Sept jours de perm

Glamorous WW2 comedy is an RKO fest of musical talent with believe it or not, those contract singing and dancing stars Lucille Ball and (yikes!) Victor Mature! He even sings with someone else's baritone too! It is like seeing GlennClose and Sylvester Stallone in a remake of HIGH SOCIETY...or maybe even Jungle Jim and Betty Grable in an imitation PHILADELPHIA STORY. It is an assembled musical with familiar but oddly placed actors and sets: RKO musicals of the 40s had MGM production values but with Republic talent. They have superb art direction and music but somehow out of place actors. HIGHER AND HIGHER is like this: lavish mansions with beautiful furniture and chandeliers, big orchestras, patios, modern nightclubs etc.....and then all these un-together actors placed in roles you might feel better if MGM or Paramount stars were there instead. Lucy is exceptionally beautiful in this film and dressed to impress. Marcie Gray, that teenage Shirley Temple of hep and jive is along for the dancing and comedy as well...so it looks totally like out-takes or a rehearsal for HIGHER AND HIGHER even more so. Good music and fun and quite expensive looking, SEVEN DAYS LEAVE is a patriotic musical of its day...but with Lucy and Victor? It all works in spite of itself.

Unless you are of that age and those are some of our most senior citizens nowadays or familiar with the culture of the times, Seven Days Leave will probably be way out of the league of some of our younger viewers.

Through the magic of cable television, today's viewers are of course familiar with leading lady Lucille Ball. Her name will be what attracts viewers to this film. She's a descendant of a Confederate general and a girl with some means. And according to the screwball plot of this film, Victor Mature means to marry her and get some means because he's the last descendant of a Union general who wanted one of his offspring to marry one of the Confederate heirs and bind the nation's wounds so to speak.

Mature is just a buck private, not quite like Abbott&Costello were, but still a buck private and a man with a way with the ladies. I think you can figure out where this one is going.

The film and its silly plot just serve as an excuse to showcase some radio shows and big bands and other assorted acts from the World War II era. Mature is found on a real popular radio program of the day that traced missing heirs and he also appears on Truth Or Consequences with Ralph Edwards. And Harold Peary makes an appearance as the Great Gildersleeve and unless you are familiar with that popular radio comedy you probably won't understand Peary and his significance in being in Seven Days Leave.

Singer Buddy Clark is in the film and when I saw his name in the credits I looked forward to hearing him. Sad his numbers probably wound up on RKO's cutting room floor. I'm sure that bothered him no end.

Seven Days Leave is one terribly dated World War II era film that folks not brought up in that culture will not really enjoy.

"Seven Days' Leave" is a WWII-era musical comedy about a young Army soldier [Mature] who is due a large inheritance. The problem is, he must marry a certain girl [Ball] whom he does not love, in order to collect.

If one is a Lucy fan, this movie is a great watch. Lucy is actually drop-dead gorgeous in this flick, more so than she had ever been in her entire career, in my opinion.

Also, Harold 'The Great Gildersleeve' Peary adds to the fun, along with Marcy McGuire as the younger sister to Lucy's character.

Unfortunately, this film as a whole is quite mediocre. And, Victor Mature sings twice. FFWD required.

All in all, one watch of this movie is definitely worth it. The video is even worth owning if you like Lucy.

Victor Mature's company is about to be shipped out for parts unknown. First, though they get Seven Day's Leave. Having be informed that he is to inherit $100,000 from his grandfather, he further learns from Harold Peavey -- playing the Great Gildersleeves -- that he has to marry either Lucille Ball or her underage sister, Marcy McGuire. Miss Ball, alas, is engaged to stockbroker Walter Reed. Can Mature romance Miss Ball into marrying him? And to satisfy the tender feelings of the audience, can he actually fall in love with her?

I don't think I'll spoil anyone's enjoyment of this movie by answering "Yes" to all those questions. This antique plot is used as an excuse for some Jimmy McHugh-Frank Loesser songs, a couple of major bands, including Freddy Martin and Les Brown, a comic dance trio, and a brief traipse through a radio staple or two of the era. Director Tim Whelan pushes the movie at a crackling pace, the specialty acts are pretty good for the era, and mature and Miss Ball perform appropriately. It's what light wartime entertainment is meant to be. With Ginny Sims, Arnold Stang (in his first credited role), and the usual assortment of familiar faces.

Bouncy little musical programmer. For Lucy fans, there's little of her slap-stick comedic talents. Instead Ball gets to parade around statuesque style in high fashions of the day. And what a gorgeous young woman she was. Plot-wise, there's the usual romantic mix-ups this type musical trades on-- plus, token numbers from the bands including luscious songbird Ginny Simms, and a couple of forgettable novelty acts. Comedy's supplied by the inimitable Arnold Stang (before Milton Berle drafted him), an impish Marcy McGuire, and a gravel-voice Harold Peary soon to get his own Gildersleeve series. But get a load of Victor Mature. He's looser than I've ever seen him, mugging it up in hammy style, and a long long way from his later noir persona. The movie's pretty typical of war escapism, lots of winsome girls and brave servicemen to lighten the load. Nothing special, but a good chance to view Ball in a different kind of role, along with a goofy Victor Mature, of all things.