CALIFICACIÓN DE IMDb
5.8/10
594
TU CALIFICACIÓN
Agrega una trama en tu idiomaBurlesque star (Blaine) makes it in the big time.Burlesque star (Blaine) makes it in the big time.Burlesque star (Blaine) makes it in the big time.
- Dirección
- Guionistas
- Elenco
Stephen Dunne
- Frederick Manly Gerard
- (as Michael Dunne)
Donald MacBride
- Lawyer Ferguson
- (as Donald McBride)
Lex Barker
- Jack - Coast Guardsman
- (sin créditos)
Juanita Cole
- Dancer
- (sin créditos)
Jimmy Cross
- Harry
- (sin créditos)
Boyd Davis
- Spencer Bennett - Publisher
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
An unusual cast perks up this '40s Fox musical, replete with the cliches of its period but providing quite pleasant old-fashioned entertainment, with Dennis O'Keefe's patented brash and domineering star turn (forgive the script's overt sexism). I especially enjoyed seeing the young Perry Como singing and romancing Martha Stewart (no, not that Martha Stewart), having watched his tv series for so many years in my youth.
The cleansed version of burley-que portrayed is quaint and actually not so far removed from the softcore peep show loops and burlesque movies shown as so-called Adult entertainment in the '50s -it was fun to watch. And especially to see how times have changed now that this is shown On Demand for free courtesy of the new owners of the Fox library -Disney!
The cleansed version of burley-que portrayed is quaint and actually not so far removed from the softcore peep show loops and burlesque movies shown as so-called Adult entertainment in the '50s -it was fun to watch. And especially to see how times have changed now that this is shown On Demand for free courtesy of the new owners of the Fox library -Disney!
I came across this movie only as an inclusion in the Carmen Miranda Collection, and I am commenting here for those in the same situation, who are wondering if this is worth having.
As for Carmen: she sings one number, "Chico Chico (from Porto Rico!)", which features a lot of dancing with the chorus. The main drawback as far as Carmen is concerned is that the film is in black and white, and we are deprived of some of the gaudiness and festiveness that we expect from her participation in a movie. I know that Technicolor was expensive, but it seems bizarre for Fox to have made black and white musicals after the public came to expect color, and to cast the colorful Carmen Miranda in them! A better number was excised from the movie, but included in the Special Features --- Carmen wears her famous outfit with the phallic lighthouse atop her head (which lights up on the downbeats at the end of the song), and the number is done in a burlesque style on a runway. Carmen gets quite a bit of dialogue in this movie, and is actually integrated into the plot, not just a nightclub performer as in some films (like "Down Argentine Way"). I wish she were given more musical numbers to do, though. One funny bit (five seconds long) has Carmen's character, "Chita," disparagingly mimic Carmen Miranda!
The movie itself is watchable and has some fun moments, but on the whole suffers from a bland cast. Vivian Blaine lacked the spark of an Alice Faye or Betty Grable, the other Fox stars of the day, and came across as brittle and not particularly likable. The leading men, including Perry Como, were also uninteresting, and there is even a misogynistic undertone to the movie, with male characters bragging about beating their girlfriends to keep them in line. There is something wince-inducing about seeing bland Perry Como threaten to beat his girlfriend, who gets turned on by it! As for the music, there are a couple of serviceable numbers, but they are reprised to death -- I found myself muttering "oh no, not this one again" by the middle of the movie. Como and Blaine's "Hubba Hubba" duet was the only number which for me was fresh and fun, and not overdone.
In general, this is not a terrible or unpleasant film, but is not one many would want to rewatch. As another commenter noted, the melodrama seems to take over at times, and for me, the characters are not sympathetic or likable enough for me to get drawn in by the non-musical aspects of the plot. If you are wondering whether this adds anything of value to the Carmen Miranda collection --- in my opinion, it is only a very minor addition.
As for Carmen: she sings one number, "Chico Chico (from Porto Rico!)", which features a lot of dancing with the chorus. The main drawback as far as Carmen is concerned is that the film is in black and white, and we are deprived of some of the gaudiness and festiveness that we expect from her participation in a movie. I know that Technicolor was expensive, but it seems bizarre for Fox to have made black and white musicals after the public came to expect color, and to cast the colorful Carmen Miranda in them! A better number was excised from the movie, but included in the Special Features --- Carmen wears her famous outfit with the phallic lighthouse atop her head (which lights up on the downbeats at the end of the song), and the number is done in a burlesque style on a runway. Carmen gets quite a bit of dialogue in this movie, and is actually integrated into the plot, not just a nightclub performer as in some films (like "Down Argentine Way"). I wish she were given more musical numbers to do, though. One funny bit (five seconds long) has Carmen's character, "Chita," disparagingly mimic Carmen Miranda!
The movie itself is watchable and has some fun moments, but on the whole suffers from a bland cast. Vivian Blaine lacked the spark of an Alice Faye or Betty Grable, the other Fox stars of the day, and came across as brittle and not particularly likable. The leading men, including Perry Como, were also uninteresting, and there is even a misogynistic undertone to the movie, with male characters bragging about beating their girlfriends to keep them in line. There is something wince-inducing about seeing bland Perry Como threaten to beat his girlfriend, who gets turned on by it! As for the music, there are a couple of serviceable numbers, but they are reprised to death -- I found myself muttering "oh no, not this one again" by the middle of the movie. Como and Blaine's "Hubba Hubba" duet was the only number which for me was fresh and fun, and not overdone.
In general, this is not a terrible or unpleasant film, but is not one many would want to rewatch. As another commenter noted, the melodrama seems to take over at times, and for me, the characters are not sympathetic or likable enough for me to get drawn in by the non-musical aspects of the plot. If you are wondering whether this adds anything of value to the Carmen Miranda collection --- in my opinion, it is only a very minor addition.
I started to read a fellow critique of this and stopped, but I too am writing this to let you Miranda fans that this isn't the movie for you, if you want Carmen, Carmen, and more Carmen! She sings one song I think in this movie based on a book written by Louise Hovick AKA Gypsy Rose Lee. You see, there's this stripper, played by Vivian Blaine, who can't get a job out of the business to go legitimate, because, in auditions when they find out who she is, they don't want an ex-stripper in their stage play/musical. So, she and her boyfriend/manager Dennis O'Keefe decide she needs to write a book to get respect and hire a ghost writer to help her.
Perry Como is on hand with his smooth voice, but while the movie has its moments, there aren't enough good songs or Miranda to get really excited about or to really recommend it.
Perry Como is on hand with his smooth voice, but while the movie has its moments, there aren't enough good songs or Miranda to get really excited about or to really recommend it.
A wartime soufflé from a play by Gypsy Rose Lee (as Louise Hovick), DOLL FACE features a lightweight plot with some snappy dialogue and delivery among the clichés, while director Lewis Seiler's vision is properly focused upon contemporary swing music, highlighting the vocal skill of Vivian Blaine, Perry Como, Carmen Miranda and Martha Stewart (no, not that one). The scenario has as its primary business a rocky romance between Doll Face Carroll (Blaine), a burlesque queen, and her manager, Mike Hannegan (the stalwart Dennis O'Keefe), along with the latter's efforts to boost his proletarian protégé into the realm of operetta. Seiler manages to remain faithful to the story line while seamlessly blending in the many musical numbers which, interestingly enough, prove more of a showcase for the perky Stewart and smooth Como than for the top-billed and certainly very pleasant Blaine; the production number for Miranda is a wild one, indeed.
If I remembered the quotes exactly, I'd add them to the quotes section... the Gayety owner advices one of his male friends who is having trouble with his girlfriend, that women, like carpets, need to be beaten regularly! The man later says to his girlfriend, "yeah, I'll give you your rights, and a couple lefts too!" Predictably, she loves this and he is grateful for the advice he was given. Yikes!
But anyway, it was an OK movie overall. A "burley-Q" performer tries getting a straight job with the support of her manager/boyfriend, but she's not "cultured" enough. After getting a free book with his purchase of chocolates, he hits on the idea of hiring a ghostwriter to do her "autobiography," which will make her seem cultured. He then hits on the idea of using the pre-publicity to stage his own musical starring her at his own theater, rather than give the pleasure to the man that rejected her. The ghostwriter grows sweet on her, and there's a bit of an idiot plot involving a misunderstanding when they get stranded in a boat en route to the publisher.
Carmen Miranda is underutilized, apparently she had a number cut. Hopefully it can be restored someday.
But anyway, it was an OK movie overall. A "burley-Q" performer tries getting a straight job with the support of her manager/boyfriend, but she's not "cultured" enough. After getting a free book with his purchase of chocolates, he hits on the idea of hiring a ghostwriter to do her "autobiography," which will make her seem cultured. He then hits on the idea of using the pre-publicity to stage his own musical starring her at his own theater, rather than give the pleasure to the man that rejected her. The ghostwriter grows sweet on her, and there's a bit of an idiot plot involving a misunderstanding when they get stranded in a boat en route to the publisher.
Carmen Miranda is underutilized, apparently she had a number cut. Hopefully it can be restored someday.
¿Sabías que…?
- TriviaCarole Landis was originally cast in the lead tole of Mary Elizabeth 'Doll Face' Carroll. She was unhappy with the script and quit right before filming began. Vivian Blaine replaced her.
- ErroresThe lyrics to "Chico, Chico" mention a wolf at "Hollywood and Pico." Those two streets run parallel and never intersect, but lyricist Harold Adamson likely assumed that most people not living in L.A. wouldn't know or care.
- Citas
Flo Hartman: I'm also a man who should have his head examined. Not that it would do any good because the doctors wouldn't find anything in it.
- Bandas sonorasSomebody's Walking in My Dream
(uncredited)
Music by Jimmy McHugh
Lyrics by Harold Adamson
Sung by Vivian Blaine at audition
Later sung and danced by Martha Stewart in finale
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- How long is Doll Face?Con tecnología de Alexa
Detalles
- Tiempo de ejecución1 hora 20 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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By what name was Cara de muñeca (1945) officially released in Canada in English?
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