Fotograf aus Liebe

Cute B musical with a so-so plot. Best thing is the dancing by O'conner and Reynolds. His big solo number would be better if it were a dream sequence or fantasy. No one could do a number like that with those numerous costume changes in real time. Ending is quite abrupt. When Donald goes missing for three weeks he's actually living in Central Park??? How could he survive with no food or change of clothes. He should have held up in his home or Apartment. That's the big mistake in this otherwise cute little musical. Kudos for little Noreen Corcoran as Debbies sister.

Talk about an energy crisis! None of that here. Reynolds and O'Connor generate enough sheer bounce to light up a city. This is Reynolds at her most likable, a chorus girl with ambitions beyond being a human football. It's also O'Connor at his nimble toed best. They're an ideal pairing. There's not much plot, but when did a musical need much story. Melvin loves Judy, Judy loves Melvin, but first poor Mel must get past cranky Dad and then past rival Harry Flack. Good thing he's a photographer for Look magazine. Okay, if you remember Look and Life, you probably saw the movie in a theatre. The year is 1953, the Korean War is over, Ike's in the White House, and the economy has taken off. It's the 50's of Ozzie and Harriet, and happily, that carefree spirit percolates throughout the movie's candy box colors.

It's also the kind of movie dream factory MGM specialized in, a chance for their younger performers to show their stuff. But catch oldster Jim Backus as O'Connor's boss. His array of comedic expressions are a real hoot. The music may be forgettable, but the dancing is infectious. Thanks to the kids' charm and sparkle, plus fast-moving direction, the movie's an unheralded little gem. Then too, if you like this musical, catch up with The Affairs of Dobie Gillis (1953). It's with Reynolds and Bobby Van, and is just as sparkling as this companion sleeper.

That it was a musical, with comedy and romance, with Donald O'Connor and Debbie Reynolds reunited after the much deserved success of 'Singin' in the Rain' was more than enough reason to check out 'I Love Melvin'.

While 'I Love Melvin' may not quite be up there with the classic musicals and is not quite a masterpiece, it's immensely fun and charming still and very difficult to dislike. It is also very well-made and performed and worthy of much more praise and more people seeing it. If anybody enjoys musicals, there's no real reason why 'I Love Melvin' can't be enjoyed.

Sure 'I Love Melvin' could have been a little better, with a less rushed and pat ending and the lyrics for a few of the songs not as corny and vapid.

However, it looks great, being beautifully shot in big, bold and richly colourful Technicolor where the colours dazzle without being too garish or too busy. The songs are not exactly hits but there are also no duds, instead they are melodically pleasant songs beautifully performed though a few of them would have benefited more from better lyric writing.

The choreography is energetic and graceful, with O'Connor's breathless roller-skating routine being the highlight and fondly recalling the immense exuberance of 'Singin' in the Rain's "Make Em Laugh". While the dream sequence with the men is somewhat bizarre it's a fascinating sort of bizarre and not the uncomfortable sort.

Musicals are often criticised for the story, and it is true that this component is rarely a strong point even in the classics, but in the best musicals one forgets that when everything else is so good (when there are musicals that are executed in a mixed-bag or bad way it's less forgivable). Here the story is slight, but is so full of fun, energy, charm and heart that it still engages, it's easy to follow and there is a nostalgic value to be had. The witty spark of the script is also worthy of note. The direction is very sure-footed throughout.

Donald O'Connor and Debbie Reynolds both excel superbly in roles that play to their strengths as performers. Their chemistry sparkles like bubbles in a glass of champagne. O'Connor has a mischievous charm and bundles of energy, his dancing also a dream. Reynolds is bright, lively and perky and sings like an angel. Jim Bacchus is hilariously demented.

All in all, an undervalued if imperfect little gem. 8/10 Bethany Cox

Delightful follow-up to "Singing in the Rain" (minus Gene Kelly, which is fine with me), "I Love Melvin" is a snappy(76 minutes), tuneful Technicolored treat with one show-stopping musical number after another. A serviceable plot (Donald O'Connor plays a free-lance photographer who becomes so enamored with aspiring singer/dancer Debbie Reynolds that he promises he'll get her the cover of Look Magazine) provides a nifty frame for a series of first-rate, beautifully choreographed musical numbers that make one wonder why this terrific little MGM gem has been overlooked. The music is sensational (thank you, Joseph Myrow), the evocation of the Manhattan setting is a visual delight (MGM actually went on location for a few scenes--watching Ms. Reynolds walk across Central Park South is a time-capsule come to life.) And O'Connor and Ms. Reynolds have probably tbe best displays of their singing & dancing talents in their entire careers (their frenetic "Where Did You Learn to Dance?" is a knockout; O'Connor's solo "I Want to Wander" is a classic; and Debbie's opening dream number, "The Lady Loves," wherein she is attired in slithering pink as she delivers the sultry lyrics, hint at the dreamy sexiness she was allowed to exude in future films.) MGM produced so many classic musicals in the early 1950s that "I Love Melvin" has been unjustly neglected. Too bad, because it's a sparkling, melodious, toe-tapping treat that ranks among MGM's finest and is long-overdue for the accolades it deserves.

This film is an absolute delight from the pre-credit sequence where Debbie Reynolds writes the title of the film in lipstick on a mirror to the hilarious chase through Central Park at the end. In between Debbie dreams of becoming a Hollywood star in some magnificently staged dream sequences, thanks to the genius of Cedric Gibbons, in one of which she meets Robert Taylor as Robert Taylor! In another sequence she dances with three dancers in Fred Astaire masks and three in Gene Kelly masks - before winning an Oscar! Great stuff.

Debbie is perfect as both great movie star and girl next door. Her Broadway performance as a football is a riot. Equally good is Donald O'Connor as her lover and aspiring photographer. His roller-skate sequence is brilliant, as is a dance sequence in which he travels the world and plays numerous characters (again thanks to Gibbons). There is great support from Allyn Joslyn, as Debbie's exasperated father, and from Jim Backus as a crabby photographer. And the little girl has a good song too.

The score is jazzy and upbeat, and it's great to see the real Central Park and other New York locations, shot in gorgeous technicolor. I think this terrific musical is very under-rated.