Footlight Serenade

Betty Grable in boxing gloves, enough said. Favorite pin-up girl of G.I.s during World War II, she confirms in this film why her popularity somehow never translated to film for me. This movie is filled with cloying, hyper song-and-dance numbers that hit you in the face like boxing gloves. Still, you must see this to believe it. "How Come Ya Do Me?" is jaw-droppingly Marilyn Monroe-before there was Marilyn Monroe. --from Musicals on the Silver Screen, American Library Association, 2013

Heavyweight boxing champion Victor Mature (Tommy) wants his own stage show in which he can star. His gets something lined up with James Gleason (McKay) who gets continuously frustrated with Mature's ideas. No-one dares say "No" to Mature. Mature likes the look of chorus girl Betty Grable (Pat) so makes her understudy to lead Cobina Wright (Estelle). However, Grable has a boyfriend John Payne (Bill) who also gets a role in the show as Mature's boxing sparring partner. Things are set up for a showdown between Mature and Payne.

The songs and dancing in this film are all good and that is a pleasant surprise. There are also quite a few numbers performed and that helps save the narrative. Especially when you have the annoying Phil Silvers in a film. Mature's character is also pretty unpleasant and totally unrealistic as a boxing heavyweight champion – he displays way too much energy. However, the women are good in this and there are amusing moments even from Mature as a self-obsessed narcissist. John Payne is billed top but shouldn't be and he does fine in his role. It's an enjoyable film.

Betty Grable comes out of the chorus to be a star in "Footlight Serenade," also starring John Payne, Victor Mature, Jane Wyman, Phil Silvers, James Gleason and Cobina Wright, Jr.

This is a backstage musical, done in black and white. Payne and Grable (Pat and Bill) are in love and ultimately marry. He's down on his luck but gets a job fighting boxing champion Tommy Lundy (Mature) on stage each night in the show; Grable is doing chorus.

Lundy, however, is after Pat, and insists that she be made understudy to the lead (Cobina Wright, Jr.). After the Wright character quits the show, Pat gets her big break. To keep the volatile Lundy happy, the producers want Pat and Bill to keep their marriage a secret.

Grable sings and dances up a storm and is her usual vivacious and pretty self. Jane Wyman is on hand as a chorus girl and friend, and she's delightful.

Victor Mature does well as the obnoxious boxer - he plays this type of role where he's one sandwich short of a picnic very well. There was something of the big lug in all of Mature's performances - he never comes off as too bright.

In real life, he had no illusions about his acting. When a country club wouldn't accept him because he was an actor, he said, "I'm not an actor, and I have 80 films to prove it."

In this role, he takes over the show from the producers, calling all the shots, and won't take 'no' from Pat.

John Payne was hired by Fox to be a singing Tyrone Power. Handsome, with a beautiful physique and lovely singing voice, he was wonderful in the musical films with Grable and proved himself a solid, light leading man. He gives a nice performance in this, though the songs aren't very memorable.

Entertaining and a rare view of Grable in black and white!

The over acting of Victor Mature and Phil Silvers really grated on me throughout the film. Even Betty Grable and James Gleason can't save this one. There are a few good song and dance routines but on the whole the film just isn't very good. Too bad.

Boxing champ--dubbed by the media as "The Body Beautiful"--is tapped by Broadway producer and his guy Friday to star in new musical "Down and Out"; meanwhile, a chorus girl in the show is about to lose her fiancé to unemployment until he gets a job in the show too--as the champ's sparring partner. Fox musical comedy has lots of sassy talk, some of it very funny (particularly the banter between Betty Grable and card-reading roommate Jane Wyman). As for the men, Victor Mature is full of oily gregariousness as the champ; John Payne makes the most of a dumb role (the hesitant husband); but Phil Silvers (still talking like the world had gone deaf) is excruciating. Director Gregory Ratoff manages to keep things popping, even when there's not much happening plot-wise. The songs are sub-standard, but second-billed Grable dances up a storm; she's still too busy in the face but she's obviously the star of this show. ** from ****