Uma Estrela Caiu do Céu

A horrible product of that horrible decade, this oppressively wholesome movie stars a seventeen-year-old playing a fifteen-year-old dressed as someone half her age and addressed as "little girl" (a decade earier, Linda Darnell, at sixteen, was making love on screen with Tyrone Power.) Rosemary Clooney, a Doris Day clone, sings her big hit, the slinky "Come on a My House," but is otherwise routine. Nothing to suggest the very dark side that led her to marry Jose Ferrer, especially as she is always wearing outfits that make her look like the leader of a girl-scout troop.

Two youngish actors playing Rosie's friends were, fortunately, never heard from again, particularly the one who acts as if he is on speed while acting in a children's TV show. He has THREE scenes with his dog which are supposed to be funny because he keeps commanding the dog, who does nothing. This is just as funny as when someone you know does it.

Then there is another guy who loves Rosie but tells her that she is not normal because she wants to be a singer rather than marry him and have lots of kids. At the end they are together, so good luck with that, Rosie.

Recently, I had the opportunity to watch THE STARS ARE SINGING on Netflix streaming. It was not one of those films I actively sought out to watch, but since I like musicals from the 1950s, I decided to give it a try. Although I found the plot to be more than a bit contrived, and let's face it—what musical comedy plot is not contrived?—Rosemary Clooney is in splendid form here, and the time spent viewing the picture was worth it. Apparently, it was her first role at Paramount, and it's interesting to see her at this stage of her career. Clooney's costar in this venture is Anna Maria Alberghetti, and while the two ladies have very different singing styles, their professionalism is top-notch, and they work together nicely. Opera tenor Lauritz Melchoir, in his final film, is an added bonus.

As an opera and musicals fan, 'The Stars are Singing' may be imperfect but it is a treat for the most part and interesting to see Wagnerian heldentenor Lauritz Melchior and a very young Anna Maria Alberghetti on film as well as the film debut for Rosmary Clooney.

Clooney is splendid, with great comic timing and her solo songs are performed and staged with a lot of exuberance (especially "Come On-A My House"). In his final film, Melchior is in thrilling voice and is a warm, cuddly and amusing presence, his "Vesti La Giubba" is heart-wrenching. This is very much Alberghetti's film however, she personifies radiance and charm and she sings divinely singing repertoire beyond her years (how many women in their late teens even try and attempt 'Lucia Di Lammermoor's' "Mad Scene"?) in a way but she shows no signs of sounding taxed.

'The Stars are Singing' is particularly worth seeing for them, and also for two other primary things. One being the charming sisterly chemistry between Clooney and Alberghetti, and the other being the music, the operatic excerpts are infinitely more memorable but the songs are pleasant and full of energy. They are staged with fun and emotion.

It is a nice-looking film too, beautifully photographed in Technicolor and the sets and fashions are equally attractive. Norman Taurog directs with skill and at a good pace. Most of the script is gently witty and emotive.

However, Bob Williams drags the film whenever he appears, his rapport with the lethargic dog bores rather than endears and his performance just feels annoying. John Archer is also dull, while the story is contrived and at times routine outside of the musical scenes.

In summary, not perfect but a nice film all the same. 7/10 Bethany Cox

I well remember seeing this delightful movie in 1955 at my local cinema in Auckland. Having already enjoyed "'White Christmas" on three occasions,I was totally sold on Rosemary Clooney and I loved her just as much in "The Stars Are Singing".Her star quality was evident from the outset and I always thought she had the nicest hair of almost all the ladies of her day.Her singing voice was divine during this period and I know I'll be enjoying my vast collection of her recordings for as long as I live. I will be forever grateful that I instinctively wrote to her when I did (I received her reply only weeks before she passed away).This is what she said:"Dear David.Thank you for your lovely letter.I will keep it always.With my love, Rosemary". Regarding Anna Maria Albergetti,what a gorgeous voice and so mature sounding too. What a pity she didn't get the breaks she deserved in Hollywood. I get chills up my spine with her final song; 'My Heart Is Home'.Wow,that final top note! When it comes to movie nostalgia,the years 1953 and 1954 are pretty hard to beat. Heartfelt thanks for your contributing this underrated gem of a movie.

I have but two impressions from this film: I saw it with my mother, at a premier showing in Los Angeles. Rosie was there in front of the screen, skinny legs and all, and threw up her arms and shouted, "I've been waiting a year for this!" as the opening titles flashed her name into view.

Ana Maria Alberghetti's singing was beautiful, but the director made such a closeup of her face as she sang, I remember only that her lips were flattened into a funny shape, and the mechanics of her singing overwhelmed all else.

And that's the truth.