Aquilo, Sim, Era Vida!

Of all Alice Faye's 20th Century-Fox musicals, "Hello Frisco, Hello" is probably my favorite. It is certainly the one that deserves to be called enchanting. The only other memorable Faye musicals that come to mind are "On the Avenue"(1937), "Alexander's Ragtime Band"(1938), "That Night in Rio"(1941) and "Wake Up and Live"(1937). "Hello Frisco" is a feast for the eyes and ears, breathtakingly photographed in Technicolor. The colors, the period costumes, and director Bruce Humberstone's nostalgic evocation of San Francisco's Barbary Coast at the turn of the century - are sublime. It also abounds in one gloriously tuneful song or dance number after another. There are lots to choose from including "Strike Up the Band," "Has Anybody Here Seen Kelly?" and "Ragtime Country Joe", but Faye's memorable rendition of "You'll Never Know" is the best of them all. IT works as a perfect combination of Faye's sweet vulnerability and honesty. Faye's co-star John Payne is equally marvellous as Johnny Cornell. Contrary to a previous reviewer's remarks about Payne's stiffness, I didn't find him really that stiff. A bit stoic, maybe, but his Johnny Cornell is in perfect harmony with Faye's sweet Trudy Evans. And I can't imagine anyone else playing that role or doing a better job.

In all, a Glorious delight.

I don't know what is wrong with Leonard Maltin, giving this 2 stars and calling it a big comedown for the stars. This is one of my favorite musicals starring Alice Faye and she has never been so beautifully filmed in technicolor. Her costumes, hair styles and hats, are gorgeous as is the way she is made up.

Jack Oakie and June Havoc are joyous in their comic musical numbers. John Payne plays his ambitious, clueless, social climbing saloon keeper well enough. The opening number "Hello, Frisco, Hello" going right on into "You'll Never Know" is beautifully staged. Forever after this song was introduced in this film, it was Alice Fayes signature song and thousands of WWII couples danced and dreamed to it. Lynn Bari is also gorgeous as the rich femme fatale from Nob Hill that comes between Payne and Faye. But the story is secondary to the songs and stars.

A real pleasure that I keep in my permanent collections of films of the Golden Era. 8/10

1st watched 11/24/2001 - 7 out of 10(Dir-H. Bruce Humberstone): Toe-tapping, hit playing musical that doesn't have a plot line much different than many of this dancing/singing genre but it is played out so well by the stars involved that it keeps you interested. The songs have romance, humor, and hit quality chorus's that made me want to have the music itself(if it's available). This is supposed to have been the most popular war-time film and I can understand why although because a lot of people weren't going to the movies back then it's been relatively forgotten. I'm glad I was able to see this and it made me hunger for more of this type. Watch it if you can find it, it won't disappoint you.

Strong evidence of why Alice Faye was such a big star in the 40s. Good support from John Payne, Jack Oakie, and femme fatale Lynn Bari. Some critics, including Maltin, are down on this one, but they're wrong. It's a joy from end to end, and as easy on the eyes (in color) as Faye's voice is on the ears (especially in Academy Award winner "You'll Never Know"). Wish they gave Payne more songs to sing, but you can't have everything. Offhand, I don't know of a Fox musical of that era that's as enjoyable.

Unlike many musicals from Warners and MGM, the scenes of stage performance in those from 20th Century Fox look as though they could actually be performed on a stage, with straight front shooting, and relatively little camera movement, except for close-ups. This approach works, if you have actors who can draw you in simply by their talent, Talent is abundant here, and the musical numbers are believably staged. Fortunately, there are many of these: enough to carry the hackneyed plot. After more than twelve years in films, Jack Oakie could still do comic dance and joke routines far superior to those of most; and is helped wonderfully by June Havoc, who should have received one of the co-star billings in the titles, instead of being listed second in the supporting cast. John Payne was the studio's dependable leading man, in both musicals and light drama. The beautiful Lynn Bari, who never broke through to star status, shines in the thankless role of the selfish society girl.

But Alice Faye is at her best in her last major musical for Fox. It's easy to see why Archie Bunker occasionally referred to her as his feminine ideal. She is gorgeous in Technicolor close-ups. Here, as in other films she wears period costumes more convincingly than most other actresses, who seem to be dressing up for a costume party. Her voice was unique, and her delivery understated; unlike many of her contemporaries, she can still be heard on CDs. I didn't count, but she must have sung ten or more numbers, alone or with Payne. Oakie and Havoc, including an opening and closing rendition of her signature "You'll Never Know". In a years later TV interview, she commented that toward the end of her Fox career she was being replaced by Betty Grable, whose more overt sex appeal made her famous during the war years, but whose career as a top attraction did not last as many years as Faye's (about ten) What impressed me was that she made that comment without any tone of bitterness. Incidentally, this is not a criticism of Grable, who had a winning, self-deprecating personality in later years. In another TV interview, when she was asked how she became a star, she responded: I could sing a little, dance a little, and act a little, but I had great-looking legs. I can't help comparing these two ladies, both of whom had long-lasting show business marriages, and both of whom seemed to be nice persons, with some contemporary "stars".