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IMDbPro

El amor nació en París

Título original: Lovely to Look At
  • 1952
  • Approved
  • 1h 43min
CALIFICACIÓN DE IMDb
6.2/10
919
TU CALIFICACIÓN
El amor nació en París (1952)
Three Broadway producers struggling to get backing for their show, hope one's sudden inheritance of a half interest in a Parisian fashion house is the answer. They travel to Paris only to learn the salon is in debt and requires their help.
Reproducir trailer3:16
1 video
33 fotos
ComediaComedia románticaMisterioMusicalMusical ClásicoRomance

Tres productores de Broadway, con problemas para financiar su espectáculo, viajan a París cuando uno hereda parte de una casa de moda, solo para descubrir que está endeudada y necesita su ay... Leer todoTres productores de Broadway, con problemas para financiar su espectáculo, viajan a París cuando uno hereda parte de una casa de moda, solo para descubrir que está endeudada y necesita su ayuda.Tres productores de Broadway, con problemas para financiar su espectáculo, viajan a París cuando uno hereda parte de una casa de moda, solo para descubrir que está endeudada y necesita su ayuda.

  • Dirección
    • Mervyn LeRoy
  • Guionistas
    • George Wells
    • Harry Ruby
    • Andrew Solt
  • Elenco
    • Kathryn Grayson
    • Red Skelton
    • Howard Keel
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.2/10
    919
    TU CALIFICACIÓN
    • Dirección
      • Mervyn LeRoy
    • Guionistas
      • George Wells
      • Harry Ruby
      • Andrew Solt
    • Elenco
      • Kathryn Grayson
      • Red Skelton
      • Howard Keel
    • 33Opiniones de los usuarios
    • 6Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado en total

    Videos1

    Trailer
    Trailer 3:16
    Trailer

    Fotos33

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    Elenco principal78

    Editar
    Kathryn Grayson
    Kathryn Grayson
    • Stephanie
    Red Skelton
    Red Skelton
    • Al Marsh
    Howard Keel
    Howard Keel
    • Tony Naylor
    Marge Champion
    Marge Champion
    • Clarisse
    Gower Champion
    Gower Champion
    • Jerry Ralby
    Ann Miller
    Ann Miller
    • Bubbles Cassidy
    Zsa Zsa Gabor
    Zsa Zsa Gabor
    • Zsa Zsa
    Kurt Kasznar
    Kurt Kasznar
    • Max Fogelsby
    Marcel Dalio
    Marcel Dalio
    • Pierre
    Diane Cassidy
    • Diane
    Marika Aba
    • Flower Girl
    • (sin créditos)
    JoAnne Aehle
    • Model
    • (sin créditos)
    Joyce Aehle
    • Model
    • (sin créditos)
    John Alban
    John Alban
    • Nightclub Patron
    • (sin créditos)
    Bette Arlen
    • Model
    • (sin créditos)
    Frank Arnold
    • Porter
    • (sin créditos)
    Paul Bradley
    Paul Bradley
    • Nightclub Patron
    • (sin créditos)
    George Calliga
    George Calliga
    • Fashion Show Attendee
    • (sin créditos)
    • Dirección
      • Mervyn LeRoy
    • Guionistas
      • George Wells
      • Harry Ruby
      • Andrew Solt
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios33

    6.2919
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    Opiniones destacadas

    ptb-8

    a faint (worthy) remake of ROBERTA

    The original treatment of this musical is from RKO in 1935 and called ROBERTA. It is possibly one of the most sublime movies, yet alone a musical, ever created. This healthy and sumptuous remake from 1952 has several genuinely jaw-dropping sequences, such is the lavish talent and extraordinary musical treatment from MGM at their musical zenith. Imagine Hollywood trying to come even close to making this film today! That is a genuine Mission Impossible. They would have to add a few killings to get the marketing dept to even understand it. That moan aside, I am very grateful to have LOVELY TO LOOK AT as well as ROBERTA in my life to charm me and to make me and my friends very happy. The two standout sequences in particular are "I won't dance" with Marge and Gower at their snazzy stylish dancing best...and yes all in one very clever take...and the astonishing fashion show finale, which should be mandatory for study in every part of every film school. The only misgivings are the lame and out of date comedy from Red Skelton hamming it up for the American Mid West audiences, and Howard Keel bellowing as usual. But for great women and eye popping clothes..the title says it all.
    6bkoganbing

    Overall Creative Vision Lacking

    Neither the RKO 1935 version of Roberta or MGM's 1952 Lovely To Look At are anything like the original show on Broadway. RKO eschewed a male lead singer opposite Irene Dunne and went with Randolph Scott. In and of itself that necessitated change as the vocal chores got divided up between Irene Dunne and Fred Astaire and Ginger Rogers who were the secondary leads. In that version it was Scott who inherited the Parisian dress shop and romanced a woman who managed the place named Stephanie played by Dunne.

    Stephanie played by Kathryn Grayson is still running the dress shop known as Madame Roberta's. But here it's Red Skelton who inherits half the place from his late aunt. He's partners in an act with Howard Keel and Gower Champion and they want him to sell his half so that they can get the money for a Broadway show. The three of them have to cut Ann Miller in on the deal just to get passage over to Paris.

    Of course it's Keel who Grayson pairs off with and in doing so the film comes into balance vocally as the stage show did. Getting the dance numbers are Marge and Gower Champion, Marge playing Grayson's younger sister.

    I think I can see the way the minds worked at MGM. In 1950 they copped the Best Picture Oscar for An American In Paris with a nice Parisian setting. Then the following year, Keel, Grayson, and the Champions were in a remake of another Jerome Kern classic Showboat which did very well. What to do, but combine all that in a Jerome Kern show that's Parisian based in Roberta. Besides why let all those expensive sets recreating Paris go to waste.

    Also the fashion show finale was absolutely inspired by the fantasy ballet from An American In Paris. But the fantasy of Kelly in that film is replaced by a surreal reenactment of Jimmy Durante's famous line of 'everybody's getting into the act'.

    Sometimes these things work and sometimes they don't. In this case the sum was definitely not greater than its parts. Howard Keel in his memoirs said that he felt that Mervyn LeRoy did not do right by him in this film that he had to make up his own interpretation of his character. Maybe LeRoy had too loose a hand and the film needed an overall creative genius like Gene Kelly.
    5TheLittleSongbird

    Certainly is lovely to look at, but doesn't see some of the cast on top form

    'Roberta' with Irene Dunne, Fred Astaire and Ginger Rogers wasn't immune to flaws (Randolph Scott, lacking story execution), but on the whole it is a much better film, especially for the songs and their timeless renditions, production values, the choreography and the rest of the cast being used to great advantage.

    'Lovely to Look At' certainly is lovely to look at, being filmed in absolutely glorious Technicolor and boasting opulent costume and set design. Jerome Kern's songs are as timeless as ever, "Smoke Gets in Your Eyes" is one of his classics though "I Won't Dance" and "I'll Be Hard to Handle" are the standout renditions of the film. They are accompanied by choreography that's witty and poised, again the delightfully charming "I Won't Dance" and Ann Miller's knockout performance of "I'll Be Hard to Handle".

    Despite garnering a reasonably mixed reaction, the fashion show is sheer visual beauty and is where the energy and interest is most apparent. Some of the cast disappoint, but Marge and Gower Champion have a field day and triumph in "I Won't Dance". Ann Miller was a scene stealer in many of her films and anybody who loves her will in no way be disappointed by her enviously energetic and poised dancing in "I'll Be Hard to Handle". It has to be admitted too, that Howard Keel does sing sublimely, he is a tender singing partner in the title song and fares even better in "You're Devastating".

    On the other hand, this cannot be said for the rest of the cast. Kathryn Grayson is not at her best, pouting her way through her role and she has been in better voice, sometimes very nice but at other times shrill and fatigued. As wonderful as Keel sounds, he is unusually stiff here and he and Grayson don't seem to share much chemistry together so some of their longer scenes border on the tedious.

    Then there is Red Skelton (who always was a take or leave performer), who mugs embarrassingly and comes over as irritating, and Zsa Zsa Gabor whose performance generally lacks charisma and sass in a role that gives her little to do.

    Much of the story is contrived and tedious, with flashes of greatness in two or three song renditions and the fashion show but falling flat especially in the scenes between Keel and Grayson. The script lacks the light-hearted touch that worked so well in 'Roberta', as well as its warm heart and wit, disadvantaged by the comedy falling so flat particularly with Skelton and the performances of the cast varying so wildly. Mervyn LeRoy directs quite sluggishly on the whole.

    In conclusion, lovely to look at but to see this talented crew on better form look elsewhere. 5/10 Bethany Cox
    7movibuf1962

    'Smoke-'y.

    This was a remake of the RKO Astaire-Rogers pastiche ROBERTA (1935), but it had its own merits. MGM used its 'Jack Cummings' unit of talent- most of the alumnae from SHOW BOAT and KISS ME KATE- to perform here. Howard Keel and Kathryn Grayson represent the singing couple (Irene Dunne essayed the role originally in ROBERTA, but her mate was the non-singing Randolph Scott), and do very nice renditions of the songs 'The Touch of Your Hand' and their witty first duet, 'You're Devastating.' The dancing couple was none other than Marge & Gower Champion, married in real life and presenting the dances with a bit more romance. They first dance to the call-and-response ditty 'I Won't Dance' in a fitting room with mannequins on wheels. Later, in an after-hours café, they discover they are falling in love and dance to an instrumental version of 'Smoke Gets In Your Eyes-' particularly breathtaking because it is staged as a love scene instead of a performance, and it makes the most of a dreamy, starry-night set piece, of which the dance floor is put to a great deal of use in its climax when the Champions swing each other around in romantic pirouettes. Finally, there is Red Skelton assuming the role of the actual salon heir, cutting up on a piano rag and narrating the gargantuan fashion show finale. The remake includes a sexier version of 'I'll Be Hard to Handle' tapped out by Ann Miller, and 'new' songs 'Tomorrow Night' and 'Lafayette.'
    8Chazzzzz

    Those Champion Dances...

    This could have been much better. Terrific cast, however Red Skelton (one of my favorites, usually) isn't in good form (but Ann Miller's form is terrific), Howard Keel is lackluster, and Zsa-Zsa is YOUNG! However blah the plot and acting are, I can highly recommend this picture on the basis of 3 dance routines by Marge & Gower Champion, two of which are unique. The first takes place among clothes racks, utilizing a wheeled dress-sizer. Take a long look at the dance... there are no cuts! IT IS ALL ONE TAKE! The last dance is near the end of the film, where jewel-thief Gower tries to take a diamond bracelet from mannekin Marge. Superb choreography in both routines! I gave it an 8 out of 10.

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    Argumento

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    • Trivia
      The lavish fashion-show sequence, directed by the uncredited Vincente Minnelli, showcased the gowns of Adrian, the influential designer associated with MGM's golden age of Garbo, Shearer, Harlow and Crawford. Adrian's work on the entire feature concluded his 28-year film career.
    • Errores
      In one scene Stephanie and Tony ride through the park in a carriage. About once per minute the background jerks and then repeats showing that it is back projected on a loop.
    • Citas

      Tony Naylor: We're trying to finance our show. I'd like to take you folks in as partners. Now, please don't rush but who'd like to be the first to write a check?

      Jerry Ralby: Of course, we've just given you the highlights.

      Al Marsh: And we got some terrific lowlights. Like the part when I play a 36 inch man dropped from a flying saucer, I zoom through the...

      Tony Naylor: It's dynamite!

    • Conexiones
      Featured in Erase otra vez en Hollywood (1976)
    • Bandas sonoras
      Opening Night
      (uncredited)

      Music by Jerome Kern

      Lyrics by Dorothy Fields

      Sung by Howard Keel, Red Skelton and Gower Champion

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    Preguntas Frecuentes

    • How long is Lovely to Look At?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 3 de diciembre de 1952 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Lovely to Look At
    • Locaciones de filmación
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Estados Unidos(Studio)
    • Productora
      • Loew's
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Presupuesto
      • USD 2,813,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 43 minutos
    • Relación de aspecto
      • 1.37 : 1

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