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Meet the People

  • 1944
  • Approved
  • 1h 40min
VALUTAZIONE IMDb
5,7/10
502
LA TUA VALUTAZIONE
Lucille Ball in Meet the People (1944)
A idealistic shipyard worker interests a beautiful Hollywood star in staging a musical tribute to the war industry, but they disagree on some important issues.
Riproduci trailer2: 02
1 video
30 foto
CommediaMusicale

Aggiungi una trama nella tua linguaAn idealistic shipyard worker interests a beautiful Hollywood star in staging a musical tribute to the war industry, but they disagree on some important issues.An idealistic shipyard worker interests a beautiful Hollywood star in staging a musical tribute to the war industry, but they disagree on some important issues.An idealistic shipyard worker interests a beautiful Hollywood star in staging a musical tribute to the war industry, but they disagree on some important issues.

  • Regia
    • Charles Reisner
  • Sceneggiatura
    • Sig Herzig
    • Fred Saidy
    • Sol Barzman
  • Star
    • Lucille Ball
    • Dick Powell
    • Virginia O'Brien
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    5,7/10
    502
    LA TUA VALUTAZIONE
    • Regia
      • Charles Reisner
    • Sceneggiatura
      • Sig Herzig
      • Fred Saidy
      • Sol Barzman
    • Star
      • Lucille Ball
      • Dick Powell
      • Virginia O'Brien
    • 15Recensioni degli utenti
    • 3Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Video1

    Official Trailer
    Trailer 2:02
    Official Trailer

    Foto30

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    Interpreti principali99+

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    Lucille Ball
    Lucille Ball
    • Julie Hampton
    Dick Powell
    Dick Powell
    • Wm. 'Swanee' Swanson
    Virginia O'Brien
    Virginia O'Brien
    • 'Woodpecker' Peg
    Bert Lahr
    Bert Lahr
    • The Commander
    Rags Ragland
    Rags Ragland
    • Mr. Smith
    • (as "Rags" Ragland)
    June Allyson
    June Allyson
    • Annie
    Steven Geray
    Steven Geray
    • Uncle Felix
    • (as Steve Geray)
    Paul Regan
    • 'Buck'
    Howard Freeman
    Howard Freeman
    • Mr. Peetwick
    Betty Jaynes
    Betty Jaynes
    • Steffi
    John Craven
    John Craven
    • John Swanson
    Morris Ankrum
    Morris Ankrum
    • Monte Rowland
    Miriam LaVelle
    • Miriam - Acrobatic Dancer
    Ziggie Talent
    • Ziggie
    Mata and Hari
    • Oriental Dancers
    Vaughn Monroe and His Orchestra
    • Vaughn Monroe and His Orchestra
    Spike Jones and His City Slickers
    • Spike Jones and His City Slickers
    Harry Adams
    • Shipyard Executive
    • (non citato nei titoli originali)
    • Regia
      • Charles Reisner
    • Sceneggiatura
      • Sig Herzig
      • Fred Saidy
      • Sol Barzman
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti15

    5,7502
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    Recensioni in evidenza

    9inframan

    Some sensational music!

    Forget the period propaganda or the corny jokes. This movie has some sensational music in it, great arrangements & great singing, especially one of the greatest songs written by one of the greatest teams: Rogers & Hart's "I Like to Recognize the Tune". A gorgeous rendition by one of the most beautiful pop songs ever written or performed. Worth reviving this movie (& then there's Spike Jones).
    5utgard14

    I don't want to meet these people

    Let's put on a show for the war effort...or some arrogant playwright or something. Dick Powell plays a pompous jerk who somehow finagles a famous actress (Lucille Ball) into not only falling in love with him but also getting his play produced. The movie is basically the struggle to get the play made. The struggle, by the way, is only such because of Powell's temper tantrums. Good grief who thought this character was appealing? Powell is a likable actor but here he sulks his way through the whole film. "My show! My show! My show!" Shut up already you whiny baby. This guy wants his precious play to be authentic to real working class people, but he never seems real or working class himself.

    Powell also has poor romantic chemistry with Lucille Ball. For her part, Lucy is a bit wooden and lacking the brilliant spark we all know she possessed. The supporting players like Virginia O'Brien, Bert Lahr, and June Allyson are the best part of the cast. There's also an annoying guy doing bad impressions. I'm not going to bother looking up the actor's name. Just know he's awful.

    The movie is way too long for such a thin plot and commits the cardinal sin for any musical comedy: it's hardly ever fun. The musical numbers are so-so, with O'Brien's "Say That We're Sweethearts Again" being the standout. It's probably the only thing that you walk away from this film remembering.
    8Hup234!

    The Spike Jones sequence alone is worth it.

    This is typical wartime let's-pull-together propaganda, and it's very entertaining. A tour-de-force with a great cast, leading to a riotous "Heil, Schicklgruber!" sequence with the fabulous Spike Jones entourage, and a sieg-heiling chimpanzee as Adolf Hitler! It holds up well today as both great entertainment and as a glimpse into the national mood of the time. Highly recommended to all!
    4planktonrules

    I can only assume most shipyards had bands like Spike Jones and singer/writers like Dick Powell.

    Although the war industry in the United States during WWII produced huge amounts of weaponry, you'd never think so if you watched "Meet the People"! Although it's supposedly set at a shipyard, you never see anyone work at all! Instead, they sing, dance and put on shows all the time...or at least that's what I learned from this movie!

    The story begins at the shipyard and a famous actress, Julie Hampton (Lucille Ball), is there for a bond rally. Naturally, the ship builders are a very loyal lot and they invest heavily in the bonds. What they also have is a soon to be discovered playwright and singer, William Swanson (Dick Powell). Soon he and Julie are working on getting his play produced but soon Swanee stomps off and refuses to allow them to put on the play. The director is sure Swanee will change his mind but when he doesn't, Julie returns to the shipyard to convince Swanee to change his mind.

    What follows is essentially a giant talent show spread throughout the rest of the film. Folks are breaking into song and dance numbers every few minutes (complete with costumes that appeared from no where) and practically ANYTHING encourages them to perform. As for me, it felt like a showcase for MGM's second and third stringers....and I felt as if they should have pared down the number of numbers and emphasized the plot more than they did as it was a bit tedious at times. Back when it debuted, films like this were not that uncommon and it probably did well at the box office. Today, however, it seems a bit dated and is more a time-passer than anything else.
    tedg

    Odd Celebration

    The movies I choose to watch are sometimes suggested by events. Recently. I encountered yet another incomprehensible act by the American War Department and took refuge in this.

    It is from an era of justified involvement in a war. Death camps, master race.

    It is rank propaganda, subsidized by political leaders. It has other offenses. Blacks are shown twice: a man as a yassa porter and women happily picking cotton.

    And yet its charm is in the thing it celebrates. You likely will never see this. It is dated and not very good as a film. The strings it pulls... well, they're broken. So let me describe it.

    It features Lucille Ball before she made herself a joke. In this era, she was a desirable pinup, even at 33. She parades her legs and glamor as a famous stage actress. She meets and falls in love with a wartime shipworker who aspires to be a playwright. He, it turns out, has written a play featuring the good souls of the shipyard representing all the "ordinary people" of America who labored for the war effort, which at root was a competition of manufacturing infrastructures.

    That play is the device around which all sorts of narrative effects are folded. There's the bit which forms the plot: she likes the play and attempts to put it on. But it gets too glamorized for the author. It isn't "real" enough and rather than demean the subject, he forgoes wealth and fame and closes it down. She follows him back to work in the shipyard to charm him into letting the show go on. As scripted, she discovers and comes to appreciate the goodness of the honestly laboring people.

    At the end, she puts on the play as he intended it to be, at the shipyard. Inside the play's performance, he literally enters the play and reconciles with our girl. End of story.

    Along the way, there are an amazing number of other excuses pulled to have song and dance numbers. Its purpose, after all was to mix entertainment and "the message."

    So you have:

    —lunchtime shows at the shipyard (with Spike Jones and Hitler played by a chimp). Also, an evening show with several elaborate numbers.

    —a love song when the two go on their first date, the song half him demonstrating the song to her and half wooing her in the story by song.

    —a bit as if the movie were a musical comedy. In this case, the story itself bends into comic song as Burt Lahr's character christens his boat.

    —imitations of famous war leaders, performed randomly whenever a certain character appears. Some of these are unrecognizable today.

    And that's in addition to seeing bits of the title show in New York and the shipyard.

    A lot of entertainment. All the shows, every one, are miniature versions of the larger movie: celebrations of ordinary folk and then American values.

    Ted's Evaluation -- 2 of 3: Has some interesting elements.

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    Trama

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    Lo sapevi?

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    • Quiz
      Daws Butler, the voice actor for Hanna-Barbera cartoon characters, patterned the voice of the lion Snagglepuss after Bert Lahr, who played the Cowardly Lion in Il mago di Oz (1939). Butler took Snagglepuss's catchphrase "Heavens to Mergatroid" from Lahr's having said it in this movie.
    • Blooper
      Director Charles Reisner's name was incorrectly spelled in the main credits as "Riesner".
    • Citazioni

      The Commander: You must come up and launch with me sometime.

    • Connessioni
      Featured in The Big Parade of Comedy (1964)
    • Colonne sonore
      Meet the People
      (1940)

      Music by Jay Gorney

      Lyrics by Henry Myers

      Played during the opening credits

      Sung by Dick Powell and chorus in his daydream

      Reprised by Lucille Ball (dubbed by Gloria Grafton) and chorus at dress rehearsal

      Sung by a chorus at the end

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    Dettagli

    Modifica
    • Data di uscita
      • 15 marzo 1945 (Messico)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Här kommer folket!
    • Luoghi delle riprese
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Metro-Goldwyn-Mayer (MGM)
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 1.302.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 40 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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