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Too Many Girls is a charming, light-weight and vapid college musical based on the Broadway show by Richard Rodgers and Lorenz Hart. What it has going for it is a fine Rodgers & Hart score, enthusiastic and talented actors (several of whom, such as Eddie Bracken, Desi Arnaz, Hal LeRoy and Van Johnson, were re-creating their Broadway roles), a couple of first-rate production numbers and a nostalgic look at a long-ago time when co-eds wore beanies and college football was played just for the fun of it.

Connie Casey (Lucille Ball), the head-strong daughter of a rich industrialist who has been trying to keep her out of trouble, decides she wants to go to Pottawatomie University, her father's alma mater, in Stop Gap, New Mexico. Dad agrees, but secretly hires four college football stars as bodyguards. "Kelly," he says to one of them, "would you like a job? Good pay, long hours, hard work. You're not afraid of that, I suppose?" "Oh, no, sir," Clint says. "Good pay never frightened me any."

Connie, unknown to her Dad, has fallen for a famous British author who has a ranch near Stop Gap. The four new bodyguards are Clint Kelly (Richard Carlson), Jojo Jordan (Eddie Bracken), Al Terwilliger (Hal LeRoy) and Manuelito Lynch (Desi Arnaz). Once everyone is enrolled, things do not go smoothly. There are lovely co-eds to distract our bodyguards (the ratio of male to female at Pottawatomie is 1 to 10). There is the football team that desperately needs help if it is ever to win a game. There are all those creaking jokes. When Jojo is surrounded by cute and adoring Pottawatomie co-eds one day, he's asked if he'd ever dated any of those eastern girls. "Oh, I went with a senior at Wellesley," Jojo tells them. "They're all air-conditioned." "What do you mean, air-conditioned?" "Forty degrees cooler in the house than on the street."

Mainly, there is Connie to be kept from her paramour, which is both made easier and more difficult when Clint falls for her, Connie reciprocates and then finds out he was sent to keep an eye on her. Well, Connie is hurt and angry. She decides to leave Pottawatomie on the night train going back east...and her football-playing bodyguards must go with her. But wait. There's a crucial game the next day. Without Clint, Jojo, Al and Manuelito there's no hope that Pottawatomie can win. Only if Connie realizes how much she loves Clint and relents can our boys play. I know you're in suspense over what Connie decides, but I don't believe in spoilers. You'll have to watch the movie.

The primary reason to see the movie is the Rodgers & Hart score. This was the only film version of a Thirties Rodgers & Hart production that even remotely resembled the Broadway original. The score has one classic, "I Didn't Know What Time It Was," and one near classic written specifically for the movie, "You're Nearer." Since this is a college movie, Rodgers & Hart came up with some real rousers; pep songs before a game and victory songs after: "'Cause We Got Cake," "Spic and Spanish" and "Look Out." The climax is a near hallucinogenic production number that features a bonfire, pulsing rhythm, flickering shadows and Desi Arnaz sweating and beating a bongo drum while he struts amidst the cheering throng. Rodgers & Hart also came up with a lovely, gentle gem of a song, "Love Never Went to College," that demonstrates why Hart was one of the best in the business.

Lucille Ball is a knock-out. Richard Carlson is stalwart and a bit wooden. This was Eddie Bracken's first movie and he's great...especially when he sings his version of "I Didn't Know What Time It Was." Hal LeRoy, like Bracken, is around to provide comic relief. He was a gifted and distinctive dancer. He has one tap segment in the Spic and Spanish number which is extraordinary. He's not only fast, but his knees seem to be double-jointed. Desi Arnaz makes a funny and endearing impression as the guy who is always ready for a game or a dame. Frances Langford, long forgotten by most nowadays, was a pop singer of style and great popularity during the Forties. She does a fine job as the student body president. She does an even finer job singing some of the songs. Ann Miller is there to do her machine-gun taps and precision twirls. And although Van Johnson is unbilled (he's listed on IMDb as Chorus Boy Nr. 41), his one line is vital to Pottawatomie and to the movie. "We won the game, so help me!"

Too Many Girls offers the viewer and opportunity to see George Abbott direct one of his own hits from Broadway for the big screen. If the film does have a problem is that Abbott did it too much like a photographed stage play. When Abbott got to recreate Damn Yankees and The Pajama Game for the screen he didn't make that mistake with them. This film plays a whole lot like early musicals such as Rio Rita, The Desert Song, Animal Crackers, and Cocoanuts.

On Broadway Too Many Girls ran for 249 performances and coming over from the Broadway production were Eddie Bracken and Desi Arnaz. Playing the leads here are Richard Carlson and Lucille Ball and yes, Lucy and Desi did meet on the set of this film.

It's a college musical and in plot and location Too Many Girls plays a lot like the Gershwin Brothers, Girl Crazy. This time it's the woman who is the wild child who goes to the rustic university, in this case it's Pottawatomie College in Stopgap, New Mexico. Lucille Ball plays the Paris Hilton type and she kind of surprises her father Harry Shannon when she says she wants to attend his alma mater. Of course it's a ruse so she can be near her latest flame, Broadway playwright Douglas Walton who has a ranch there.

But Shannon is up to her tricks and hires four All-American football players to transfer there and act as bodyguards, the four being Carlson, Arnaz, Bracken, and Hal LeRoy. It takes a great deal of suspension of disbelief to see Bracken and LeRoy as football players.

Also on hand are Frances Langford and Ann Miller who contribute their talents to the film. I also don't understand why with a singer like Langford around she wasn't given the lead. Lucy's voice is dubbed by Forties radio singer Trudy Erwin who was a vocalist for a spell on Bing Crosby's radio show.

And Ball/Erwin get to do the two main numbers in the film. Most of the score from Too Many Girls came over from Broadway and Rodgers&Hart wrote You're Nearer in addition for this film. You're Nearer and the show's big hit from Broadway I Didn't Know What Time It Was which is a favorite song from Rodgers&Hart for me. Patti Page did a great record of it.

Too Many Girls could have had a better screen adaption, but it still remains a gem from what was the height of the collaboration of Richard Rodgers and Lorenz Hart.

Lucille Ball (as Connie) is going to college. Her wealthy father is afraid she'll get into trouble, so he hires four football players to be her bodyguards. Not a very bright man, obviously! The bodyguards are: Desi Arnaz (as Manuelito), Eddie Bracken (as Jojo), Richard Carlson (as Clint), and Hal LeRoy (as Al). Ann Miller and Frances Langford are around to dance and sing.

It's a fair musical, with an "Indian" subplot (Huh?), and budget problems. You should know that Lucille Ball and Desi Arnaz are not paired up in (on-screen, anyway) this film (Ms. Ball is partnered with Mr. Carlson). This is a routinely presented film, with a few highlights. Unfortunately Mr. Le Roy and Ms. Miller do not have a real dance off/team-up together. Mr. Arnaz steals the show from his future wife with a charming performance - look for the scene where he plays "guess the lipstick"!

***** Too Many Girls (10/8/40) George Abbott ~ Lucille Ball, Richard Carlson, Desi Arnaz, Ann Miller

Some movies become important, not because of their subject or their cinematic relevance (or irrelevance in some cases), but because of other circumstances.

In this case, it's the film that brought together two of television's greatest personalities and business people: Lucille Ball and Desi Arnaz. Both were struggling actors trying to make their images a commodity in the Hollywood of the late Thirties and early Forties. Arnaz, however, was less an actor than a musician so he had material on which to fall back on. Ball, on the other hand, was today's Parker Posey -- you always saw her star in B-movies and rarely, if ever, in "major productions". Back then, though, such a thing was looked down upon and Ball in this vehicle didn't fare better: she remained rooted in the B's.

So with Ball and Arnaz coming together in 1940, it is reported that the sparks were loud and clear and despite their personality and racial differences, they were to begin an alliance which would legally last 20 years, but emotionally, a lifetime. Neither of them share scenes together other than the ones in which their characters happen to appear on screen simultaneously, which would have been great in order to capture what they were about to experience (much in the style of Hepburn and Tracy, and Bogart and Bacall), but that's okay. We know the history of Lucy and Desi and if anything, this movie is the catalyst for their union.

You can't really appreciate the pace and style of the great movie musicals until you've seen some lousy ones like this. A really awful 1930s or 1940s musical movie can induce a sort of restful trance, and take you into another world of stunned tedium. If you know only Rodgers and Hart's great songs which survived shows and became standards, you'll be astounded by how many strained and stupid ones come in between them in the course of a plotted show. The story-scenes are acted in a stiff and disinterested style. Actors seem just to be waiting for others to stop speaking so they can say their lines, rather than actually listening to each other. And why should they listen? What they say is overwritten, repetitious, and yet often indirect and incomplete as far as telling the story is concerned. The plot manages to be both contrived and clumsy, unlikely to the point of being fantastic--yet who would fantasize such dreariness? This effect is probably partly the result of prudish Hollywood trying to adapt a supposedly "spicy" script direct from supposedly "wicked" and "sophisticated" Broadway, and therefore inserting or deleting lines to keep the script "clean" but still leave the impression that it's "daring." But the prudishness seems hypocritical, and the sophistication way, way overestimated. Trying to convey both attitudes, yet neither, the actors become robotic and stressed. And the sets are so stagy that it's a shock when suddenly one scene is played on a real ball-field. Perhaps the most characteristic moment comes when Lucille Ball makes a remark about a boyfriend which is clearly the lead-in for a song, and then, as mechanically as a wind-up toy, while the other actors in the room watch helplessly, with nothing to do, crosses a whole room, goes out onto a porch, hits a position, stares into a light, and lip-syncs woodenly to a voice obviously not hers. Another: after what seems an endless discussion of the troubled finances of a college (which turn out to have nothing to do with the story at all), one boy donates the three hundred dollars (?) that's needed, and the college is opened, at which point for some reason everyone participates in a production number called, "Cakewalk, 'Cause We Got Cake," possibly left over from some other situation in the Broadway original (some of its lyrics seem to relate to Depression optimism), and performed not as a cakewalk, but a swing number. Also, as is to be expected in a "college musical" of the time, the main characters are far past college age, so their sexual coyness seems retarded. The ultimate effect is one of dreamlike slowness and isolation and illogic, making this trivial nonsense seem related to the existential sadness of De Chirico's paintings or Kafka's novels. The movie may be even more bewildering to younger viewers today because of changed social attitudes. A long scene among four boys is oblique to the point of mystery because in 1940 none of them could actually say that certain girls wearing certain "beanie" caps are virgins (there are a couple of incredibly labored attempts later at jokes about these caps). Lucille Ball, giving an old Native American man a letter to carry for her to a lover, calls the messenger, "Boy," and Latino Desi Arnaz not only has an awkward gay joke early in the film, but later performs a song called "I'm Spic and Spanish."