Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, ...
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Fugitive bank robber Joe Maybe steals the identity of a marshal and rides into a town whose judge asks Joe to act as town marshal but an old flame almost betrays his real identity forcing Joe to claim she's his wife.
Nan Reynolds encourages her copywriter husband Bill to open his own agency. Nearly out of business, he finally gets a client. Former girlfriend Patricia Berkeley writes a very successful ... See full summary »
Successful wealthy shoe manufacturer John Reeves takes a vacation, leaving his business in the hands of his nephew. While on vacation Reeves runs into his rival's heirs, who are living it ... See full summary »
John G. Adolfi
Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, exchange identities, and cause comic confusion (with slapstick interludes) throughout the Paramount studio.Written by
Rod Crawford <email@example.com>
An all-star tribute to the philanthropic Variety Clubs International
... and that's as flimsy an excuse for a parade of stars as there ever was. This one seems more forced and artificial than such films normally do.
Many of the stars have little or nothing to do in their cameos: Barbara Stanwyck, Burt Lancaster, Diana Lynn, and especially Robert Preston. Perhaps they're the lucky ones, given the limp nature of the script. They might have wound up like Spike Jones -- he and his City Slickers are far more obnoxious here than they were in "Thank Your Lucky Stars" (1943). Or the pitiable Alan Ladd, singing about that greatest of cities, Tallahassee, Florida. Seriously.
The occasional bright spots include Paulette Goddard wearing soapsuds, and Ray Milland hiding his telephone in an overhead light fixture, à la "The Lost Weekend".
I was also keen to see the rarely glimpsed, grey-haired Glenn Tryon, the male lead in 1928's magnificent "Lonesome", one of the final great achievements of the American silent film. "Lonesome" is comparable in some ways to King Vidor's "The Crowd", but is much less frequently discussed.
I think few would argue if I were to say that "Variety Girl" is for completists only.
Caveat emptor: This film's recent video release in the Bob Hope Collection has the George Pal Technicolor sequence in black and white.
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