Two marketing professionals hire a lookalike of classic western actor Smoky Callaway to impersonate the actor and make new films, but things go awry when the real Callaway, thought long missing, returns.
Fashion magazine executive becomes unable to make decisions both at work and in her personal life. She skeptically seeks psychological help, where she recalls her musical dreams featuring people in her life, past and present.
Actress Judy Carroll, from the gas-house district has been trained, educated and developed so well by her manager, that not even the publicity-seeking world of the theater has guessed her ... See full summary »
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. Its earliest documented telecast took place in Phoenix 11 March 1959 on KVAR (Channel 12); it first aired in Asheville 3 November 1959 on WLOS (Channel 13), in Seattle 7 November 1959 on KIRO (Channel 7), in Cincinnati 6 December 1959 on WKRC (Channel 12), and in Buffalo10 January 1960 on WGR (Channel 2); it finally reached Chicago 9 July 1960 on WBBM (Channel 2), Minneapolis 3 August 1960 on WTCN (Channel 11), San Francisco 13 August 1960 on KPIX (Channel 5), Pittsburgh 27 August 1960 on KDKA (Channel 2), and, after a long wait, New York City 3 March 1961 on WCBS (Channel 2). At this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these film showings were all still in B&W. Viewers were not offered the opportunity to see these films in their original Technicolor until several years later. See more »
"Lady in the Dark" is a curiosity. The circus sequence with "The Saga of Jenny" gives a taste of what the movie version of the Broadway show might have been like (as other commentators have noted, the song is the sole survivor of the Broadway score by Weill and Gershwin, aside from snatches of "My Ship" and "Suddenly it's Spring", and a verse from "Once Life to Life" which Ginger Rogers recites). Ginger is a knockout, even in her "plain" business suits. The visual design is so rich you could swim in it- it was lovely to see the 40s magazine design as well as the sets. And the costumes! The sequin lined mink skirt is stunning, and so is the gown in the wedding sequence. The psychoanalysis storyline is well handled for a movie made in this period when analysis was strange and frightening to the audience. However, what could have been an exquisite soufflé is let down by the bizarre decision to cut all but one of the numbers and the development of the plot. It suggests that women are miserable in business suits and are far happier wearing frou frou gowns and being "dominated" by men (its terminology, not mine). I will say in the plot's defense (if I may take Ray Milland's part in the circus sequence for a moment) that it doesn't have Ginger pairing off with irresistible but insecure movie star Randy Curtis. When she announced that she was going to marry him and give up her job I yelled out, "You'll be sorry!" The writers recognize that Randy and staying home to be a housewife (even a Hollywood one) would bore Ginger's character out of her tree. Her sparring colleague is a far better choice, and there's a hint in the final that perhaps neither Ray or Ginger will dominate the other, but be partners in running the magazine (they're both overwhelmed with enthusiasm for it). But this hint of equality isn't enough to redeem Ray's earlier nastiness to Ginger, or the tone of misogyny. The movie still comes down with a thud, like Ginger at the end when Ray takes her chair.
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