Rich, Young and Pretty

No need to recap the plot, which at the beginning resembles that of Giant (1956). Musicals generally live or die by the quality of the music. By that standard, this one is pretty much a snoozer following a string of forgettably bland numbers, which at least don't annoy.

The movie itself stands as a clear instance of lead performers outshining the material— mainly, the always sparkling Jane Powell and a fabulous Danielle Darrieux. Even the seemingly miscast Corey, so usually dour, manages an agreeable father. While in a tacked-on role, a hunky Fernando Lamas is clearly on his way up. One can sympathize, however, with boyish crooner Damone in his first film-- his self-consciousness almost flies off the screen.

I expect critics are right about the problems caused by Powell's pregnancy. The production has a less polished, more constrained look than the usual high MGM standard. This could well be due to a hurry-up schedule and Powell's growing girth. Whatever the reason, the movie's a chance to catch the ravishing French actress Darrieux in one of her few American roles. Otherwise, it's pretty forgettable.

There are a few good songs in this movie, but most are as forgettable as the characters. Wendell Corey is not convincing as a Texan and looks hungover during the movie. He also cannot sing and does a terrible version of 'Deep in the Heart of Texas'. The characters are all shallow and Jane barely cares that Danielle deserted her as a child.

I did like Hans Conried as a pushy waiter and the Four Freshmen have a nice musical number. Worth a look if you like any of the stars or you are a big fan of the genre.

Firstly, I had seen Miss Darieux in several movies. In this one, not even a trace of a French accent - amazing. Also, enjoyed Lamas, an Argentinian with a what-kind-of accent. By the way, whatever happened to his heart-throb son? Back to "Rich, Young and Pretty," I say pooh - double pooh - or poohpooh to the naysayers who dissected this movie and found fault with the performers and/or the script.

The songs were good, but certainly not MGM's best. The happiest surprise was "Deep In the Heart of Texas" - what a joy, and the song involving the great Four Freshmen.

The ballads were fairly decent - nothing more, nothing less. As for the fellow with the cane and cigar box who does not like Jane Powell - to quote Gen. McAuliffe when asked about surrendering to Germany - NUTS! I don't know if she was pretty or cute, so I settle for pretty cute. Her voice, not quite as strong as Kathryn Grayson, is still quite beautiful.

One of that era's best singers was Vic Damone who could sing powerfully, or pleasantly. I enjoyed him.

I loved the ending with its flying saucers - and knives, forks, spoons, and French cuisine.

Yes, I enjoyed the movie, and I'm proud to admit it. Onward and upward.

I read a review that stated that this movie was filmed before Royal Wedding, but this isn't so. Royal Wedding, starring Fred Astaire, was filmed before this movie and it was Royal Wedding which made Jane Powell no longer a teenage movie star but a full blown adult performer! Her movie Three Weeks With Love with Ricardo Montalban was a tell tale sign that it was time for Jane Powell to throw away her teenager costumes once and for all and become an adult. She, Debbie Reynolds, and Natalie Wood were just three of the very few who made it from teenage performer to adult performers in the movies.

So, after Royal Wedding, Jane Powell was slated for Rich, Young, and Pretty, but there was a problem; she found out that she was pregnant, so much of the shooting had to be done as quickly as possible with many of scenes filmed waist up. Danielle Darrieux had made her film debut in the U.S. in "The Rage of Paris" and hated the movie so much that there was nothing that could stop her from returning to Paris, but the script, her role, and the fact that she got to sing and dance in a Technicolor musical was enough to entice her back for Rich, Young, and Pretty! Good thing too! She was great!

This was Vic Damone's first movie for Hollowood, and as my Mom said, "Everyone was swooning over Vic's Cow-eyes! What can one say about Una Merckle? Una is Una. She played servant in the Jeannette McDonald version of The Merry Widow and repeated the same role in the Lana Turner version, which was the best of the two, and repeated the servant role in Rich, Young, and Pretty, with a pretty, good, feisty performance especially in the end.

As far as the songs are forgettable? This will sum up this movie and my review. Because of lack of space, I could give you word for word of all the songs in the movie, and I'm going to prove it:

"They say that Paris is charming and light hearted, over and over again. They said in Paris no star shines as brightly, as Paris again, and again. They say her bonnets are lyrical sonnets. They've said it with word and with pen. They say that Paris makes April complete. They say that Taxi's makes songs in her streets. Although these things they repeat and repeat, but I like to think instead: That Paris is sort of the things that left, unsaid!"

The songs are forgettable and not memorable? I don't think so!

Jane Powell sparkles as Texas gal Elizabeth Rogers who travels to Europe with her single father and finds romance with a young man--and also meets the mother she never knew. MGM musical on a less-than-grand scale, yet underrated Powell really pours on the charm and her song numbers are fairly witty. The picture is a bit encumbered by the studio's restrictions--there are hardly any scenes set outdoors, and the shots of Paris are obviously fillers from MGM's stock--but the cast (including Una Merkel, Fernando Lamas and Wendell Corey) is colorful and the screenplay (worked on by Sidney Sheldon) is lively and fun. **1/2 from ****