Sonhos de Estrela

If I remembered the quotes exactly, I'd add them to the quotes section... the Gayety owner advices one of his male friends who is having trouble with his girlfriend, that women, like carpets, need to be beaten regularly! The man later says to his girlfriend, "yeah, I'll give you your rights, and a couple lefts too!" Predictably, she loves this and he is grateful for the advice he was given. Yikes!

But anyway, it was an OK movie overall. A "burley-Q" performer tries getting a straight job with the support of her manager/boyfriend, but she's not "cultured" enough. After getting a free book with his purchase of chocolates, he hits on the idea of hiring a ghostwriter to do her "autobiography," which will make her seem cultured. He then hits on the idea of using the pre-publicity to stage his own musical starring her at his own theater, rather than give the pleasure to the man that rejected her. The ghostwriter grows sweet on her, and there's a bit of an idiot plot involving a misunderstanding when they get stranded in a boat en route to the publisher.

Carmen Miranda is underutilized, apparently she had a number cut. Hopefully it can be restored someday.

A wartime soufflé from a play by Gypsy Rose Lee (as Louise Hovick), DOLL FACE features a lightweight plot with some snappy dialogue and delivery among the clichés, while director Lewis Seiler's vision is properly focused upon contemporary swing music, highlighting the vocal skill of Vivian Blaine, Perry Como, Carmen Miranda and Martha Stewart (no, not that one). The scenario has as its primary business a rocky romance between Doll Face Carroll (Blaine), a burlesque queen, and her manager, Mike Hannegan (the stalwart Dennis O'Keefe), along with the latter's efforts to boost his proletarian protégé into the realm of operetta. Seiler manages to remain faithful to the story line while seamlessly blending in the many musical numbers which, interestingly enough, prove more of a showcase for the perky Stewart and smooth Como than for the top-billed and certainly very pleasant Blaine; the production number for Miranda is a wild one, indeed.

A beautiful songstress is rejected out of an audition because she is not considered to be 'cultured' enough to make it on the Broadway stage. Doll Face Carroll is the woman rejected and Mike Hannegan, the man that is in love with her, wants to show the theater world she is worth the attention. For that, Mike contacts a ghost writer that will prepare the right resume for the gorgeous woman he loves. Nothing prepared Hannegan for the results. A grateful Doll Face will make everything possible to give him the recognition he deserves.

This 20th Century Fox feature of 1946 gives us a dose of nostalgia. Based on a Gypsy Rose Lee play, and directed by Lewis Seiler, the film is mildly amusing. The musical numbers are well executed, especially the hit song, "Somebody's Walking in my Dream". All the songs were composed by the team of Harold Adamson and Jimmy McHugh.

Vivian Blaine appears in the title role. Dennis O'Keefe is Mike Hannegan. In addition we see the irrepressible Carmen Miranda doing "Chico Chico" with a big production number. Perry Como and Martha Stewart are in hand to do some songs. Stephen Dunne has a good opportunity.

"Doll Face" although not a great film, has some enjoyable songs and is entertaining.

This film wastes the talents of Vivian Blaine and Carmen Miranda. Evidently produced right after the end of World War II, Fox didn't care to spend the money on Technicolor, and "cherry blonde" Blaine and flamboyant Miranda should have never been photographed in black and white.

The score is ho-hum. The composers did a much better job on the previous film "Nob Hill" also produced in 1945 in Technicolor and also starring Blaine, with two superb ballads, even though the songs are nearly forgotten today.

Miranda is given only one performance, with the typical tropical theme, a boring song, again losing a lot without Technicolor.

So why did Fox bother? I suppose when you have people under contract, one has to use them somehow in something. Perhaps if the burlesque subject matter had been played up and more burlesque comedy used this film might have ended up a better product.

Some good talent here, but all have done better and some are not used particularly well. 'Doll Face' is watchable, mostly for curiosity or for any musical fan who wants to continue to find more to watch, but while there are good things here one couldn't help feeling that it could have been better than it turned out.

'Doll Face' is nicely photographed, and has very professional-looking set and costume design. Would have preferred for it to be in colour, and numbers like "Chico Chico" cried out for it, but depending on budget and such not every musical or film can have the benefit of being in colour. It would have been more preferable but it made do, the film still looks nice enough (if not giving the wow factor) without it.

The songs are lovely and pass the memorability test, the highlights being "Walking in My Dreams", "Dig You Later" and "Here Comes Heaven Again" and all three are sung beautifully and performed with spirit. In terms of choreography, most not much to write home about but Miranda's big production number captivates in its energy. The cast are a very mixed bag, but faring best are a hilariously sparkling Carmen Miranda and vivacious Martha Stewart. Dennis O'Keefe also tries hard and does have moments of amusement.

On the other hand, Vivian Blaine is a polished but passionless lead, and while Perry Como looks handsomely and sings exquisitely (then again when did he ever not?) he's pretty bland and doesn't look very at ease. That is true with much of the male cast actually, the roles are underwritten and people may also object to the way they're written too, sexism has been brought up in a couple of comments and understandably (the male characters' attitudes towards women doesn't really hold up now and be a sour note for a fair few).

"Chico Chico" aside, the choreography is very routine aside, most of the numbers being so indifferently choreographed and directed, as well as confined, that the one with the most energy and the most cinematic-feeling feels over-produced in comparison. The story makes thin ice seem thick and feels plodding and dreary in the non-musical scenes, and was expecting more energy and wit from the script here which felt bland.

Overall, worthwhile enough curiosity but unremarkable and had a lot of room to be much better. 5/10 Bethany Cox