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Six films and four years after her auspicious starring debut in THREE SMART GIRLS (1936), the luster of Deanna Durbin began to dim, but just a little. In IT'S A DATE (1940), she's saddled with two high-profile grown-up co-stars, Walter Pidgeon and faded 1930s star Kay Francis, both of whom considerably slow down the normally hyperactive Deanna.

The plot involves aspiring actress Deanna being offered a part that was originally promised to her stage diva mom (Kay). Then, in Hawaii, the plot shifts to a romantic triangle as the two women grapple, not for a part, but for the attentions of a pineapple tycoon, Pidgeon, who's more interested in the mother. The inherent drama in such a situation is jettisoned in favor of standard Universal Pictures sitcom antics. Kay Francis overacts but is never given any good lines, forced too often to simply react to the bubbly, aggressive Deanna.

The first section of the film offers the flavorful ambiance of a theatrical milieu, both Broadway and regional theatre, but then, after Deanna's offered the part of St. Anne, the action shifts to a cruise ship, where Deanna meets Pidgeon, and finally to Hawaii where she reunites with Mom. Once Deanna boards the ship, she leaves behind her quirky boyfriend Freddy, an aspiring actor played by the funny Lewis Howard, who then disappears from the movie. Freddy has a great bit early on where he tries to impress a casting director by acting like a 'dope fiend' which is what he thought Deanna said when she told him to try out for the part of the Dauphin. He starts going into withdrawal tics, rubbing his nose and scratching his arms, a daring bit at a time when the Production Code strictly forbade drug references.

Norman Krasna's script (from a 'story' credited to three writers) offers plenty of bright dialogue and funny bits, but the shifts in setting make it play like three movies crammed into one. William Seiter's heavy-handed direction seems more intent on showing off the lavish (for Universal) sets and less on showing off the actors, giving a bloated feel to the whole enterprise. Deanna's earlier films were leaner, zippier and bursting at the seams with youthful energy. The soundtrack is short on original songs and big on choral standards: Deanna's big numbers are 'Loch Lomond' and 'Ave Maria.'

"It's a Date" is a pleasant little film with Deanna Durbin. I think the best part of this one is that although there is some singing, it's not jam-packed full of music and has a decent plot.

Deanna plays Pamela Drake and Kay Francis plays her mother, Georgia. Georgia is already a famous and accomplished actress and Pamela dreams of becoming one herself. Well, it soon looks like Pamela's dreams will come true when she reads for a relatively small part--but they offer her the lead! However, she needs to cram and learn the part and goes on a cruise. During this trip, she stays to herself and works on her lines but the Captain and a guest, John Arlen (Walter Pidgen) see her talking to herself and don't know she's rehearsing! They think, incorrectly, that she's really depressed--and John decides to use a scheme to get her to focus on him and his supposed problems. He hasn't got any problems and soon she sees through his ruse--but they become good friends.

When they land, Pamela introduces John to her mother--and tells her that she is in love with John, although he's twice her age. However, over time you aren't certain WHICH lady John is smitten with but things get worse. Soon Pamela realizes that her mother ALSO thinks she's getting the same part that Pamela is rehearsing for--and she doesn't want to disappoint her mother. So what's going to happen? See this cute little family comedy.

As far as Deanna Durbin films go, it's a bit better than average due to a nice cast. In particular, although it's a relatively small role, it's also the first for S. Z. 'Cuddles' Sakall---one of the most likable supporting actors in history. This alone make it a must-see!

By the way, I would love to know what audiences of the day thought about their sweetheart, Miss Durbin, falling for an old guy like Pidgeon. I know that a similar May-December pairing in "That Hagen Girl" was NOT good and audiences hated the film. I think seeing a young lady who everyone adored as a child now with a much older man was just too much-- and this might have also been a problem with Durbin.

The tired old ploy of having mother and daughter compete for the same man, intentionally or not, is what is supposed to make 'It's A Date' a sparkling comedy. Although the script is by the talented Norman Krasna, it's not witty enough to make the long stretches between songs anything more than bearable.

When Durbin does get a chance to sing, she's great. She puts over all of her songs with professional skill and poise, doing an absolute standout job on "Ave Maria" and "Musetta's Waltz"--but the trouble is not enough time is spent on the vocals to showcase her amazing voice. Instead, we get Kay Francis and Walter Pidgeon falling in love while Deanna dreams up all sorts of schemes to keep her mother from knowing that she has won her mother's role in a play.

Deanna looks lovely at eighteen and has probably never been photographed more beautifully but this is the sort of vehicle that has you wishing the silly plot would move on so we can hear Durbin sing once more. Walter Pidgeon and Kay Francis are adequate in support. MGM later came up with a zestier technicolored remake called "Nancy Goes To Rio" with Jane Powell.

Trivia note: This was S.Z. Sakall's first screen appearance in an American film.

A mother and daughter vie for the affections of the same man and for a plum Broadway role. This could be the plot of a tragic drama or a steamy soap opera, but these women have a prodigious love for each other and this is a comedy, so the storyline revolves around the expected resolution of the amorous and artistic collisions.

Kay Francis plays the mother (Georgia) and Deanna Durbin plays the daughter (Pamela), which makes this film eminently watchable. Walter Pidgeon is the man in the middle. At the time of filming, Francis was about 35 and Durbin was about 19, but Deanna had top billing and the meatier role. If Durbin's role had more substance, the film would have been more balanced and more interesting. As it is, the two actresses convey a warmth that compensates for a paucity of laughs.

"Cuddles" Sakall makes his Hollywood debut as the playwright for the show the women covet.

The narrative allows Durbin to display her marvelous pipes, of course. Her vocal numbers are shoehorned into the action, but they don't distract. In fact, they are one of the film's best features.

If you discover this film, as I did on rerun on a television station, you will first notice that it is a comedy with musical numbers. It is not a drama; it is not a lost opportunity for heavy-duty angst between a mother and daughter nor a passionate romantic triangle. I claim it is just what its producers set out to make it to be--an opportunity for young singing star Deanna Durbin to show her abilities, a nice part for Kay Francis who is young enough to play leads and mature enough to suggest that she may have to consider giving up impersonating ingenues on stage, and a chance for Walter Pidegon to play the fascinating man who falls in love with her. Francis underplays and is intelligent, I claim, and capable in the part of a Broadway luminary, a sort of part which has overtaxed many a Hollywood actress because it requires high intelligence, a trained voice AND a trained accent. Durbin is energetic, bubbly and believable as an inexperienced human being and as a potential major talent. Pigeon is award-caliber as the wise, understanding and romantic plantation owner who she has a crush on; he is the one who switches his attention to Francis at first sight and then has to deal with the misunderstanding. This is a breezy, genial comedy about three ethical and nice people who are caught in a misprision that can easily be solved in five minutes, but fortunately takes long enough to serve as the framework for an entertaining movie for adults, albeit of an ideationally low-grade level. That's all it is--a clever excuse for the songs, the three stellar performers and a logical script devoid of very much social importance. Norman Krasna, a gentle-minded and very talented screenwriter, has provided a superior script here, which is believable, full of smart dialogue and never forced as so many comedies were and are; Frederick Kohner of "Gidget" fame, Ralph Block and Jane Hall also contributed to the logical story-line. Gowns were designed here by Vera West; sets were decorated by Russell A Gausman. Art direction was provided by veteran Joseph Otterson, with fine cinematography by Joseph A. Valentine. William A Seiter directed the production. Make no mistake; this is a "B" film in its attempt-level, but with unusual musical and visual values throughout. Judge this film for yourself; I believe you will be as amused; and perhaps as delighted as I was to find a film written by adults and for adults, about sensitive topics such as an actress's pride, a mature male's admiration for a beautiful woman and a young girl's emotional vulnerability.