Tea for Two

Not one of Doris Day's or Gordon MacRae's best, individually or together. 'On Moonlight Bay' and 'By the Light of the Silvery Moon' (both among the best films for both stars) are better collaborations of theirs.

There is however a lot to like about 'Tea for Two', regardless of whether all those involved have done better in their careers. 'Tea for Two' could have been better certainly. One is aware that it has been well established that musicals are not really seen for their stories (whether it matters or not is wholly dependent on how well everything else is executed), but this story is so-so fluff at best and ridiculously daft at worst, the story being one of the most preposterous for any film musical made around this time.

Some of 'Tea for Two' feels under-directed, though not as much as the still enjoyable 'Lullaby of Broadway' (with the same director involved), more in the non-song and dance numbers than in the musical scenes themselves. This is particularly in the SZ Sakall book-ending sequences, despite Sakall's best efforts those sequences seemed under-rehearsed and added very little. Virginia Gibson's character was underwritten and in a way incomplete, there was a sense that the film wanted to do more with her but couldn't.

On the other hand, 'Tea for Two' looks great. Technicolor nearly always works wonderfully on film and particularly used to full advantage in musicals. It is a very lavishly produced film with a truly enchanting atmosphere. While not among the most memorable song scores, the songs are still incredibly pleasant and often very beautiful and puts one in a good mood, suiting the voices of Day and MacRae wonderfully. The title song, "I Only Have Eyes For You", "I Want to be Happy", "I Know that You Know" and Oh Me! Oh My!" are particularly good.

They are aided by some great choreography as well. The big standout is Gene Nelson's jaw-dropping banister sequence, which has to be seen to be believed. The script is witty and full of warm-hearted charm, a lot of the best lines coming from Eve Arden.

Day is luminous, looks very natural on screen and sings sublimely as always. MacRae would go on to better things but is charming, has a robust but beautiful baritone voice and his chemistry with Day is irresistible. Nelson once again proves himself to be quite the extraordinary dancer. Sakall plays the same character he usually does, but does it well so that doesn't matter so much, while Arden steals scenes with her terrific comic timing and witty lines. Even Billy DeWolfe, a take it or leave it performer whose shtick too often elsewhere doesn't hold up particularly well, is tolerable.

In conclusion, not perfect but a tea-licious tea-light (pardon the very cheesy pun, really struggled to come up with a review summary) that pours well. 7/10 Bethany Cox

This very early Doris Day effort is a re-working of the stage show, "No, No, Nanette!". In order to get her chance to appear in a musical, Nanette has to promise to say 'no', for a prescribed period of time, to everything that is asked of her.

Set notionally in 1929, the period of the original show, but barely even attempting historical accuracy, the film is really only a vehicle for Doris, Warners' new star. So little regard is had to period feel that Doris performs one number in a New Look dress. Soft-focus close-ups and jerky dialogue trundle the action from one musical set piece to the next.

The opening number in the rehearsal room is well-presented, with an attractive New York cityscape beyond the window and a nice 'infinite regression' effect in the wall mirrors. Doris sings and dances appealingly throughout, especially in "Crazy Rhythm" (in which Gene Nelson has a terrific athletic dance solo).

Gordon MacRae as Tommy gives us his usual thoroughly dependable (if uninspiring) male lead, and Patrice Wymore does her customary 'beautiful bad girl' as Bea Darcy. Pauline the wise-cracking secretary is played by Eve Arden (27 years later, the principal of Rydell High in "Grease"). The 'Charleston' sequence is a knockout, and Gene Nelson's bannister dance in "Oh Me, Oh My!" is astonishingly good. The character of Mabel Wylie (Virginia Gibson) is introduced, but then not persevered with, suggesting that some plot sections were later edited out.

Verdict - A pleasant Doris vehicle with songs cleverly embedded in a so-so plot.

DORIS DAY and GORDON MacRAE are a pleasant team again in TEA FOR TWO, this time given some nifty song and dance routines and a supporting cast of old pros--Gene Nelson, Eve Arden, S.Z. Sakall, Patrice Wymore, and Billy deWolfe. The fluffy plot has Day promising Sakall that she'll say "no" to any question posed over the week-end, but is only an excuse for some wonderful old-time songs and some talented dancing by Day and Gene Nelson.

Day proves what a fine vocalist she is--and Gordon MacRae proves he's no slouch with his pleasant baritone voice. Gene Nelson does some fancy footwork and there are comic highlights with Eve Arden tossing off one-liners with her usual skill and Billy deWolfe reminding us what a wonderful comedian he could be with the right material.

Pleasant, above average entertainment, well worthwhile if you like these kind of fluffy musicals.

Doris Day was involved in many musicals at Warners from 1948 onwards, and 'Tea for Two' is a typical example. Set in the stock market crash of 1929, this variation on 'putting on a show' has Day as both an heiress and a stage-struck singer and dancer, supported by her friends Jimmy the composer (Gordon MacRae, later to appear to good effect in 'Oklahoma' and 'Carousel'), and Tommy the hoofer (Gene Nelson, the cut-price Fred Astaire who ended up directing Elvis' minor musicals).

The score is nice but not that memorable - 'Tea for Two', 'No, No, Nanette', 'I Want To Be Happy', 'Do, Do, Do' - while the story, loosely based on the play No, No, Nanette concerns rivalries, lost investments, and a comic uncle (SZ Sakall, who played the same part in countless films throughout the 1940s and 1950s). Billy de Wolfe and Patrice Wymore round out the cast as a heel of a producer and his sniping leading lady.

As a film, 'Tea for Two' passes the time and boasts some great costumes and colour, even if most of the film doesn't have a 1929 feel. And the bookending sequences, with Sakall telling a tale to a roomful of children, doesn't quite sit with the rest of the material. But it isn't bad.

Since I was a child old movies made my day when they were on the television....Long before video tape machines. Nothing, in my mind, can replace any old movie. Black & white or Technicolour, they are done with class and taste. Now, anything goes. That is a shame. Enjoy this movie. Especially, the actor who plays Doris' uncle. Can' remember his name just now.

Pillow Talk is another Doris Day film I would suggest. Her acting is so wonderful to watch. I have yet to see her act the same way in any movie I have had the pleasure to see. She is one of a kind. Her smile, her singing: Amazing!