Como Usar as Curvas

This film is sadly embarrassing for many reasons, perhaps the most glaring, initially, is its complete disrespect and misuse of Betty Grable whose scenes really are few and far between. Both Grable and the terrific Sheree North are wearing raincoats for most of the film, the latter only coming to life (she is hypnotized for most of the 'epic') during one sex-sational dance number. Grable's legs are seen once or twice, but there is no song, no number for her to do...YET, amidst the rubble, Grable's growing craft as a comedienne are visible momentarily. The culprits in this disaster are the inept writers and, of all people, director Nunnally Johnson (didn't he know any better?). The dialog is a blithering mess... and the plot meanders across a landmine of sloppy character developments and plot machinations. Robert Cummings and Tommy Noonan are pretty awful in dreadfully written parts. Orson Bean and Alice Pearce occasionally show a bit of humor. Sheree North, a fine dancer and, later in her career, one of the most under-appreciated and excellent actresses ('No Down Payment' as an example) can merely show her adorable self. The plot plods along with no sense, and has an ending that is disgracefully sloppy for a professional unit. (Whatever plot came from Howard Lindsay's play is missing). Had Johnson tried an out-and-out farce, it might have been a little funny, because the cast understands comedy. But this entire 'romp' thumps down to a disastrous level. Pity the talented two blonde stars. One merit - you can see, briefly, the lovely Charlotte Austin who went on to a very slight film career.

Betty Grable's farewell film turned out to be a third and final version of She Loves Me Not. As She Loves Me Not and True To The Army were done at Paramount, Twentieth Century Fox must have shelled out a lot of money for the rights. It was not money well spent.

Even though Bob Cummings was supposed to be a college student even the youthful looking Cummings wasn't that young to carry it off. And that was using the fact that he was a perpetual student in the place, paid for with Grandpa's trust fund. Tommy Noonan and Orson Bean weren't convincing as college kids either.

The same plot gimmick was used, nightclub dancer witnesses murder and flees the scene. This time however it was two girls Betty Grable and Sheree North, a pair of strippers in a clip joint who see one of their own murdered while doing her bumps and grinds. They have a front row seat for the crime, but leave real quick and go as far as their money takes them.

Which is a small college town where the guys all go to school. Noonan fancies himself a hypnotist, but has no success with any other subject other than North and that was by accident. Then North goes into a Marilyn Monroe imitation for the rest of the film, climaxed when she does a striptease at the graduation ceremonies making that pretty unforgettable.

Monroe turned this one down and I think wisely. Her next film was Bus Stop one of her immortal successes. Sheree North did much better work in the future, this was not a film she would have liked to be remembered for.

As for Grable, according to a recent biography she liked working with Bob Cummings whom she had worked with in one of her big successes Moon Over Miami at her height. But while Cummings, pun intended gives it the old college try, Betty looks just plain bored throughout. No wonder she left Hollywood and concentrated on stage, television, and the nightclubs the rest of her life.

Nunnally Johnson wrote and directed this and with him at the helm and the cast he assembled with people like Rhys Williams, Fred Clark, Charles Coburn, and Alice Pearce you would have thought something better would have come forth.

How To Be Very Very Popular wasn't with me.

Stormy Tornado (Betty Grable) and Curly Flag (Sheree North) are a team of "interpretative dancers" (not "belly dancers" as incorrectly identified by a previous user comment) who witness the murder of Miss Cherry Blossom Wang and are the run from her killer. They pool their money to get on a bus and wind up in College City, still dressed in their stage costumes. They wind up in an all-boys college dorm and the film ensues with a series of not very funny events because of their situation, their lack of dress and Curly being accidentally hypnotized. This is one of Sheree North's first "big" roles (she was offered the part that Marilyn Monroe turned down, and at the time was viewed by Fox as their new "blonde" to replace their unwilling star Marilyn Monroe, who wanted more substantial roles). She delivers a very wooden performance. Betty Grable, on the other hand, made this her last film for Fox. While she delivers a typical sassy performance, she can not float the rest of the cast which is struggling with a really poorly written script. Orson Bean couldn't act his way out of a bag in this film. Tommy Noonan (Eddie) and Robert Cummings (Wedgewood) also deliver a zinger or two, but the film is really uneventful. A film only for die-hard fans of Grable or North.

With all the violence and utter filth passing as "art" coming out these days (and I don't mean the sexual sort, I mean actual filth- like graphic displays of meanness in all it's forms), how can anyone say THIS is a bad movie?! No, it's not. It's not bad AT ALL.

I like this. Haven't finished yet, but I'm confident I'll still feel the same by the end, cause the fact is, a movie of this era and type just wasn't capable of being bad- ever. And anyone who thinks it is just has no idea what an actual "bad movie" is!

But yes, this harmless bit of cute fun is what passed for "bad" back in the day, and that we today still label it as such when we should know better by now is a real shame.

GOOD movie.

Anemic non-musical remake of 1934's "She Loves Me Not" stars Betty Grable and Sheree North as "hoochie koochie" dancers in San Francisco who take it on the lam after witnessing a shooting at their dive in Chinatown; seeking refuge in a college fraternity house, North is inadvertently hypnotized by an amateur psychology major. Written by producer-director Nunnally Johnson, who based his screenplay on Benjamin Glazer's '34 version, which was itself an adaptation of both Ed Hope's book and Howard Lindsay's play, later reworked in 1942 as "True to the Army" (!). With such a lopsided pedigree, it isn't any wonder why the finished results are so tepid. Terrible acting, ugly décor, poor cinematography (from the usually-reliable Milton Krasner), and lunkhead attempts at 'modern' humor cause this Twentieth Century Fox dud to look like hand-me-down goods. It also served as Grable's final bow--some actors just know when it's time to get out (and one can hardly keep from laughing when chorine Betty is described as a dancer in her twenties!). Unrelievedly noisy and dull. * from ****