Adorável Impostora

Which is how the studio PR Dept described Lana in her next few movies, significantly just after the male moviegoing public digested this one. As a B-grade comedy, it is simply that. As a Turner vehicle on the upward arc of her career it is something else. You were almost a decade into the Hayes Code and if you were looking for something a little higher octane than the typical Hollywood assembly line product, this was your stop. Turner, born in 1921, was a legitimate teen herself -- this was decades before Hollywood started casting "older for younger" -- and in short skirts, short shorts, and closeups, she steals the film at a felony level.

Lana Turner is a "Dancing Co-Ed" in this 1939 film also starring Ann Rutherford, Richard Carlson, Arte Shaw and his Orchestra and Monte Woolley.

When one-half of the famous movie dancers, the Tobius', announces she's pregnant, the studio is talked into launching a Scarlett O'Hara type search in colleges to find a partner for the couple's next film.

In order to make sure they cast the right person, a young actress at the studio, Patty Marlow (Turner) is sent to college with her friend from the studio, Eve Greeley (Ann Rutherford).

However, the head of the college newspaper, Pug (Richard Carlson), thinks the contest is rigged. Patty quickly becomes Pug's assistant in uncovering a fix (because Holmes never suspected Watson of a crime). A complication arises when the two fall in love.

It's hard to understand how people can consider Lana Turner a terrible and wooden actress, though it's possible these critics haven't seen her early films. Talk about a camera loving an actress, and talk about an actress with "star" written all over her beautiful face, Lana was it.

Beautiful, fresh, energetic, with a warmth and a sweetness about her, Lana walked away with these early films, including "Slightly Dangerous," "These Glamor Girls" and many others. She did lose some of these qualities as the years went on, sadly, but here, she's wonderful.

Ann Rutherford is excellent too, with an expressive, pretty face and a charm all her own. What could have been a routine film is really lifted by these actresses and the supporting cast. Highly recommended as a light '30s film that will leave you with a smile on your face.

In this B picture from MGM on the upward arc of her career, Lana Turner shows us a few nice steps in a film that Ruby Keeler should have done over at Warner Brothers. Dancing Co-ed casts Lana as a vaudeville hoofer who has an act with her father Leon Errol. Over at Warner Brothers Pat O'Brien would have played the part of the studio press agent who dreams up a co-ed dance contest with the fix in for Turner. The winner gets to co-star with Lee Bowman in his next musical picture. The press agent is played with frenetic intensity by Roscoe Karns.

Keeping an eye on Lana is Ann Rutherford and to complete the deception Rutherford handles the scholastic part of Lana being a college girl. The fly in the ointment is Richard Carlson of the campus newspaper who suspects something ill is afoot. But Turner is sure appealing in those short tight dresses.

It wasn't the best of casting all around, but Turner shows the charm and appeal that would make her box office for years. Her's and Rutherford's dancing was adequate enough for the story. But if not Ruby Keeler, MGM certainly had Eleanor Powell on the lot who hoofed it with the best of them.

One thing Turner did get out of Dancing Co-ed is a first husband in band leader Artie Shaw. Both Shaw and Turner had about 15 marriages between them in their lives. Who could tell at that point.

Dancing Co-ed is one for Lana Turner fans and those who will become on after seeing this film.

Part of the fun in watching DANCING CO-ED is seeing just what a fine line-up of supporting players were available at the time of the studio contract system.

For example, here LANA TURNER is given RICHARD CARLSON, ARTIE SHAW, MONTY WOOLLEY, LEON ERROL, ROSCOE KARNS, ANN RUTHERFORD and LEE BOWMAN--all passing the time in a so-so programmer that is livened up by Lana's cheerful presence (and some nice hoofing) while Artie Shaw and His Orchestra provide some musical highlights in 1940s style.

The story is formula stuff about the misunderstandings between a showgirl planted at a college so she can win a dance contest taking place there. Despite some amusing situations along the way, nothing can keep an audience from knowing that a happy ending is around the bend.

It gives Lana Turner a chance to display her ample charms in some brief and very sexy dancing outfits while at the same time enjoying herself in a refreshing comedy role peppered with some romance. Richard Carlson does nicely as her college boyfriend and Artie Shaw keeps things humming along with some nice big band music.

It's strictly by the numbers but Turner's fans will all agree she's quite a knockout here. Turner at the height of her pulchritude was something the camera loved.

Turner and Shaw fans expecting a musical may be disappointed despite the title. In fact the plot takes up a lot more time than the dance numbers. Even then what numbers that do appear are abbreviated, while Shaw's time is spotty. I guess I was expecting some big time swing and jitterbug to get the focus but they don't. Then too, the cast almost shouts their lines, which doesn't make them any funnier.

Anyway, the plot's something about a movie studio creating a bogus co-ed dance contest at selected colleges. The idea is to promote a new movie in which the contest winner will star. But the contest is really just a promotional gimmick since studio hopeful Turner is planted as the predetermined winner. Trouble is she gets personally involved at the college so complications arise.

It's a colorful cast with a magisterial Wooley, a fast-talking Karnes, and an unpredictable Errol. Then too, it's Richard Carlson a long way from his usual sober-sides. Fortunately, there are a few amusing moments that help, while Turner shines in the starring role. Her conventional role here makes it hard to believe it's the same actress as the hard-eyed vamp of The Postman Always Rings Twice (1946). Together, the contrasting roles show what a fine actress she really was.

Anyway, maybe I was expecting too much from the title and cast, but unfortunately was disappointed with the result.