I Love Melvin

I did enjoy this film, especially watching the talent of Donald O'Connor and Debbie Reynolds. When looking at this film, one has to take into account the talent of the screen performers as well as the plot/storyline etc.

Overall I don't know why people are saying these musical numbers in this film aren't as good as 'Singin' in the Rain.' In my opinion, while the melodies aren't quite as memorable, the way the music is constructed(harmonies etc) is far superior to that of it's more famous cousin.

There are plenty of strange moments throughout the movie, however. So strange that they create unexpected humour. For one, Donald's solo dance number while cleaning the studio only made sense after I read about it. When watching it, I couldn't understand what was going on. Furthermore, the football scene with Debbie in it was so bizarre that you had to laugh. I think this unintended humour made things a little better, but knowing it was unintended put a little downer on things.

What the story does well is create an emotional investment in the characters - I felt for Debbie's character as I knew how much she wanted to be on the cover of the magazine. I also felt for Donald's character as he tried to set things right. However that's about the only thing I liked about the plot.

Debbie and Donald are both great here - Donald already well established, and Debbie trying to make her break since Singin in the Rain. It's obvious these two have more chemistry than the Reynolds/Kelly combination, probably due to age differences and things(Debbie would have been around 20 and Donald around 27, whereas Gene was already 40)

While the film is short, the ending seemed extremely rushed to me, and could have benefitted from a few extra minutes of footage. What happened afterwards? A lot of unanswered questions were left. Furthermore, the very end shot of Debbie frantically fondling Donald didn't leave a great taste to end. Something more calm would have made the ending seem less frantic and rushed.

Also, there are plenty of script moments which seem very strange to a modern viewer(this is all part of historical relativism I assume) - such as a random man approaching Debbie and asking her if he could walk her places, which she just calmly responds 'No, thank you.' whereas today, this would seem extremely bizarre. Similarly, the 50's housewife persona is capitalised here - e.g. 'I'll cook just like my mother taught me'(Debbie) contrasting with the more dominant male persona(her father) is very apparent here. There is nothing necessarily wrong with this, it's just a point that I noticed.

Some of the script was extremely unconvincing - a mere 30 minutes in, Donald confesses his love for her in a car, and then says 'if you marry this other boy, I'll be very frank, I'll kill myself.' I have to commend Donald for selling such an unconvincing piece of dialogue barely a third of the way through.

It has been said that both Debbie and Donald did not enjoy the process of making this film, and it's easy to see that the plot, narrative and script were not as well thought out as it could have been. However, the talent of the two main actors show how much of a triple threat they both were.

Overall, this film has some very bizarre moments, with a few plot holes, unconvincing scriptwriting and a rushed conclusion. To save it, the talent of the two main actors plus the great musical numbers and the emotional story help out.

Delightful follow-up to "Singing in the Rain" (minus Gene Kelly, which is fine with me), "I Love Melvin" is a snappy(76 minutes), tuneful Technicolored treat with one show-stopping musical number after another. A serviceable plot (Donald O'Connor plays a free-lance photographer who becomes so enamored with aspiring singer/dancer Debbie Reynolds that he promises he'll get her the cover of Look Magazine) provides a nifty frame for a series of first-rate, beautifully choreographed musical numbers that make one wonder why this terrific little MGM gem has been overlooked. The music is sensational (thank you, Joseph Myrow), the evocation of the Manhattan setting is a visual delight (MGM actually went on location for a few scenes--watching Ms. Reynolds walk across Central Park South is a time-capsule come to life.) And O'Connor and Ms. Reynolds have probably tbe best displays of their singing & dancing talents in their entire careers (their frenetic "Where Did You Learn to Dance?" is a knockout; O'Connor's solo "I Want to Wander" is a classic; and Debbie's opening dream number, "The Lady Loves," wherein she is attired in slithering pink as she delivers the sultry lyrics, hint at the dreamy sexiness she was allowed to exude in future films.) MGM produced so many classic musicals in the early 1950s that "I Love Melvin" has been unjustly neglected. Too bad, because it's a sparkling, melodious, toe-tapping treat that ranks among MGM's finest and is long-overdue for the accolades it deserves.

That it was a musical, with comedy and romance, with Donald O'Connor and Debbie Reynolds reunited after the much deserved success of 'Singin' in the Rain' was more than enough reason to check out 'I Love Melvin'.

While 'I Love Melvin' may not quite be up there with the classic musicals and is not quite a masterpiece, it's immensely fun and charming still and very difficult to dislike. It is also very well-made and performed and worthy of much more praise and more people seeing it. If anybody enjoys musicals, there's no real reason why 'I Love Melvin' can't be enjoyed.

Sure 'I Love Melvin' could have been a little better, with a less rushed and pat ending and the lyrics for a few of the songs not as corny and vapid.

However, it looks great, being beautifully shot in big, bold and richly colourful Technicolor where the colours dazzle without being too garish or too busy. The songs are not exactly hits but there are also no duds, instead they are melodically pleasant songs beautifully performed though a few of them would have benefited more from better lyric writing.

The choreography is energetic and graceful, with O'Connor's breathless roller-skating routine being the highlight and fondly recalling the immense exuberance of 'Singin' in the Rain's "Make Em Laugh". While the dream sequence with the men is somewhat bizarre it's a fascinating sort of bizarre and not the uncomfortable sort.

Musicals are often criticised for the story, and it is true that this component is rarely a strong point even in the classics, but in the best musicals one forgets that when everything else is so good (when there are musicals that are executed in a mixed-bag or bad way it's less forgivable). Here the story is slight, but is so full of fun, energy, charm and heart that it still engages, it's easy to follow and there is a nostalgic value to be had. The witty spark of the script is also worthy of note. The direction is very sure-footed throughout.

Donald O'Connor and Debbie Reynolds both excel superbly in roles that play to their strengths as performers. Their chemistry sparkles like bubbles in a glass of champagne. O'Connor has a mischievous charm and bundles of energy, his dancing also a dream. Reynolds is bright, lively and perky and sings like an angel. Jim Bacchus is hilariously demented.

All in all, an undervalued if imperfect little gem. 8/10 Bethany Cox

Talk about an energy crisis! None of that here. Reynolds and O'Connor generate enough sheer bounce to light up a city. This is Reynolds at her most likable, a chorus girl with ambitions beyond being a human football. It's also O'Connor at his nimble toed best. They're an ideal pairing. There's not much plot, but when did a musical need much story. Melvin loves Judy, Judy loves Melvin, but first poor Mel must get past cranky Dad and then past rival Harry Flack. Good thing he's a photographer for Look magazine. Okay, if you remember Look and Life, you probably saw the movie in a theatre. The year is 1953, the Korean War is over, Ike's in the White House, and the economy has taken off. It's the 50's of Ozzie and Harriet, and happily, that carefree spirit percolates throughout the movie's candy box colors.

It's also the kind of movie dream factory MGM specialized in, a chance for their younger performers to show their stuff. But catch oldster Jim Backus as O'Connor's boss. His array of comedic expressions are a real hoot. The music may be forgettable, but the dancing is infectious. Thanks to the kids' charm and sparkle, plus fast-moving direction, the movie's an unheralded little gem. Then too, if you like this musical, catch up with The Affairs of Dobie Gillis (1953). It's with Reynolds and Bobby Van, and is just as sparkling as this companion sleeper.

Cute B musical with a so-so plot. Best thing is the dancing by O'conner and Reynolds. His big solo number would be better if it were a dream sequence or fantasy. No one could do a number like that with those numerous costume changes in real time. Ending is quite abrupt. When Donald goes missing for three weeks he's actually living in Central Park??? How could he survive with no food or change of clothes. He should have held up in his home or Apartment. That's the big mistake in this otherwise cute little musical. Kudos for little Noreen Corcoran as Debbies sister.