El novio de mamá

There are four writers credited for the script of this Technicolored concoction and somehow its froth still manages to fizz in a quite entertaining way. That's thanks in large part to an attractive cast and the delightful surprise of José Iturbi's charm as a very convincing actor. Plus, it almost goes without saying, some eminently listenable singing from Jeanette MacDonald and her young up-and-coming counterpart, Miss Jane Powell.

• Mini-Spoilers May Ensue -

Of course the manipulations of the rather simple plot are spun out almost to the point of frustration as a mother keeps her daughters in the dark about why their father and she divorced, the daughters plot to bring their father back from a distant work assignment, their mother meets and marries a charming man whom she truly loves, the daughters resist his introduction into their happy home, etc., etc., etc. Aaarrgh! It could have been utterly annoying, but Jeanette MacDonald, looking lovely, and Señor Iturbi, understandably falling head over heels for her, make for two adults who deserve their final happy song (with the three little vixens joining in) at one of the pianos that seem to be in every room of this film's many luxuriously appointed sets.

A few things of note: Someone (the set decorators, the hairdressers, the color consultants, the cinematographer, whomever) had a liking for the color orange and its many gradations from pale peach to burnished bronze. There's some note of it somewhere in virtually every shot of every scene in this film!

Young Miss Ann E. Todd (not to be confused with the English actress, Ann Todd) seems to have been forced to play almost every one of her scenes with a rather unbecoming scowl on her pretty, brown-eyed face. Its not out of character for the part she's playing, but it does seem a bit excessive.

And, wouldn't you know it? (I did without even checking the IMDb Trivia on this title.) The Roman Catholic Legion of Decency found this film "Objectionable In Part For All" because it appears to "condone" divorce, an absolute no-no as far as that censorious body was concerned when it held such influential sway.

But don't be deterred. Next time Turner Classic Movies unearths this bon-bon from their vaults, give it a whirl. It's fun to see how the better half lived and loved in simpler times, and when a major studio could make going to Cuba and back (without ever leaving Culver City, California - The story happens to involve a vacation cruise on a ship with the most impossibly large public rooms and private suites, enough to make a Greek tycoon's yacht look like a rowboat!) a visual treat every mile of the way.

The style of "Three Daring Daughters" is very unusual. For much of the film, it's like two separate films occurring at the same time....and one of them probably wasn't absolutely necessary.

When the story begins, Louise (Jeanette MacDonald) is attending the graduation of one of her three daughters. However, she soon collapses...overwhelmed with fatigue by trying to be the perfect mother. Her doctor suggests she take a cruise...alone. Since the daughters are all older (approximately 12-18), she can leave them and embark on her journey. During the trip, Louise meets José Iturbi and the world famous pianist and conductor is smitten with her. After a whirlwind romance, the divorcee marries Iturbi.

All this seems just great...except that during Louise's absence, the daughters get the insane notion that their mother is sad because her ex-husband is no longer in her life. So, they conspire to bring dad home...not realizing he's apparently a louse. What's gonna happen when mom and her new husband returns??

The plot involving the daughters and their father is generally unnecessary. I much preferred watching Irubi and MacDonald and their relationship. It was nice seeing two middle aged and 'normal looking' folks fall in love...and Iturbi was surprisingly good (and quite urbane) playing a version of himself. I say 'version' because in real life, of course, MacDonald was married to Gene Raymond and it's all rather fanciful....but nice. In addition, how these older kids reacted once they meet Irubi...well, they just seemed like obnoxious jerks and their parts were not written well.

This is a movie I loved and hated. I loved the relationship, felt the daughters were not necessarily needed in the film and were underwritten AND I hated some of the singing. I know that MacDonald and Jane Powell were very popular back in the day...but their high-pitched singing frankly was painful to hear in most of the songs. I like opera and liked Iturbe's music...but I did NOT like their singing in the least. Painful is probably a NICE way to refer to the singing....I actually could be FAR more descriptive but won't!

Overall, a very mixed bag...a film that overall is watchable but nothing more. And, if they'd just stuck to the romance and avoided the rest, it would have been a great film.

THREE DARING DAUGHTERS (Metro-Goldwyn-Mayer, 1948), directed by Fred M. Wilcox, is a family friendly musical/comedy starring Jeanette MacDonald in her first starring role in a motion picture since CAIRO (MGM, 1942) opposite Robert Young. Though most notable for her eight screen operettas opposite Nelson Eddy from 1935 to 1942, MacDonald by the time was simply a name of the past. Unlike MGM's star leading ladies as Greta Garbo and Norma Shearer, who both ended their careers in mediocre comedies by 1941-42, and unlike Joan Crawford who departed the studio by 1943 to make a triumph comeback and Academy Award winning performance for MILDRED PIERCE (Warner Brothers, 1945), MacDonald made her comeback in this Technicolor up-to-date story playing the mother of three daring daughters, the eldest played by Jane Powell, following her MGM debut success with HOLIDAY IN MEXICO (1946).

Opening at a graduation ceremony at Miss Drake''s School for Girls, Tess (Jane Powell), the graduate, sings along with classmates with piano accompaniment by her middle sister, Ilka (Ann E. Todd). Tess notices her younger sister, Alix (Mary-Eleanor Donahue) in attendance, but wonders why her mother has not arrived yet. Next scene shows their mother, Louise Rayton Morgan (Jeanette MacDonald), editor of Modern Design Publications in New York City, awaken from a faint. Her doctor, Howard Cannon (Harry Davenport) diagnoses to her publisher,. Mr. Howard (Thurston Hall) that she has suffered a nervous breakdown. After arriving late at the graduation, Louise is rushed home. The doctor informs her daughters that their mother is in need of rest and relaxation, prescribing an ocean cruise, but without them. Wanting their mother to get well, they agree to the separation. Being left under the care of their housekeeper, Jonesy (Kathryn Card), Louise sets sail on the S.S. Cubana bound for Cuba. She soon makes the acquaintance of Mrs. Smith (Monya MacGill). Spotting concert pianist Jose Iturbi (Jose Iturbi) also on board, she invites him over. Their meeting finds Jose taking an interest more on Mrs. Morgan. Discovering she's divorced, he not only becomes her escort, but becomes her husband. Keeping her marriage a secret from her daughters, Louise is shocked to learn that, hoping that she and their father, Edward Morgan, would get together again, have arranged for him to come home, compliments of his employer, Robert Nelson (Edward Arnold), a millionaire business tycoon. What the girls don't know is that their father abandoned them years ago, and Louise finds herself torn between two husbands, a concert pianist and a foreign correspondent, whose paths might meet and stir up confusion for the children. The supporting players include: Tom Helmore (Michael Pemberton), Charles Coleman (The Butler), Dick Simmons (Mr. Hollow), and Virginia Brissac (Miss Drake). Harmonica player, Larry Adler, and pianist, Amparo Iturbi appear as themselves performing during Iturbi's concert performances.

The motion picture soundtrack is as follows: "Alma Mater," "Fleurette" (by Victor Herbert); "The Turkish March" (by Wolfgang Mozart); "The Dicky Bird Song" (by Sammy Fain and Howard Dietz); "Passepied," "Liebestraum" (by Franz Liszt); "Where There's Love," "Ohne Mich Ohue Michjear Tag Dir Zu Lang," "Ritual Fire Dance," "You Made Me Love You" (by James Monaco and Joe McCarthy); "Happy Birthday," "Je Veux Vivre Daus Gedeve" by Georges Enesco; "Feliz Cupliano" (Happy Birthday in Spanish); "Roumanian Rhapsody # 1," "Hungarian Rhapsody" "Sweethearts" (sung by Jeanette MacDonald); "Allegro Appasionajo" (by Camille St. Saga); "Route 66" by Bob Troup; "Spring Time" Tchiakovsky's Fourth Symphony No. 4", "Movement CDA" and "The Dickie Bird Song."

The plot to THREE DARING DAUGHTERS seems reminiscent to those Deanna Durbin musicals for Universal in the late 1930s, especially her debut lead in THREE SMART GIRLS (1936). Compliments of Joe Pasternak, who also produced those Durbin entries, would find similarities, though this not a remake but only a rehash with different elements involved. While Jeanette MacDonald's presence gives this production a nostalgic feel to those who remember her fondly a decade ago, Jane Powell's youthful presence provides for the younger viewers of the day. With MacDonald and Powell both accomplished sopranos, watching them duet together is a delight, especially their solo number of "Spring Time" with Powell's tender hold over MacDonald's shoulder showing her great admiration to this living legend. Ann E. Todd and Mary Eleanor Donahue are splendid as the younger daughters/sisters. It's a total surprise to find the adorable looking Donahue is the same television actress, Elinor Donahue, of television's "Father Knows Best" (1954-1960), the first season of "The Andy Griffith Show" (1960-1961), and other television roles. As much as this being a 1948 release, the telegrams dated 1946, along with movie marque of COURAGE OF LASSIE and NO LEAVE, NO LOVE, both 1946 releases, indicate THREE DARING DAUGHTERS was obviously produced that very same year.

Though THREE DARING DAUGHTERS tends to go on a bit too long at 114 minutes, with repeated elements of having Edward Morgan stay away or return home grows tiresome, it's a wonder why Jose Iturbi, who plays himself, didn't assume a character name like Jose E. Turbi, for example, so not to have movie audiences believe that the real Jose Iturbi married Jeanette MacDonald. For Iturbi's next film,. THAT MIDNIGHT KISS (1949), he acted under his own name, but no indication of having a wife and three daring daughters carried on from this film. Jeanette MacDonald has come a long way since her movie debut in THE LOVE PARADE (Paramount, 1929). With her two comeback performances, THE SUN COMES UP (1948) being her next and last, THREE DARING DAUGHTERS is the obviously the better of the two.

Formerly available on video cassette, and later DVD, THREE DARING DAUGHTERS can be seen and enjoyed whenever broadcast on cable television's Turner Classic Movies. (***1/2).

It amazes me that so many people cannot see that the past is different from our debased and decadent present. This is a lovely reminder of what was and will never be again. We will keep on remaking poor Carrie but will not and cannot remake this movie in a way that is true to its truth, that love is a wonderful thing and that music, real music is an uplifting and special experience that expands the world of the audience. I have seen the movie several times and by modern standards it is corny but it is also true that we would be much better off in a world of this music and these people with their love for each other and for music and for having a good and joyous life is a whole lot better than one in which Saw XXX has an audience. This is real magic both at the movies and in our aspirations, without the need for Harry Potter and this is what we have lost.

Silly but enjoyable musical comedy with Jeanette McDonald playing a character very much like herself, and Jose iturbi playing her love interest, a character even more like himself -- himself! Jane Powell and her two sisters are both multi-talented and precocious, and Edward Arnold heads a fine veteran supporting cast. Certainly not a great movie, but a pleasing one.