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Since the play, "Laurette," was never realized, the movie version of "Bells are Ringing" serves as Judy Holliday's "final" performance.

It's to her credit that she comes off as well as she does. The film is extremely stagey, and looks contrived and bloated, despite a most competent cast and director.

Yet Holliday is buoyant, full of fun, and energetic--all hallmarks of her theatrical persona.

I've read Holliday's complete bio, and am amazed she was able to overcome the tremendous obstacles she endured, from her sad childhood and family relationship through the communist "witch hunt" period--which left her saddled with protest pickets that followed her around--to failed marriages, lack of employment, and care giving responsibilities for her child and parent. All the while working wherever she could and keep smiling.

In many respects her career is quite similar to that of Montgomery Clift. Both apparently gave their best work on the stage, night after night before live audiences, rather than on film. Had both stayed in the theatre, their respective careers and lives might have remained more stable and healthy--and be alive today.

"Bells are Ringing" is a final tribute to a great talent, an Oscar-winning actress and comedienne who graced the stage and screen with a radiant presence and winning demeanor. Fortunately, as long as her films are shown, Judy Holliday will live and be rediscovered by future generations.

Made late in the cycle of great MGM musicals, with the reliable producer-director combo of Arthur Freed and Vincente Minnelli, this is a fairly clunky adaptation of a Broadway hit. Despite some location filming, it looks stagebound, and the stylized playing and jerrybuilt musical-comedy plot look false as hell. Some excellent musical numbers from the original are badly truncated or left out entirely, and what's left is grotesquely over-orchestrated. One senses that Minnelli, in particular, didn't trust the material--look at how quickly he dispenses with the "Mu-Cha-Cha" number, seemingly embarrassed by its musical-comedy silliness--and the supporting cast seems to be playing to the second balcony.

That's the bad news; now we get, thank heaven, to Judy Holliday. Having played this part on Broadway for two years and toured with it longer, she looks amazingly spontaneous. Given her health problems at the time, she looks happy and healthy. And while we can't expect to experience her legendary warmth and charisma as stage audiences did, it's an incomparable performance. Every reaction, every inflection, every seemingly improvised movement rings true and lends depth and poignancy to a paper-thin character traipsing around in a contrived plot. What a lesson for any young actor in transforming everyday material into something memorable. My favorite moment comes early, when she's reclining on a sofa and looks up dreamily and starts singing, a capella and with perfect naturalism, "I'm in love..." I'm in love, too, Judy. We miss you.

Arthur Freed's final musical production for MGM was this very bright musical comedy from Jule Styne-Betty Comden-Adolph Green, Bells Are Ringing. Sadly this was also the farewell film performance of Judy Holliday who was playing the role of Ella Peterson which she had created on Broadway.

Bells Are Ringing ran for 924 performances on Broadway from 1956 to 1959 and won a few Tony Awards including one for Judy Holliday as Best Actress. I'm sure the Tony went well with the Oscar she won for Born Yesterday up on her mantel.

According to a book about Arthur Freed and the films he produced at MGM, Bells Are Ringing was not an easy shoot. Judy Holliday was suffering a lot of health problems with bladder and kidney. In that sequence where she goes on a blind date and her dress catches on fire, Holliday was actually burned. And she had a constant battle with her weight.

Her leading man on Broadway was Charlie Chaplin's son, Sydney who also won a Tony Award and with whom she was involved with. MGM wanted a name with a bit more box office to it, so Dean Martin was cast as playwright Jeffrey Moss. Holliday got along with Dean, but she felt him to lackadaisical in his attitude. That might have been a problem later on, but certainly not here. I'm sure she'd have preferred Sydney Chaplin to work with again.

With the advances in telecommunications, Bells Are Ringing at this point has an almost quaint nostalgic look to it. I'm sure young viewers now who use cellphones and text messaging and have automatic answering systems built in to phones wouldn't even understand what an answering service was all about.

They certainly all weren't like Susanswerphone which is run by Jean Stapleton and employs two other people including Judy Holliday. Despite warnings by Jean to just take messages and a visit by police inspector Dort Clark who misreads what's going on at the Susanswerphone switchboard, Judy is a compulsive do-gooder who insists on meddling in the lives of her customers.

But she does it in such a sweet and winning way, Holliday creates one of the great screen characters and like Billie Dawn from Born Yesterday, one that originated on the stage. In one way Bells Are Ringing is a modern story, it's almost like an internet chatroom with Holliday running the board.

Besides Judy, Jean Stapleton, Dort Clark, and Bernie West who plays the frustrated songwriting dentist all repeat their roles from the original Broadway cast. Freed and director Vincent Minnelli pulled off some real casting gems for some of the other parts. Fred Clark as the producer who's trying to get a play out of Dino, Eddie Foy, Jr. as the dapper conman/bookie who is romancing Stapleton and whose activities arouse the police suspicions in the first place, and Frank Gorshin who I love best playing a second rate Marlon Brando imitator of a method actor.

Most of the musical score remained intact here. Arthur Freed would have been lynched had he attempted to bring Bells Are Ringing to the screen without Just In Time and The Party's Over. The last has become an automatic item the way Goodnight Sweetheart used to be signaling the end of an evening's festivities. And I do so like the Drop That Name number, try to see how many celebrities get their named dropped in that song.

Despite the problems it had with shooting, Bells Are Ringing is certainly a fitting climax for Arthur Freed's career as a producer. Judy Holliday made no more films, but did have another Broadway show, Hot Spot which did not have a long run. What a terrible tragedy, one so talented left us at age 44.

Still her fans can treasure her memory and her art in watching among other of her films, Bells Are Ringing.

I found Bells Are Ringing accidentally when I was researching another film project and it has become a favorite. While Holliday is sparkling in her role, it is Martin's low-key reactions (which are, of course, what made him such a great straight man) that send me back to watch the film again and again. It's a "don't-miss" for fans of Holliday, Martin and the musical comedy - heavy on the comedy - genre.

Judy Holliday originated the role of Ella Petersen, the Susanwersphone switchboard operator, in Vincente Minnelli's adaptation of the Broadway musical, with music by Jules Styne and book and lyrics by Betty Comden and Adolph Green. Although filmed in 1960, this musical belongs to the conventions of the 1950's with a brassy orchestration, superfluous supporting cast for comic relief, and a Brando impersonator. That Holliday remains as the best thing about it, in spite of Minnelli's less flattering treatment of her than George Cukor, is a tribute to her gifts as an actress, in particular a Broadway performer with the subtlety to adapt for film acting.

Holliday's two solo numbers - It's a Perfect Relationship and I'm Going Back - are triumphs of personal charm, in spite of the director. Minnelli has trouble de-staging the switchboard environment and the film only comes to life after Holliday leaves it to meet Dean Martin, as her favourite client, in person. In the Better than a Dream number, where both Holliday and Martin sing oblivious to the other's reality, this is Minnelli finally presenting a musical sequence cinematically. This pattern continues with Martin's funny I Met a Girl, sung as he battles street crowds. Minnelli treats Holliday's plaintive ballad The Party's Over simply, if disappointedly in long and medium shot presumably since he thinks Holliday's voice doesn't deserve a closeup, in contrast to the botched Just in Time, the score's most lovely song, wretchedly staged. The Drop That Name number is probably more about Minnelli than Holliday, since he scores points off her, comparing her perceived frumpiness to the vacuous stereotypical 1950's society vamp.

Holliday and Martin play off each other well, overcoming the oddness of their union. Martin actually looks not at his best, which undermines the romantic appeal, and his solo reveals he shouldn't be given one. It's hard not to consider his character's fear of success without his partner and not have thoughts of Jerry Lewis, though believing Martin as a playwright is trouble enough. Thankfully there's Holliday. Far more likeable and individual than say a Doris Day, Minnelli's having her lower her head for pathos is the lowest appreciation of her potential. This wasn't considered a great musical to begin with, and the film is pretty hard to take whenever the supporting players take over, with excruciating bits featuring Eddie Foy and The Titanic record company, vice squad surveillance, and the mafia, however the songwriting dentist gave me a few chuckles.