Portami in città

We all have to start somewhere and for Ross Hunter, producer of some big budget spectacular soap operas for Universal in the 50s and 60s started out with this western family comedy where three kids match make saloon entertainer Ann Sheridan with their father logger/preacher Sterling Hayden. Sheridan is going incognito trying to avoid marshal Larry Gates and a former boyfriend outlaw/gambler Philip Reed who also escaped from Gates.

Sheridan is traveling under the name of Vermillion O'Toole, a tribute to the tint of red in her hair. Hayden's three kids are taken with that hair even in their pre-pubescent years and decide she'd be great.

Surprisingly she takes to being domestic and of course it all works out despite some of the more narrow minded folks in the town who think she's not a suitable mate for the town's spiritual leader.

Being an entertainer calls for Sheridan to have a number or two which she delivers with gusto. Special mention has to be given to Lee Patrick who plays the cigar smoking saloon owner who goes back with Sheridan. Her mission is to distract Gates and distract him she does.

Take Me To Town still holds up well after over 60 years as good family film making.

Ann Sheridan plays Vermilion O'Toole ,a saloon singer who seeks to evade the law by taking refuge in a remote lumber community where she develops a fondness for widower Will Hall who in addition to being a lumberjack doubles as the local preacher.

She sees no reason why she should not make him a good wife and be a fine mother to his 3 boys -a sentiment they endorse The community is outraged but she is nothing if not determined and sets out to stake her claim on Hall .This involves fighting a bear ,getting rid of an old lover and turning out to be an indefatigable fundraiser for the construction of a new church .Shot in lustrous Tecnicolor by Russel Metty and directed with deftness and lyricism by Douglas Sirk, this is a tad syrupy now and again but is also a warm ,affectionate and tender evocation of the spirit of the American West

Saloon singer Ann Sheridan on the run finds love with widower preacher Sterling Hayden who has got three cute kids.It's not a great Sirk movie,(it's perhaps even one of his least interesting efforts) but it predates some aspects of his soon-to-come "all that Heaven allows" (one could begin to detect in " has anybody seen my gal?" ): a man and a woman who are worlds apart and whose relationship is blamed by the well-meaning holier-than -thou ladies in the town.The children steal the show from the stars in every scene they are in.The "show in the show" trick,on the other hand ,having little connection with the plot ,is not very exciting.

The story idea in "Take Me to Town" isn't the most original. In the 1930s and 40s, Hollywood made several similar stories about folks hiding out from the law with a nice family that miraculously reforms the crook. The biggest difference between those films and this one is that the person hiding out is a lady.

When the film begins, Mae (Ann Sheridan) is on a train in the custody of the Marshall. However, she is able to slip out a window and evade the law. Soon she's rechristened herself 'Vermillion O'Toole' and is a singing sensation in the local saloon. But when a photo of her gets out, the law comes looking for her...and she makes a break for the only place she knows she can hide. You see, three little toe-headed boys had just asked her to come to be their housekeeper...with the hope that they'll marry their daddy! I don't think she knew about their ulterior motives...but hiding out with this family seems like a great idea. But the dad (Sterling Holloway) is not thrilled with a woman in the house. What's next? See the film.

While the story is a bit familiar, the film is handled quite well. While it's far from a must-see, it's a perfectly wonderful time- passer...a pleasant and entertaining movie.

The forms the final part of Sirk's early Americana trilogy. As with the first two films, ("Has Anybody Seen my Gal" and "Meet Me at the Fair") it's is a lightweight, extremely affectionate look at American society in the early part of the 20th Century. Along side the abundant good nature, greed and political corruption were dealt with in those films, whereas in this case its acceptance and tolerance for the "other" to which focus is given.

Much of the charm of the movie stems from Ann Sheridan's winning and endearing performance in which she's ably paired by Sterling Hayden. Sirk handles the children particularly well and they turn in lovely comical performances.

While a lot of fun to watch, it's of special interest only in the context of Sirk's career in which he would go on to make far more important and weightier films than this.