Un numéro du tonnerre

"Bells are Ringing" is a must for Judy Holliday's fans. The bubbly star of some of the best comedies of the fifties, is the main reason for watching this musical, directed by Vincente Minnelli. Betty Comden and Adolph Green were the creators of the book and lyrics with music by Jule Styne.

The film was an excuse for showcasing Ms. Holliday and Dean Martin, who took over Sydney Chaplin's role. The two stars show an easy chemistry in their scenes together, even though the transfer to the screen seems somehow clumsy coming from an experienced director of musicals like Mr. Minnelli.

"Bells are Ringing" is a nostalgic look at the New York of the 1950s. It was quite a status symbol to have an answering service in those days before the automatic devices of today. There is a hilarious second plot involving illegal gambling by linking classical music works to the different races in several horse race tracks that are channeled through Susanswerphone service, which makes the police Ella is involved in the scheme.

Judy Holliday gave a tremendous performance in the film as the kind, but somehow naive Ella. Dean Martin is fine also as the blocked writer. In supporting roles Eddie Foy Jr., Jean Stapleton, and Dean Clark, are seen among others.

If I really loved musicals, I would have probably scored the movie a 9. In fact, that I scored it as high as an 8 is an indication that, for the genre, it was a heck of a film. That's because the story apart from the songs is very sweet and romantic. Plus, the actors are so appealing and good that this certainly improved the film a lot. Judy Holliday was at her best and Dean Martin certainly was able to keep up with her and I really liked him more in this musical than as a comedian. Despite films like MATT HELM, he was a good actor and singer. Now, concerning the songs, it's rare that I have seen a musical with so many songs I have never heard before! But, after hearing them, I liked them a lot more than many of the more famous Rogers and Hammerstein musical scores from other pictures. This is because in addition to having nice music, the words were so often funny and charming. I particularly liked the song all the bookies sang as well as the name-dropping song! They were terrific.

The only thing is that watching the film I felt pretty depressed, as I knew that this was Ms. Holliday's last film--cancer limited her ability to act until she eventually succumbed six years later. It's a shame, as I loved her in so many wonderful films.

In contrast to the guy who wrote the comment on the main page in this board, I saw this movie and I really enjoyed it. I had never seen a Judy Holliday movie before and I was totally taken in by her charm and good acting. Dean Martin (a favorite of mine) showed his usual suave personality and I thought he was perfect for the role. The songs and the choreography are excellent. I just love the mood of this movie and its message of healthy humanism, whether or not it's something I really believe in. I like the scene where Judy and Dean say hello and introduce themselves to the man on the street. Also of note is Minnelli's smart direction. One of the best musicals of the 60s, sadly one of the last.

Judy Holliday originated the role of Ella Petersen, the Susanwersphone switchboard operator, in Vincente Minnelli's adaptation of the Broadway musical, with music by Jules Styne and book and lyrics by Betty Comden and Adolph Green. Although filmed in 1960, this musical belongs to the conventions of the 1950's with a brassy orchestration, superfluous supporting cast for comic relief, and a Brando impersonator. That Holliday remains as the best thing about it, in spite of Minnelli's less flattering treatment of her than George Cukor, is a tribute to her gifts as an actress, in particular a Broadway performer with the subtlety to adapt for film acting.

Holliday's two solo numbers - It's a Perfect Relationship and I'm Going Back - are triumphs of personal charm, in spite of the director. Minnelli has trouble de-staging the switchboard environment and the film only comes to life after Holliday leaves it to meet Dean Martin, as her favourite client, in person. In the Better than a Dream number, where both Holliday and Martin sing oblivious to the other's reality, this is Minnelli finally presenting a musical sequence cinematically. This pattern continues with Martin's funny I Met a Girl, sung as he battles street crowds. Minnelli treats Holliday's plaintive ballad The Party's Over simply, if disappointedly in long and medium shot presumably since he thinks Holliday's voice doesn't deserve a closeup, in contrast to the botched Just in Time, the score's most lovely song, wretchedly staged. The Drop That Name number is probably more about Minnelli than Holliday, since he scores points off her, comparing her perceived frumpiness to the vacuous stereotypical 1950's society vamp.

Holliday and Martin play off each other well, overcoming the oddness of their union. Martin actually looks not at his best, which undermines the romantic appeal, and his solo reveals he shouldn't be given one. It's hard not to consider his character's fear of success without his partner and not have thoughts of Jerry Lewis, though believing Martin as a playwright is trouble enough. Thankfully there's Holliday. Far more likeable and individual than say a Doris Day, Minnelli's having her lower her head for pathos is the lowest appreciation of her potential. This wasn't considered a great musical to begin with, and the film is pretty hard to take whenever the supporting players take over, with excruciating bits featuring Eddie Foy and The Titanic record company, vice squad surveillance, and the mafia, however the songwriting dentist gave me a few chuckles.

Since the play, "Laurette," was never realized, the movie version of "Bells are Ringing" serves as Judy Holliday's "final" performance.

It's to her credit that she comes off as well as she does. The film is extremely stagey, and looks contrived and bloated, despite a most competent cast and director.

Yet Holliday is buoyant, full of fun, and energetic--all hallmarks of her theatrical persona.

I've read Holliday's complete bio, and am amazed she was able to overcome the tremendous obstacles she endured, from her sad childhood and family relationship through the communist "witch hunt" period--which left her saddled with protest pickets that followed her around--to failed marriages, lack of employment, and care giving responsibilities for her child and parent. All the while working wherever she could and keep smiling.

In many respects her career is quite similar to that of Montgomery Clift. Both apparently gave their best work on the stage, night after night before live audiences, rather than on film. Had both stayed in the theatre, their respective careers and lives might have remained more stable and healthy--and be alive today.

"Bells are Ringing" is a final tribute to a great talent, an Oscar-winning actress and comedienne who graced the stage and screen with a radiant presence and winning demeanor. Fortunately, as long as her films are shown, Judy Holliday will live and be rediscovered by future generations.