Ich tanze in dein Herz

Back in her earlier days in Hollywood, Marilyn Monroe did what most aspiring actresses did...she played bit parts and supporting roles. While "Ladies of the Chorus" offers her a bit more, she's not the lead nor was she ever intended to be. After all, it was 1948 and she was still a couple years from stardom. However, the studio did what I've seen many times with Monroe....after she become famous, they re-cut the movie (adding a title screen that shows Monroe in the lead) and re-released it! I watched this version. I've also seen many DVDs of Monroe and her bit roles with covers blazoned with her face....as if she was the star...so this re-issuing isn't any surprise to me.

The actual star of this film is Adele Jurgens, a gorgeous blonde who did quite a bit of television in the 50s. Sadly, her career worked out but not nearly enough to offer her many more starring roles. On the positive side, she lived a very long and full life aside from acting.

As far as Jurgens, despite being the star, the casting of Monroe as her daughter (despite only being nine years older) must have been painful to her. Jurgens plays Mae Martin, a chorus girl who works with her daughter, Peggy (Monroe). But when Peggy falls in love and the man asks her to marry her, Mae is worried. After all, Mae's husband came from a good family, just like this man, and she is worried that love won't be enough to keep Peggy's marriage going strong. After all, 'good families' don't want ex-chorus girls marrying into their family...and Mae's husband just couldn't cut it. What will come of Peggy and her new man?

In addition to this plot, there is lots of singing and dancing...especially by Jurgens and Monroe. Considering the film is made by Lippert Studios, it's surprisingly good...as I usually expect very little from their productions. The best part is how all this worked out in the film....something that makes it all worth seeing.

The plot explores the idea of being accepted as a chorus girl. Will the upper class set acknowledge such a lowlife species? The story is trivial but holds an interest as Marilyn Monroe (Peggy) carries herself well in one of her early entries. Thankfully, we see her deliver her lines without that irritating baby-talk that became her trademark. She talks properly in this film! So, it's a treasure if only for that.

There is a good segment where Adele Jurgens (Mae) shows off some dance moves – probably the best moment of the film. The music is OK, Marilyn Monroe sings a couple of songs, but nothing too special.

The flimsy story wraps itself up over the course of an hour, but we watch it for Marilyn Monroe.

A very young Marilyn Monroe in her first lead role made an impression on critics with her performance in this light film about a young burlesque queen whose mother disapproves of her engagement to a wealthy man.

Monroe's sweet singing voice is showcased for the first time in this film, and it is a real treat. She had not yet adopted the "Marilyn Monroe" persona, but even without the breathy baby-doll voice she is the image of innocent seduction.

Although the plot is rather formulaic and simplistic, this film does offer something of a twist at the end. All in all a cute film and opportunity to see Monroe as a young fresh-faced beauty who, as always, lights up the screen.

Peggy Martin (Marilyn Monroe) and her mother Mae (Adele Jergens) are both burlesque chorus girls. Bubbles LaRue keeps pushing Peggy to go out with clients but Mae forbids it. Peggy is tired of her mother's protectiveness but when Bubbles comes at Mae, Peggy is the one punching back. Bubbles quits. Mae is asked to do the solo dance but she gives it to Peggy. A new star is born. In the audience, Randy Carroll is taken with her.

This is early Monroe. She was still a relative nobody at the time. I doubt that she got top billing during its initial run even if she's the nominal lead. It's fascinating to see her before her sex goddess persona. She is still an ingénue. She has her overpowering beauty but her pouty sex goddess is still under construction. In that light, Randy is not good enough. It's hard to cast a suitor for a future legend. All I know is that Randy is not good enough. I don't see enough heat in the relationship and that drags down the film. It's still fascinating to watch a pre-goddess Monroe.

Like most folks I tuned in to catch Monroe in her first featured role. Being a Columbia quickie (filmed in 10-days), I wasn't expecting much outside of the luscious blonde. So I was rather happily surprised that the 60-minutes turned out better than I expected. The first part features nicely staged burlesque bits, along with good snappy backstage dialog. The second part has Monroe and fiancé (Brooks) having to confront his family's apparent uptown snobbery. After all, Monroe does play a burly-que queen, not exactly the Manhattan Social Register. I like the way the ending's surprisingly finessed.

It's a fine cast with scrappy Jergens doing well considering she has to play Monroe's mother, of all things. Kudos too to Bryant as Brooks's uptown mom, though actor Brooks seems pretty colorless which maybe he was supposed to be. Anyway, the famously skittish Monroe appears utterly relaxed and glowing in her role. Musical numbers, I think, always brought out the best in her. Also, this is before super- stardom began to weigh her down. Should also note that director Karlson shows his versatility here since his specialty otherwise was tough, tight crime dramas.

All in all, the little flick can be enjoyed on its own merits or as an early peek at perhaps Hollywood's most legendary actress.