Era Somente Amor

Bad movie made only for the lead star's fans.This is the first movie of Lamour where I get a good look at what kind of acting ability Lamour has.One will see it is quite limited but she is really a great salesman.She just hypnotises us with charm and beauty.One can also see she was a born entertainer indeed.If one likes her syle,this movie will truly delight her fans.just to see Lamour have fun with this formula romance/musical/comedy once more!I for one love this stuff.I rate Lamour as the third top sexy star of the 1940's behind Marilyn Monroe (mostly a model at that time) and Hedy Lamarr.....

Don Ameche seemed to get typecast as a lying flop in his movies, whether it was as an unsuccessful success coach who lies to his pupil in The Magnificent Dope, a newspaper man who has to rent a wife to impress his family oriented boss in Guest Wife, or a press agent who passes a carnival dancer off as a French actress so he doesn't lose his job at the studio in Slightly French. Maybe he owes it all to playing Stephen Foster, who was notoriously unsuccessful until his death.

You can find some laughs in this movie, especially if you're a Dorothy Lamour fan. Adele Jergens has a small part in the beginning as a French diva who walks off the set in the middle of a big production number. Desperate to replace her with another French actress, director Willard Parker and press agent Don Ameche go on a hunt. Don finds the versatile Dorothy working different jobs at a carnival and pulls a "Henry Higgins" by giving her a crash course in French high society.

For me, the movie became pretty irritating after a while. Dorothy gets a crush on Don while he's Eliza Doolittle-ing her, but you don't really understand why since he's always yelling at her and criticizing her. Instead of letting him know how much he's hurt her feelings, she yells right back. With the constant bickering and dysfunctional relationship, it gives you very little to root for.

It begins like Detlef Sierck's "das Hofkonzert.";in both movies ,the star is no longer available and they need a replacement ;music and dance make almost 50% of the movie in both although the German one was operetta .There the comparison ends.

It's a carnival dancer ,a would be folies bergères ex-artist who will play the part ; then the script turns Bernard Shaw's "Pygmalion" : her manners are not adequate , her grammar is worse ,so he asks a teacher to use phonetics to make a duchess out of the Flower Girl. Dancing ,singing and glamour are no problem for Miss Lamour , who even tries to live up to her so called reputation by learning a little bit of French (one can hear her utter "n'est-ce pas? " (in French,there's no problem with don't it ?and doesn't it ?,for it translates everything) ,"bonjour monsieur" ;hence the title .

But wouldn't Mary O'Leary lose her whole identity in the process when she became Rochelle Olivia ? And eventually won't his creator(Don amèche) be caught out at his own game ?

As it often happens in Douglas Sirk's imitation of life, reality and performances (the row between the director and his star) are difficult to distinguish;in his book , "exquisite ironies and magnificent obsessions ", Tom Ryan points out that his happy endings are often ironical and double-entendre.

I knew nothing of this film, but watching it one immediately sees the extraordinary quality of the direction and production.

I didn't know that Dorothy Lamour began her career as a singer for a big band and later sang on radio for network shows. She was Miss New Orleans in 1931 and her heritage included being Spanish. Looking at her she reminds one of Katy Jurado and could have played roles for Latin characters. In this film I think she was especially effective when she played "herself", Mary the carny girl. The production numbers were excellent and indicated the direction dance numbers would be presented in the future. Don Ameche was excellent as always.

So this film was a very pleasant surprise.

To totally disagree with the previous reviewers, I think that this, together with all other early Sirk movies I've seen, is nothing short of staggering. Filled with one-liners worthy of a Howard Hawks/Ben Hecht movie, it's not only early evidence of Sirk's genius for space and light and shadow, but also a highly sophisticated and perverse rendition of the Pygmalion theme. It's a measure of Sirk's genius that the characters, though formulaic, spring to life as in a Greek tragedy - or a Raoul Walsh, CB de Mille etc. movie- through the sheer strength of stereotype. Here, as elsewhere, Sirk is a bit like Frank Sinatra: cool and detached on surface, but revealing underneath the filth and the fury ;> I saw it today (6APR07) at the Film Forum NYC and it blew me away. Someone release it in DVD fast, it's an (to my knowledge) unsung masterpiece.