Hello Frisco, Hello

1st watched 11/24/2001 - 7 out of 10(Dir-H. Bruce Humberstone): Toe-tapping, hit playing musical that doesn't have a plot line much different than many of this dancing/singing genre but it is played out so well by the stars involved that it keeps you interested. The songs have romance, humor, and hit quality chorus's that made me want to have the music itself(if it's available). This is supposed to have been the most popular war-time film and I can understand why although because a lot of people weren't going to the movies back then it's been relatively forgotten. I'm glad I was able to see this and it made me hunger for more of this type. Watch it if you can find it, it won't disappoint you.

I don't know what is wrong with Leonard Maltin, giving this 2 stars and calling it a big comedown for the stars. This is one of my favorite musicals starring Alice Faye and she has never been so beautifully filmed in technicolor. Her costumes, hair styles and hats, are gorgeous as is the way she is made up.

Jack Oakie and June Havoc are joyous in their comic musical numbers. John Payne plays his ambitious, clueless, social climbing saloon keeper well enough. The opening number "Hello, Frisco, Hello" going right on into "You'll Never Know" is beautifully staged. Forever after this song was introduced in this film, it was Alice Fayes signature song and thousands of WWII couples danced and dreamed to it. Lynn Bari is also gorgeous as the rich femme fatale from Nob Hill that comes between Payne and Faye. But the story is secondary to the songs and stars.

A real pleasure that I keep in my permanent collections of films of the Golden Era. 8/10

Strong evidence of why Alice Faye was such a big star in the 40s. Good support from John Payne, Jack Oakie, and femme fatale Lynn Bari. Some critics, including Maltin, are down on this one, but they're wrong. It's a joy from end to end, and as easy on the eyes (in color) as Faye's voice is on the ears (especially in Academy Award winner "You'll Never Know"). Wish they gave Payne more songs to sing, but you can't have everything. Offhand, I don't know of a Fox musical of that era that's as enjoyable.

Of all Alice Faye's 20th Century-Fox musicals, "Hello Frisco, Hello" is probably my favorite. It is certainly the one that deserves to be called enchanting. The only other memorable Faye musicals that come to mind are "On the Avenue"(1937), "Alexander's Ragtime Band"(1938), "That Night in Rio"(1941) and "Wake Up and Live"(1937). "Hello Frisco" is a feast for the eyes and ears, breathtakingly photographed in Technicolor. The colors, the period costumes, and director Bruce Humberstone's nostalgic evocation of San Francisco's Barbary Coast at the turn of the century - are sublime. It also abounds in one gloriously tuneful song or dance number after another. There are lots to choose from including "Strike Up the Band," "Has Anybody Here Seen Kelly?" and "Ragtime Country Joe", but Faye's memorable rendition of "You'll Never Know" is the best of them all. IT works as a perfect combination of Faye's sweet vulnerability and honesty. Faye's co-star John Payne is equally marvellous as Johnny Cornell. Contrary to a previous reviewer's remarks about Payne's stiffness, I didn't find him really that stiff. A bit stoic, maybe, but his Johnny Cornell is in perfect harmony with Faye's sweet Trudy Evans. And I can't imagine anyone else playing that role or doing a better job.

In all, a Glorious delight.

Charming period musical with Alice Faye as a saloon singer in love with social-climbing John Payne who has his eyes on Lynn Bari. The Barbary Coast is aglitter in Fox's brightest technicolor. The slim plot allows Alice to sing one of her most famous songs: "Hello, Frisco, Hello" which won the 1943 Oscar for best song.

With a sparkling supporting cast including Jack Oakie, June Havoc, Laird Cregar and Ward Bond, it is probably the best film teaming Faye with one of her favorite leading men, John Payne. He doesn't get as many chances to sing as she does, but he was regarded as Fox's most dependable leading man in musicals and matches her every step of the way. But it's her wistful rendering of the title tune, photographed in loving camera close-ups, that shows what star quality is all about.

Pleasant and tuneful, this is what war-weary audiences wanted back in 1943. A nice comeback for Faye who had been off the screen for a year.