Meine Schwester Ellen

Actually saw the 1955 musical remake first several years ago when my film taste and knowledge was nowhere near as broad and when my reviews and taste were not particularly good at all (or so from personal opinion that is). This is to confess that this was without realising at the time that this 1942 'My Sister Eileen' existed. Absolutely loved that film then, still do and slightly prefer it while enjoying this film very much.

1942's 'My Sister Eileen' is adapted from the Broadway smash, its appeal is unsurprisingly so, there have been stage hits where the appeal is a mystery by personal standards, that opinion just to say has been extremely rare with me and have really tried never to adopt that way of thinking, but not here. 'My Sister Eileen' may not be perfect but much of it is an absolute delight and it is very difficult to be too hard on it. There is a good deal of talent involved, with Rosalind Russell being the biggest name and draw, so it's hard to resist.

Do feel that the pacing is rather rushed and frenetic, and do agree that some of 'My Sister Eileen' does try too hard where it does go a little too over-the-top and become somewhat strident and chaotic.

It does have a silly story, but will be honest in saying that this film is hardly the only, first or last film from the "golden age" to not have the story as a strong suit and sometimes for that reason. Brian Aherne also has very little to work with and gets somewhat lost amidst everything else.

Having said all of this, 'My Sister Eileen' does boast some charming production values that don't look too stage-bound and is nicely photographed. There are a lot of very funny and often hilarious moments in the script and while the story and pace have their short-comings the story stays upbeat and impossible to dislike and even if the film did need a slowing down at least it engaged me and the deliciously kooky characters entertained. Got a lot of fun out of the conga sequence.

That is all thanks to a cast at the top of their game, with a few cast members reprising their roles from the stage and doing a great job at it. In support, Donald MacBride is a big standout. While Janet Blair is every bit Rosalind Russell's equal and the chemistry between them crackles Russell is the reason to see 'My Sister Eileen', her comic timing is just effortless and she is basically a joy to watch.

On the whole, not perfect but with a lot to enjoy. See it for Russell. 7/10

Abner! Abner! yup, that's George Tobias from "Bewitched" behind the wig and over-sized mustache playing the bushy/pushy artist and landlord in this first film version of "My Sister Eileen". Rosalind Russell and Janel Blair are sisters who come from Ohio to the big city to find fame and fortune in New York. There are some clever lines, mostly given to Russell, but it must be the direction of Alexander Hall holding this back. The Three Stooges make an appearance, and a very flat-line Brian Aherne. He keeps stepping out of the woodwork to tell Ruth (Russell) that her stories will or will not be published. Viewers will recognize Donald MacBride as the neighborhood cop, trying to keep things under control. Gordon Jones is the out of work muscle guy from upstairs, married of course, since we're well into the Hays Code by this time. He always seems to play the wrestler, the truck driver, and people named "Tex". The girls have many adventures, but the Portuguese navy is involved, and for some reason, they put Eileen (Blair) in jail, which doesn't really make sense, but you have to buy into it. It probably made more sense before it was all whitewashed for the audience. The basic story must have good footings, since the film has been remade, and it was even turned into a TV show in the 1960s. Janet Blair, who had the least experience in films at the time, turns in the best acting performance. Interesting note- Frank Quine, who had played Lippincott in the 1942 film version, directed the 1955 remake starring Janet Leigh, Jack Lemmon, and Betty Garrett. Haven't seen that one yet, but it must have been pretty good, since that one made it to video. and the 1955 version was a musical! one odd connection - the 42 version has George Tobias, and the 1955 version has Dick York, both would end up on the TV show "Bewitched"

It's a circus, but you don't need an admission ticket. You can even peek in from the street and catch all the antics on your way to work. It's Ruth and Eileen's sub-level flat, and rents for only $48 a month with open grillwork onto a chaotic Greenwich Village street scene. Are these two ambitious Mid-western sisters ready for a pro-football player who sleeps over, a fast-talking landlord who paints like a Dodo bird, and a mysterious stranger who walks in and refuses to leave, Then there's the battalion of Portuguese naval cadets who mistake the flat for a dance studio. It's all part of this wacky, fast-paced take on Life in the Big City.

It's all good, innocent fun of course with a tempo that seldom falters, and when things do slow, there's always an underground jolt to mix it up again. Naturally, Rosalind Russell as the caustic older sister gets all the good throw-away lines, while Janet Blair as Eileen gets all the wolf whistles. Then there's the assorted characters-- Gordon Jone's trademark good-natured galoot, George Tobias' fractured ethnic type, and Chick Chandler's silent stranger more creepy than humorous. And, of course, no urban scene of the day would be complete without the bulldog-face of Donald McBride as the ever cranky cop. Together, they turn the flat into a stopover on the way to the funny farm. I expect more than a few Mid-Westerners packed up for New York hoping to get a share of madcap city life.

On a more serious note, the movie was made at a time when the "common touch" was being celebrated in popular culture. After all, it would take a combined national effort to defeat the Axis powers. So, it's not surprising that many movies celebrated the America of the "melting pot", complete with ethnic types, blue-collar characters, and frequent references to Brooklyn, the symbol of the melding.

Anyway, it's still a fun movie even if some skits do strain a bit. I guess the moral is that no city is too big for the talented. And especially, for the shapely. Then too, make sure to stick around for a very last scene that could not be more inspired or appropriate.

The film begins in Columbus, Ohio and young Eileen has visions of stardom on the stage--though she only has worked in community theater. Her older sister, Rosalind Russell, is an aspiring writer and they agree to both go to New York to seek fame and fortune. Along the way, they meet a bazillion crazy characters who wander into their basement apartment faster than is humanly possible. And, yes, I truly do mean wander into the apartment. It's like Grand Central Station in there and after a while the gimmick just doesn't make sense. Subtle it ain't!

MY SISTER EILEEN is a screwball comedy that is very, very aware that that is exactly what it should be. While often cute and enjoyable, all too often the film seems to think that by being too loud, too chaotic and too goofy, it will be a successful film. Personally, I enjoyed it but wish they'd perhaps slowed the whole thing down and tried for at least some subtlety and style. It made the pacing of ARSENIC AND OLD LACE and BRINGING UP BABY seem absolutely slow by comparison!! Throughout this film, whenever the action seems to slow, the film makers seem to just randomly toss characters into the mix with the instructions "act kooky"--sometimes it works and sometimes it doesn't. As a result, it's a very hit or miss production. However, fortunately, the film ends on a very high note with a surprise (and funny) cameo appearance. I won't say more--it might spoil the fun.

Overall, it's a good time-passer and a decent film, but don't expect magic.

ROSALIND RUSSELL was always at her best in comedies and here she had a role that got her an Oscar nomination for Best Actress in 1942--and it's easy to see why. She's downright hilarious as the gal from Ohio with writing ambitions and a pretty blonde sister (JANET BLAIR) with a penchant for attracting men and trouble.

All the wacky situations stem from their Greenwich Village basement apartment which seems to have more visitors than Grand Central Station. It's all exaggerated fluff, but it works, thanks to a fine cast and sterling performances.

RICHARD QUINE and GORDON JONES do repeats of their Broadway roles, and DONALD MacBRIDE as a policeman who wants quiet on his route is hilarious. JUNE HAVOC makes a brief appearance as a medium who used to live in the girls' apartment. GEORGE TOBIAS, as the opportunistic landlord with the Greek accent, is at his funniest in a colorful supporting role.

My favorite moment is the conga sequence with Russell and Blair trying to get rid of sailors who don't speak a word of English, creating a disturbance that lands Blair in jail. Janet Blair is pleasant as the blonde bombshell but it's Russell who milks the most out of her role and gets all the laughs. She's terrific.

BRIAN AHERNE does what he can with the role of the talkative editor, but it's not much of a part. Still, he adds a certain debonair charm to the role.

Summing up: Notable chiefly as a terrific vehicle for Russell's unique brand of comic talent.