The hit Cole Porter musical "Kiss Me Kate" was perhaps just a thought in its book writer's eyes when Columbia released this enjoyable musical (that seems to be crying out for Technicolor!) a few years before. It surrounds the divorce antics of a musical star (Evelyn Keyes) and her producer husband (Keenan Wynn in a rare leading role) and her visit to him to get his signature on documents proving their divorce so she can marry the stuffy Allyn Joslyn and move to a small town near Des Moines. To make the "Kiss Me Kate" comparisons more ironic is the presence of Ann Miller as the tap dancing star of his Brazilian revue who has more than just a passing interest in Wynn even though the suave Tito Guizar has a romantic interest in her. Wynn tries all kinds of ploys to either insult Joslyn or keep him and Keyes from getting together, even repeating the same gag from "His Girl Friday" by identifying an older gentleman standing nearby as Keyes' fiancee and dismisses Joslyn's presence. The dialog in this sequence is nearly identical to the sequence in "His Girl Friday" between Cary Grant, Ralph Bellamy, Rosalind Russell and whatever old man happened to be standing nearby. Later, Wynn arranges for Joslyn (arrested for some reason along with Keyes and Miller) to be photographed behind bars and for the headline and photograph to make the front page.
For those not familiar with Tito Guizar, this is a good chance to see the Mexican born singer at his best, a great dancing partner for Ann Miller and very warm hearted in his performing, especially with "You Never Say Yes, You Never Say No" which he sings both in English and Spanish. He has such an easy going charm in his manner that it is impossible not to be captivated by him. The musical numbers are all elegantly staged, overstuffed with glorious sets and large dance ensembles, and featuring Miller at her tap dancing best. Considering that Columbia had been doing color movie musicals for several years ("Cover Girl" in 1944, "The Jolson Story" the same year as this), it makes no sense to have this in black and white. Of Ann Miller's Columbia films, this is by far the largest budget, and the glamorous atmosphere seems to be screaming for reds, blues and green's. Even though he never really played any other leading roles, Wynn is very funny in his part here, and Joslyn is delightfully stuffy. Miller gets some very feisty lines and some truly sexy musical numbers, including "Man is brother to a mule". There are a lot of thrills in this Columbia look at Brazil, but oh that cry for color. I just can't get over that one.
For those not familiar with Tito Guizar, this is a good chance to see the Mexican born singer at his best, a great dancing partner for Ann Miller and very warm hearted in his performing, especially with "You Never Say Yes, You Never Say No" which he sings both in English and Spanish. He has such an easy going charm in his manner that it is impossible not to be captivated by him. The musical numbers are all elegantly staged, overstuffed with glorious sets and large dance ensembles, and featuring Miller at her tap dancing best. Considering that Columbia had been doing color movie musicals for several years ("Cover Girl" in 1944, "The Jolson Story" the same year as this), it makes no sense to have this in black and white. Of Ann Miller's Columbia films, this is by far the largest budget, and the glamorous atmosphere seems to be screaming for reds, blues and green's. Even though he never really played any other leading roles, Wynn is very funny in his part here, and Joslyn is delightfully stuffy. Miller gets some very feisty lines and some truly sexy musical numbers, including "Man is brother to a mule". There are a lot of thrills in this Columbia look at Brazil, but oh that cry for color. I just can't get over that one.