A swim teacher and a wealthy businessman are married after a brief courtship. A charming war hero falls in love with this newly-married woman, after her husband abandons her on their honeymoon for the sake of a business meeting.
Fabius loves his beautiful but vulnerable city, Rome, and he also loves his beautiful but invulnerable fiancée, Amytis. Fascinated by the tales she has heard about Hannibal, who is about to... See full summary »
Three Broadway producers struggling to get backing for their show hope one's sudden inheritance of a half interest in a Parisian fashion house is the answer. They travel to Paris only to learn the salon is in debt and requires their help.
A contrived misunderstanding leads to the breakup of a songwriter and his fiancée. She returns to work as a gym teacher at an all-girls school, but a legal loophole allows the man to enroll as one of her students.
The bronzed and be-flowered Mimi, a half-American, half-Tahitian girl, was raised on the island but longs for the good old U.S. of A. "All my life's been one long vacation," she sighs, "and I'm bored." Luckily, Hap Endicott arrives on the scene. He's an Ohio schoolteacher who has come to manage his late uncle's coconut plantation. The two meet cute, and love and singing ensue. Includes songs at the drop of the hat, some terrific Tahitian dancing, and a lovely moment when a lovelorn Hap looks up and sees Mimi swimming gracefully among the clouds.Written by
This film marked Rita Moreno's screen debut. Based on her ethnicity, MGM was unsure of how to market her, so she was relegated to playing island stereotypes in this film and The Toast of New Orleans (1950) until she was cast as flapper Zelda Zanders in Singin' in the Rain (1952). See more »
When Howard Keel rides past the two natives in the small truck with the bath tub in the back. The first look is as he approaching the truck and the tub can be seen riding intact in the back of the truck. After he passes the truck the bath tub now looks in rough shape. And it now seems to be wobbling like it's missing a leg. And when the scene is viewed in slow motion. The tub come apart in mid-air. It didn't seem to have any reason to break yet. It hadn't hit the ground yet. See more »
What a fascinating historical document, a dazzling Technicolor window into the hearts and desires of the American public, or at least what MGM was marketing to them in 1950! As long as today's viewer isn't expecting to see a gripping love story or the conflict that might occur when two radically different cultures attempt to meld, as long as plot or logic or suspense don't matter much, this musical document is amazingly entertaining! And perhaps it's entertainment value evolves from secondary values such as color and location and decent singing. It's not Mutiny On The Bounty!
I expect no one ever has watched an Esther Williams film for the intellectual challenge or for cutting edge plot development: first and foremost, we want to see Esther swim, to gloriously navigate the MGM waters as no one else has managed--in over a dozen films, this Million Dollar Mermaid dallied with her suitors, wore bathing suits perfectly, and ultimately proved who was boss in the romantic department, just as she does in this escapist delight. When Howard Keel sails into Tahiti (at the time there were no viable airfields accessible on Tahiti so the studio settled for Hawaii, and it's ravishing!), he mistakes Esther for a native swimmer, treats her with condescension and Esther goes along with the joke until she can turn the tables on him.
In the meantime, Howard learns how to live more gregariously with the local natives, a happy lot who seldom challenge his ways, and who are always happy to run off to a luau or a beach party when there's coconut to be husked. There are a couple of lavish MGM showpieces here, one of them a staged cellophaned hula extravaganza featuring dazzling hula action and a performer who utilizes his body as a percussion instrument: it's a frenzied five minutes!! And wait until you see the mind- boggling Dali-esque underwater fantasy ballet, a trip through a bright coral wonderland peppered with golden flashes from the local fishies!
Had Stanley Donen, director of such gems as Singin' In The Rain and Seven Brides for Seven Brothers, been allowed to direct, this might have been one of Esther's best--but she had suffered under his indifferent attitude toward her talents on Take Me Out To The Ball Game, and she refused to work with him, so the studio provided Robert Alton. Fortunately, we are spared Red Skelton or the other usual guest appearances which hamper the pace, and we are gifted with actual lush photography from the island of what appears to be Kauai for a 50's time warp, a zippy escape from any kind of reality.
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