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As compared to the product that was coming out of the Arthur Freed unit at MGM during this time, Give A Girl A Break is definitely in the rank of second rate MGM musicals. Still it's not too bad with the accent definitely on the dance as opposed to the song.

Give A Girl A Break is the title of a revue that producer Larry Keating is putting on and he's having one devil of a time trying to decide which talented dancer to give the lead to, be it Marge Champion, Debbie Reynolds or Helen Wood. He's got three of his people each pulling for a different prospect with Gower Champion putting on a real campaign to get his ex-wife and former dance partner out of retirement.

As a dance team, Marge and Gower Champion made their screen debut in one of Bing Crosby's musicals, Mr. Music over at Paramount. MGM snapped them up and featured them in Showboat and Lovely to Look At. After Everything I Have Is Your's, Give A Girl A Break was MGM's second attempt to feature them as leads. As good a dance team as they were, Marge and Gower were just not strong enough to carry a film on their own.

This was a dancing film and as such no great song hits came out of the score that was written by Burton Lane and Ira Gershwin. But the Champions, Debbie Reynolds, Bob Fosse, and Helen Wood could definitely dance to it.

If the plot sounds somewhat familiar I think MGM dusted off the script to one of their biggest hits, Ziegfeld Girl about three Ziegfeld Follies aspirants and updated it somewhat. It's also a much lighter treatment, none of the three dancers has anything happen as bad as what happened to Lana Turner in that film.

Give A Girl A Break will never be one of the great MGM musicals on anyone's list, but it's a pleasant diversion. And I can't believe that Bob Fosse had such a luxurious head of hair back in the day.

This is a little gem for those wanting a bit of relaxed entertainment. Unfortunately it came in a period when Kelly/Donen were setting a new standard for big production and very rapid pacing, so it was out of fashion and ignored. Everyone is charming; Marge and Gower Champion are at their peak, Bob Fosse is just hitting his stride (amusing that his screen persona was so charmingly little-boyish, in contrast to the dark angular sexiness of his later stage choreographies), and Debbie Reynolds is pixie-ish as ever. Helen Wood was not a great actress, but she was necessary to provide an additional dance flavor (see below).

To differ from another reviewer, I think that Kurt Kaznar was perfect for the Leo Belney part, at least as it was written. He carries off being totally suggestible, changing opinion instantly, and having an equal conviction in each new attitude.

Though they don't make a big deal about it, the film was mirroring a real conundrum facing Broadway directors at that period: what kind of dance to use? Tap was still around but on its way out; a kind of jazz-ballet blend was becoming mainstream; the avant-garde was a more dramatic and angular "modern" dance. Which would the public go for in the next show?

'Give a Girl a Break' deserves to be better known; it's certainly not one of MGM's greatest musicals, but it has many bright spots and some pleasant tunes by Burton Lane with excellent lyrics by Ira Gershwin. Modern viewers will probably be most interested in Bob Fosse's excellent performance, in a supporting role.

Some aspects of this movie are clearly derived from earlier and better musicals. At one point, Gower Champion's character (a Broadway director) is besieged by struggling chorus dancers who want parts in his new musical. To escape them, he climbs up the wall of his theatre. This is apparently meant to show us how virile and athletic Champion is ... but it reminded me of the scene in 'Singin' in the Rain' when Gene Kelly escapes his fans by climbing up the side of a bus. The fact that 'Give a Girl a Break' is directed by Stanley Donen (co-director of 'Singin' in the Rain') only makes the link more obvious.

Gower Champion plays Ted Sturgis, the big-shot director of a new Broadway musical still in rehearsal. Bob Fosse plays Bobby, his assistant and dance captain, although Sturgis usually keeps Bobby busy fetching coffee. (Prophetically, Champion later became a major director of Broadway musicals... as did Fosse.) Kurt Kasznar plays Leo Belney, the show's musical director: a role that should have been played by Oscar Levant. Sturgis's ex-wife (played by Gower Champion's real wife Marge) is Madelyn Corlane, a former star whose popularity has faded, but who is hopeful of a comeback.

When Sturgis's leading lady throws a tantrum and walks out (not likely!), he needs a new leading lady in a hurry. Whoever he chooses for the role is destined to become a star. Will Madelyn get the job? Meanwhile, Bobby has become enamoured of Suzie Doolittle (the excellent Debbie Reynolds), a talented newcomer. The more classically-minded Leo wants the leading role to go to Joanna Moss (Helen Wood), a ballet dancer he secretly hopes to romance.

There's some genuine suspense as we try to guess which of these three women will get the big break. Unfortunately, the three candidates aren't equal: it's extremely obvious that highbrow ballerina Joanna hasn't got a chance against the more conventional chorines Madelyn and Suzie.

The best number in the movie is 'In Our United State' performed by Fosse and Reynolds. On a couple of other occasions ('Kiss Me Kate', 'My Sister Eileen'), Bob Fosse demonstrated his ability to do a backward aerial somersault, with astonishingly good amplitude. Here, he does it while facing the camera, in medium close shot, and it's extremely impressive. Unfortunately, Donen ruins the number with some gimmicky trick photography, speeding up the action and running it in reverse. After Debbie and Bob pop some brightly-coloured balloons, it's very weird to see the balloons unpopping themselves in reverse motion.

Another number, called 'Applause', is pleasant. I also enjoyed 'Nothing Is Impossible', performed by the three men, which features a strange bit in which Gower Champion does a rapid tap dance with one foot while he keeps his other foot balanced on top of Bob Fosse's upright heel. The tubby actor Kurt Kasznar, who can't dance and can barely sing, shows some courage by performing a musical number with the athletic Champion and Fosse.

There's a clever three-way dream sequence, in which each man envisions his own favoured lady's name appearing in lights above the theatre. But there's some clumsy dialogue involving the word 'palaver'. At the end of the movie, Marge Champion does a really ludicrous bit, in which she runs down the theatre gangway with her lips and her bosom thrust forward and her arms and her head thrown back. Corny!

This is a good place to correct a misconception about Gower Champion: after a long career as a director of Broadway musicals, he supposedly died on the opening night of '42nd Street', his biggest hit. This was, of course, an extremely ironic death. ('42nd Street' is about a Broadway director who risks his own health in rehearsals while trying to make his biggest show a hit.) The truth is a bit less neat: Gower Champion actually died several days before his show opened, but producer David Merrick (recognising the publicity value of Champion's death) claimed on opening night that Champion had died earlier that day.

I'll rate 'Give a Girl a Break' 6 out of 10, and I recommend it to you.

This movie was a great and pleasant surprise. Besides being very entertaining, one can see the future styles of these 2 legendary Broadway giants. Champion's numbers are tight, synchronized, and beautifully realized . And strong . Fosse- what can I say- what a delight !! While Fosse often spoke of his limitations as a dancer, the reality is he was a brilliant one , and in his dance numbers here he already is exhibiting a unique and original style that is athletic, jazzy, sexy and charming . He was an American original . The music in this movie is very good , and serves to show off the talents of its stars. Debbie Reynolds is quite good. This movie is for Broadway and dance fans.

Acrobatic musical from 1953 that spreads screen time between three couples instead of the usual romantic pair. Apparently the movie flopped at the box office (IMDB) despite MGM pedigree. For a musical the screenplay is more plot heavy than usual as three dancers compete for the lead in a Broadway musical. Not only does this divide screen time between the three, but generates unusual suspense for this kind of film. After all, which of the trio of talents will be selected. Also unusual is the general absence of romantic dance numbers. Instead it's flying feet, acrobatic tumbles, and super wide leg-splits-- no Astaire-Rogers here. That's surprising since the Champions would be expected to cuddle up in a few routines, but instead they're separated by plot wrinkles. So, all in all, I suspect normal audience expectations were let down.

Nonetheless, Reynolds projects her usual charm and sparkle. But will she win. In my view, screen time should have featured her, with Marge and Gower, who are better dancers than actors, in support. At the same time, the incredibly nimble Fosse makes a compact visual match for Debbie. Anyway, MGM injects its usual color splash along with a load of extras. And fans of acrobatic fast shoe should find much to marvel at. Meanwhile, that opening marathon of the splits still has me crossing my legs. Amazing what they can do.