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CONEY ISLAND was such a successful Fox musical that seven years later it was turned into another starring vehicle for Grable called WABASH AVENUE. It's a breezy turn-of-the-century show biz tale about two Coney Island hucksters and the tricks they play on each other to win patrons at their establishments.

Betty is the brassy singer with the garish costumes and exaggerated singing/dancing style that Montgomery has to tone down by tying her to a prop so she can't move but has to deliver her ballad ("Cuddle Up A Little Closer") without gyrating all over the stage. Naturally, the love/hate relationship blooms into romance with Grable and Montgomery making a pleasing match as a team.

Lost of comedy relief from PHIL SILVERS and CHARLES WINNINGER, some nice song and dance numbers for Grable, and the whole backstage story is easy to take, the usual misunderstandings and schemes backfiring before the fadeout to a happy ending.

For BETTY GRABLE's fans, this one has to be rated one of her best.

Despite a slow start and trifling plot, "Coney Island" turns out to be One of Betty Grable's most sheerly exuberant musicals and another shimmering, glossily produced, exquisitely Technicolored Fox tuner set in the Gay 90s, directed with chic elegance by Walter Lang.

Betty is wonderful all the way and gave what she had as Kate Farley, the stage show entertainer/singer who is transformed by George Montgomery into a classy Broadway star with musical and vocal talents, despite the protests from Kate's manager, played by Cesar Romero. Charles Winninger, Phil Silvers and Hurst are the capably eccentric supporting players.

The songs and numbers are joyously, spectacularly staged, including the unforgettable "Cuddle Up a Little Closer", "Pretty Baby", "There's Danger in a Dance", "Beautiful Coney Island", "Put Your Arms Around Me", and "Lulu from Louisville."

Nothing like a 20th Century Fox musical for color and energy!

Coney Island, remade later as Wabash Avenue, stars Betty Grable.

Grable stars here with George Montgomery, Cesar Romero, Phil Silvers, and Charles Winninger. The story is one of rivalry and deceit and un-pc segments.

Grable looks gorgeous. She so vivacious and sparkly, it's no wonder she was so popular. The acting is good - I love Phil Silvers, he's always funny. Montgomery and Romero were so handsome, they made good rivals for Betty's affection.

The music was nothing to write home about, though the scenes when Betty was working for Hammerstein were lavish.

Enjoyable.

I have a statement: I again protest at Turner Classic Movie trying to rewrite history. Their books, the 50 Greatest Leading Men and the 50 Greatest Leading Ladies don't include actors who were pretty much exclusive to 20th Century Fox.

Betty Grable was in the top 10 box office for 10 years, and she's not included. Tyrone Power was the 21st most popular male in film history, and that includes Harrison Ford, Hanks, Cruise, etc. According to the Cogerson Book, the 50 Greatest Stars: Statistically Speaking, and he didn't make it either.

When TCM did a documentary on 1939, they quickly mentioned Jesse James was #4 box office that year - very quickly. After all, they don't own it. (I realize that the top box office lists aren't all the same).

Twentieth Century Fox stars were not people who did a little acting on the side. TCM, get with it.

Betty Grable is a nightclub singer-dancer in turn-of-the-century Coney Island whose boss/boyfriend (Cesar Romero) is tricked into hiring his childhood friend/nemesis (George Montgomery) as a show manager. Montgomery is intent on making flashy, hyperkinetic Grable sing and dance like a lady, which she resists, but the results put stars in both their eyes, and soon Montgomery is planning on opening his own nightclub--with Grable as the star attraction. Fox musical was so popular, the studio remade it--with Grable--just seven years later as "Wabash Avenue". She's terrific here, snapping off her lines with streetwise cynicism, her beauty mark usually in a different location. Fox overloads the film's musical moments with specialty numbers--a Plantation number, a Louisiana showboat number, a Christmas number, an Irish number, etc.--but what really makes Grable shine are her ballads delivered standing still (just like her character is told to do). Montgomery is rather like a riverboat cardsharp--slick and cunning, he never elicits our feelings--but he's preferable to Romero, who acts with his teeth. Phil Silvers is less offensive than usual in support, and the soundtrack has some gems including "Cuddle Up a Little Closer", "Pretty Baby" and the title song. **1/2 from ****

Fortunately, the chorus only sing the names of the three that share top billing here! Thereafter, we meet the loveable rogue that is "Eddie" (George Montgomery) who just wants what he thinks is rightfully due to him from his erstwhile partner "Joe" (Cesar Romero). This pal is about to open a new venue in which he will see "Kate" (Betty Grable) star - and has no intention of sharing! Out of options, "Eddie" turns to his friend "Frankie" (Phil Silvers) to let him join his circus-like enterprise during which he and "Kate" start to publicly spar about who is wearing what. She has an hat that Carmen Miranda might have been proud of. Anyway, the punters quite like his antics so "Joe" muscles in leading to reprisals that ultimately leads "Joe" to believe that he is a murderer! "Eddie" agrees to keep schtum, but it is going to cost him. With "Eddie" now cheek by jowl with "Kate" and "Joe" out of the picture, could things be set fair? Of course, there are loads of twists and turns yet to come as this trio play cat and mouse with each other just waiting to see who can pounce! The story itself is all a bit old hat - we've seen the love triangle story loads of times before, and I'm afraid that Phil Silvers just never could make be laugh, but there is an amiable degree of chemistry between Grable and her two suitors and there are plenty of set-piece theatrical numbers for the million-dollar legs to showcase just what a charismatic star she was. It's a great example of Technicolor brilliance too, especially towards the end when the screen positively comes alive, and it is probably just the kind of wartime fillip the audiences would have lapped up. It's all fairly forgettable, but it's quite good fun.

...this movie has everything that everyone expects of Betty Grable every time. It is bright and colorful and silly and funny and loads of fun. Betty, (ever the independent and employed woman) is working as an entertainer in an odd little dive. Well, a friend of the owners does what we would now call a corporate take-over--and then he does a make-over on Betty and she becomes a big musical comedy star--but wait--it is more complicated than that! See this and you will understand why Betty Grable was loved at the box office for so long. She is wonderful.

Eddie (George Montgomery) arrives at a nightclub owned by old friend Joe (Cesar Romero) and asks to become a partner in his business. Joe's girlfriend/protégé, Kate (Betty Grable) is a singer at the club and the story follows how these 2 men fight over her and her transformation from a trashy performer into a classy performer.

The film is only interesting when Betty Grable is performing. Thankfully, she sings and dances in quite a few numbers, so saving this film from being bad. George Montgomery is terrible as the lead - very cheesy - and the supporting characters - Finnigan (Charles Winninger) as a drunken Irishman and Frankie (Phil Silvers as his usual self) - are annoying. The only characters with any credibility are Cesar Romero and Betty Grable and they save this film from being a complete turkey.

The colour is good, the songs are good and Betty Grable single-handedly brings the film into the overall "ok" category.

Color films were at a premium during the war years, but when one of the reigning sex symbols of the era was starring in a film, the technicolor cameras were rolling. In Coney Island, the better to catch Betty Grable's blond All Americans looks and those gorgeous legs of her's, on prominent display as a turn of the last century entertainer working in a club in Coney Island.

A few years earlier the roles played by George Montgomery and Cesar Romero would have gone to Tyrone Power and Don Ameche. But both these guys would never have been second billed to Betty Grable now and this film is strictly her show.

Romero is a club owner in Coney Island where former partner and rival George Montgomery tries to chisel in. But one look at Grable who Romero considered his and they become rivals in love as well as business.

Montgomery totally had Ty Power's hero/heel character right down to perfection. It's so obvious that his part was originally written for Power. 1943 was the year Power went in the Marines so I really think it likely.

Brooklyn had two landmarks of note that the world knew about. One was Ebbets Field where the Dodgers played and the other was that entertainment mecca, Coney Island. The Dodgers are gone and Coney Island looks a bit frayed around the edges, but you can still see some traces of the glamor of the period that Betty and the cast are portraying. At least Nathan's Hotdogs is still operating though they wouldn't come into being until long after the era that this film is set in was over.

Coney Island had some original songs written by the former Paramount team of Leo Robin and Ralph Rainger, but the interpolated period songs gave Betty Grable her best vocal opportunities. Her rendition of Cuddle Up A Little Closer is a classic and the song after almost 40 years enjoyed a bit of a revival then. Betty didn't join in it though because Darryl Zanuck banned his stars from commercial recordings. Scoring the whole business was done by Alfred Newman who received an Academy Award nomination for his work. He actually won an Oscar that year, but for scoring the dramatic picture, The Song Of Bernadette.

The plot is thin, but the players put it over and Coney Island is one of Betty Grable's best films from the height of her career.

Get ready for a dated musical. Coney Island buys into every offensive stereotype, so only the die-hard Betty Grable fans need to watch it. There are black waiters in the saloon who sing and dance while serving the patrons, a perpetually drunk Irishman, a blackface production number, and a villain who actually strokes his mustache during his "mean" lines. Poor Charles Winninger, who normally plays lovable Irish characters, has to make fun of his heritage in every scene. He's always drinking, always drunk, and always ready for a fight. During a barfight, Charles is all bluff and doesn't even get in a single punch before passing out. He's lured awake again by the smell of whiskey.

The main plot of the movie is the thievery of George Montgomery. He steals Cesar Romero's saloon by means of an elaborate deceit and blackmail. He repeatedly insults the lead performer, Betty Grable, and forces her to change her style by handcuffing her until she does his bidding. He lies, cheats, manipulates, and yet Betty prefers him to Cesar? Cesar is kind, respectful, and has the grace to be a good loser - and he's way cuter. This movie doesn't make sense.

I never would have thought it, but Phil Silvers is the best part of the movie. Charles Winninger asks Phil Silvers his choice at the bar, and Phil says, "Nothing. Just breathe in my face. That'll be enough." In the most hilarious scene, he tries to communicate a secret message to his business partner George and ad-libs a song with funny lyrics. If you love Betty Grable and Phil Silvers, you can try renting this, but it really doesn't stand the test of time well.

I remember a fun energetic guy who tricks and plays jokes on an old buddy. There is a woman that works for his buddy. He ends up falling in love with a her and at the same time he changes her reputation as an actor to be a real star.It turns out that his buddy plays a joke right back and well.... you should watch it.

Was very shocked 15 seconds into the film to see a character in blackface. Later there is an entire musical number in blackface. Lastly, the grand finale has a number in blackface as well. Is it just a sign of the times the film was made in? I guess. Do I have to celebrate it, or recommend it? No, I don't and no, I can't.

I would allow that it works as a historical document, of sorts. Of a kind of entertainment that was wiped out by rock'n'roll. Cesar Romero delivers his usual classy, excellent performance. The leading lady was unfortunately portrayed as dumb enough to be manipulated at every turn, a mere chit in the 2 guys' competitive rivalry.