Tomboy Rose Marie Lemaitre, the orphaned ward of Mountie Mike Malone, falls in love with him, and he with her. But when she goes to "learn to be a lady", she meets outlaw trapper James ...
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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.
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 »
Gail discovers the shocking news that she is adopted during a heated argument with her sister, Joan. With the reluctant support of her adoptive parents and baby sister, Penny, Gail goes in ... See full summary »
Tomboy Rose Marie Lemaitre, the orphaned ward of Mountie Mike Malone, falls in love with him, and he with her. But when she goes to "learn to be a lady", she meets outlaw trapper James Duval, who also falls in love with her. But Duval is in a dispute with the local Native American chief Black Eagle, and soon Black Eagle is murdered.Written by
Albert Sanchez Moreno firstname.lastname@example.org
Originally, Thurl Ravenscroft was to be only the single voice double for the Medicine Man. However, the actor could not synchronize his lip movements to Thurl's recording, so the studio called in Thurl at the last minute to actually play the role on-screen. See more »
MGM's first CinemaScope musical is pictorially splendid, with what looks like on-location shooting of the Canadian wilderness, or a very good faking thereof. The lake and mountain vistas must have been spectacular on the big screen; even on a TV screen they're impressive. Also, the screenwriters dump the pretensions that marred the 1936 Nelson-Jeannette version and return closer to the 1924 stage story, streamlining it nicely and removing some of the clunkiness in the dialog. Only a handful of the original Friml-Harbach-Hammerstein-Stothart songs survive, but several of the new ones are by Friml, too (with lyrics by Paul Francis Webster), and one, "I Have the Love," is quite nice. Ann Blyth, while not credibly a backwoods French-Canadian, is lovely and with a fine set of soprano pipes, and Howard Keel reminds us again of how Hollywood underrated him--one of our most masculine musical leading men, with an easy understated acting style to back up his booming vocals. Fernando Lamas hasn't that much to do, and it feels unfair that one of Ms. Blyth's leading men has to be a good sport and just step back and let her love the other. And Bert Lahr may be a comic genius, but his and Marjorie Main's material is so rotten that you tend to forget it. Still, a couple of soundstage scenes aside, it's a gorgeous big-screen production, and not as dramatically inert as many other operetta-derived musicals. A very pleasant 107 minutes.
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