident charm she displayed in "Romance on the High Seas". As for the script, I found it very amusing. True, the plot is old-hat, but it makes a good vehicle for witty lines. Furthermore, there are so many inside jokes, that it's a real fun picture for those of us who know our Hollywood. For instance, the guy who pesters Carson for money is his real-life brother, Robert. In real life, of course, it was the other way around. And I love the bit when Doris Day's "Martha Gibson" is so anxious to meet a radio talent scout at her uncle's bar that she brushes aside one of Hollywood's greatest directors, William Wyler! And how about when Doris is gonged by Ray Heindorf (here playing a night club owner) and Carson advices Doris to take no notice: "That guy is tone deaf!" In another sequence, Curtiz himself can actually be glimpsed – smiling yet! – behind Carson's right shoulder at a radio rehearsal. Unfortunately, the film comes to a good climax when our heroine finally breaks into the big radio time – but, alas, it doesn't end there but continues for a sluggish twenty minutes or so in order to tie up all the romantic loose ends. This last portion of the film deserved to be considerably trimmed.
Also rather uninspired, in my opinion, is the very well thought-of cartoon sequence in which Carson and Day cavort in juvenile Easter Bunny outfits with a technically mediocre and harmlessly unfunny Bugs Bunny. The song for this sequence, "Freddie, Get Ready", was easily the least tuneful in the whole movie. I really enjoyed all the others and – as I said above – Doris Day both sings and acts with presence and charm. She gets great support from Jack Carson and the rest of the cast, particularly Eve Arden, S.Z. Sakall, Lee Bowman, Edgar Kennedy, Sheldon Leonard and Franklin Pangborn. Menjou is only moderately effective (and despite his high billing, his role is relatively small). Curtiz's direction is certainly admirably polished. But, aside from a long take in Menjou's office, it is technically uninventive – but that's the way most fans like it!