User reviews

No No Nanette, each stage and screen version, of it is one of those items that's going to have an eternal life on stage. This version of it, retitled with the best known number in the show is one of the best tellings of the story of a girl who has to keep saying no to all questions.

Tea for Two will be sung as long as people have voices. Doris Day and Gordon MacRae sing a nice version of it here, but the primo version of this song is done by Bing Crosby and Connee Boswell for Decca Records.

The whole ensemble performs quite nicely and settles into the roles that we've come to know and love them. Eve Arden as the wisecracking best friend, S.Z.Sakall as the confused old world uncle, Billy DeWolfe as the fussbudget conman producer just settle comfortably into their parts.

If on Jeopardy the answer is the most frequent leading man for Doris Day, phrase the question Gordon MacRae. They did four films together and sang beautifully in all of them. Of course in this one Vincent Youmans gave them a great score, but Warner Brothers had a song catalog themselves and Gordon MacRae sings I Only Have Eyes for You and does it well. In fact in a lot of Doris Day's films, the Brothers Warner dusted off some of their old song hits.

Gene Nelson appeared in a few Warner Brothers musicals. A very talented dancer, he should have come along when musicals were at their height. He'd be better known today.

You can't go wrong with Tea for Two, the song or the film.

Not one of Doris Day's or Gordon MacRae's best, individually or together. 'On Moonlight Bay' and 'By the Light of the Silvery Moon' (both among the best films for both stars) are better collaborations of theirs.

There is however a lot to like about 'Tea for Two', regardless of whether all those involved have done better in their careers. 'Tea for Two' could have been better certainly. One is aware that it has been well established that musicals are not really seen for their stories (whether it matters or not is wholly dependent on how well everything else is executed), but this story is so-so fluff at best and ridiculously daft at worst, the story being one of the most preposterous for any film musical made around this time.

Some of 'Tea for Two' feels under-directed, though not as much as the still enjoyable 'Lullaby of Broadway' (with the same director involved), more in the non-song and dance numbers than in the musical scenes themselves. This is particularly in the SZ Sakall book-ending sequences, despite Sakall's best efforts those sequences seemed under-rehearsed and added very little. Virginia Gibson's character was underwritten and in a way incomplete, there was a sense that the film wanted to do more with her but couldn't.

On the other hand, 'Tea for Two' looks great. Technicolor nearly always works wonderfully on film and particularly used to full advantage in musicals. It is a very lavishly produced film with a truly enchanting atmosphere. While not among the most memorable song scores, the songs are still incredibly pleasant and often very beautiful and puts one in a good mood, suiting the voices of Day and MacRae wonderfully. The title song, "I Only Have Eyes For You", "I Want to be Happy", "I Know that You Know" and Oh Me! Oh My!" are particularly good.

They are aided by some great choreography as well. The big standout is Gene Nelson's jaw-dropping banister sequence, which has to be seen to be believed. The script is witty and full of warm-hearted charm, a lot of the best lines coming from Eve Arden.

Day is luminous, looks very natural on screen and sings sublimely as always. MacRae would go on to better things but is charming, has a robust but beautiful baritone voice and his chemistry with Day is irresistible. Nelson once again proves himself to be quite the extraordinary dancer. Sakall plays the same character he usually does, but does it well so that doesn't matter so much, while Arden steals scenes with her terrific comic timing and witty lines. Even Billy DeWolfe, a take it or leave it performer whose shtick too often elsewhere doesn't hold up particularly well, is tolerable.

In conclusion, not perfect but a tea-licious tea-light (pardon the very cheesy pun, really struggled to come up with a review summary) that pours well. 7/10 Bethany Cox

DORIS DAY and GORDON MacRAE are a pleasant team again in TEA FOR TWO, this time given some nifty song and dance routines and a supporting cast of old pros--Gene Nelson, Eve Arden, S.Z. Sakall, Patrice Wymore, and Billy deWolfe. The fluffy plot has Day promising Sakall that she'll say "no" to any question posed over the week-end, but is only an excuse for some wonderful old-time songs and some talented dancing by Day and Gene Nelson.

Day proves what a fine vocalist she is--and Gordon MacRae proves he's no slouch with his pleasant baritone voice. Gene Nelson does some fancy footwork and there are comic highlights with Eve Arden tossing off one-liners with her usual skill and Billy deWolfe reminding us what a wonderful comedian he could be with the right material.

Pleasant, above average entertainment, well worthwhile if you like these kind of fluffy musicals.

Doris Day was involved in many musicals at Warners from 1948 onwards, and 'Tea for Two' is a typical example. Set in the stock market crash of 1929, this variation on 'putting on a show' has Day as both an heiress and a stage-struck singer and dancer, supported by her friends Jimmy the composer (Gordon MacRae, later to appear to good effect in 'Oklahoma' and 'Carousel'), and Tommy the hoofer (Gene Nelson, the cut-price Fred Astaire who ended up directing Elvis' minor musicals).

The score is nice but not that memorable - 'Tea for Two', 'No, No, Nanette', 'I Want To Be Happy', 'Do, Do, Do' - while the story, loosely based on the play No, No, Nanette concerns rivalries, lost investments, and a comic uncle (SZ Sakall, who played the same part in countless films throughout the 1940s and 1950s). Billy de Wolfe and Patrice Wymore round out the cast as a heel of a producer and his sniping leading lady.

As a film, 'Tea for Two' passes the time and boasts some great costumes and colour, even if most of the film doesn't have a 1929 feel. And the bookending sequences, with Sakall telling a tale to a roomful of children, doesn't quite sit with the rest of the material. But it isn't bad.

Doris and Gordon have delightful musical chemistry but this cobbled together backstage comedy (that has nothing to do with "No No Nanette") is kind of a dud. Both stars fare much better in the charming "On Moonlight Bay."

Despite a few spirited dance numbers, and the energetic (if light on charisma) Gene Nelson, it feels like all the A-List musical talent was locked up over at MGM.

The reliable Eve Arden is given some C-list wisecracks, SK Sakall tries his best with his trademark adorable apoplexy, but much of the comedy unfortunately falls into the less than capable hands of Billy DeWolfe.

Musical comedy is pleasant to watch like Tea for Two, the plot in interesting and apart Doris Day who is a true star the supporting casting is strong enough to hold the picture, S Z Sakall is amazing who are in trouble with the financial problems and Billy the Wolfe is a priceless acting as crook, sadly the songs is weak really, Gordon MacRae isn't a good enough, nevertheless the gags situations is funny, also have beauty girls everywhere!!

An extreme pleasure to listen to the beautiful voices of MacCrae and Day; and not one bit of screaming. It was a pleasure to hear the songs sung as they were written. Today's performers(?) who have no range(except to scream and shout) merely change the tune when they can't reach the high notes.

This film peaks near its beginning with a production number featuring Doris Day and Gene Nelson dancing with both an infinity mirrored wall and the New York skyline showing outside (of some huge windows). The later production number, a blend of "No, No Nanette" and "Tea for Two", is tellingly anti-climatic.

The plot is easy - Ms. Day has to say "No" to everything for a day. But, the movie goes on and on with several songs and dances having little/nothing to do with the story. Other characters and sub-plots are thrown in; with all the extra songs and dances, I have no trouble believing everything in this film was not in the original "No, No Nanette". Some of it all is very good - Day and MacRae sing well, Mr. Nelson dances well, and Eve Arden does her thing - but this feels more like a string of songs and scenes than a movie.

***** Tea for Two (9/1/50) David Butler ~ Doris Day, Gordon MacRae, Gene Nelson, Eve Arden

Tea for Two is a true classic. One of the finest performances of Doris Day. Her innocence and demeanor are portrayed wonderfully. This is one of those movies that when you know it is coming on, you tune in with your loved one and a bowl of popcorn, snuggled up on the couch. They don't make movies like this anymore, that's for sure. The music and the dancing is divine! It takes you back in time, to a place where music is essential and a simple piano is all you need to get through the day. A beautiful love story. Doris Day at her best! This was the movie that not only inspired me to want to become a musician, but taught me about true love and being oneself. One of these days, I'm going to own an old inn and have dancers and musicians storm my house to perform. What an awesome rendition of No, No Nannette! Great JOB!

In the early 50s, Gordon MacRea and Doris Day made a couple cute period pictures together--"By the Light of the Silvery Moon" and "On Moonlight Bay". Both were essentially one long story about a nice family in the 1910s. There was singing but mostly the emphasis was on the comedy and character development. Just before they made these two wonderful films, they also made "Tea for Two" and, although pleasant, the film is clearly not in league with their later collaborations. Why? Because story and character development clearly are NOT that important--it's the music. Now for me, I like musicals but the story always must take precedence.

This story is told through a long flashback when Uncle Max (Cuddles Sakall) tells a group of kids (which includes a very young Elinor Donahue) the story of how Nanette (Day) lost her fortune and then miraculously got it back all because of a Broadway musical and a bet that Nanette cannot go 48 without saying 'no' to every question posed to her.

The plot, to put it lightly, is feather-light. It makes very little sense and seems to be there simply as a plot device to justify all the music by Day and MacRae. Some of that, by the way, is very nice. Oddly, however, the title song is, at least to me, one of the weakest tunes in the film. I did enjoy Sakall---as pretty much everyone enjoys him in films. Overall, enjoyable fluff but absolutely nothing more.

In her fifth movie, Doris Day finally achieved top-billing, yet she shares the screen equally with a talented ensemble cast, with everyone working hard to inject some sparkle into a wafer-thin concoction. Inspired by the 1920s stage hit "No, No, Nanette" (itself filmed in 1940), this plays out as sort of the backstage story, with Doris betting her wealthy uncle that she won't say 'yes' for 48 hours in exchange for show-money. Unbeknownst to her, uncle S.Z. Sakall has been nearly ruined by the 1929 stock market crash which, incidentally, hasn't kept all the hoofers from hanging up their tap shoes (they're the merriest group of poor, working dancers I've ever seen!). Pleasant tunes, colorful costumes and fun dance routines (including a hair-raising bit with Gene Nelson on a staircase) can't really add excitement to the proceedings, which seems to have been made as a matinée quickie. Day shines (as usual), but her relationships with the men (Nelson, Gordon MacRae, and Billy De Wolf) are unclear, with De Wolf in particular a real wild card (would you believe him as a ladies' man stage producer?). Eve Arden has some funny asides, and the wrap-up is cute, but "Tea for Two" vanishes from the cup just as quickly as it is poured. ** from ****

Since I was a child old movies made my day when they were on the television....Long before video tape machines. Nothing, in my mind, can replace any old movie. Black & white or Technicolour, they are done with class and taste. Now, anything goes. That is a shame. Enjoy this movie. Especially, the actor who plays Doris' uncle. Can' remember his name just now.

Pillow Talk is another Doris Day film I would suggest. Her acting is so wonderful to watch. I have yet to see her act the same way in any movie I have had the pleasure to see. She is one of a kind. Her smile, her singing: Amazing!

Uncle Max (S. Z. Sakall) comes upon the kids making fun of their grandparents. He tells them about the old days in 1929. New York socialite Nanette Carter (Doris Day) invests in a Broadway show for her producer boyfriend Larry Blair (Billy De Wolfe). Little does she know. Her friend Jimmy Smith (Gordon MacRae) is holding a flame for her. Larry is a womanizer and uncle Max lost her money in the market crash. Max is told to say No more and Nanette jumps on it as a bet. She would say No to everything for 24 hours to get a loan from him.

I don't like the guys. I don't know why she's with Larry. He's one step away from the villain who ties the damsel to the train tracks. On the other hand, Jimmy is dull. He plays the piano but has no great dialogue. Doris Day is being her adorable self. They basically do more dancing than trying to build the romance. This musical does have plenty of song and dance. There are a few good songs and people doing good old fashion dance numbers. The No premise is slightly humorous. It's a pleasant and slightly above average 50's musical.

Similar in story to Summer Stock, a struggling acting troupe tries to raise funds to put on a show on Broadway during the depression so the unscrupulous producer hits up his rich girlfriend for the money only to find out her uncle, her benefactor, is cash poor. Starring Doris Day (in one of her rare dance performances) & Gordon MacRae (I remember him from the Lucy Show in the 70's) the film never failed to leave a smile on my face. Look for Eve Arden (the principal from Rydell High in Grease) stealing every scene she's in w/her barbed delivery & witty comebacks.

"Tea For Two" was only Doris Day's fifth movie but already she was almost as big a star on film as she was in records and radio. In fact, she was popular enough now to get top billing for the first time. It was her first film with Gordon MacRae, with whom she would appear in four more musicals. It also includes studio regulars like Gene Nelson, Billy De Wolfe and S. Z. Sakall; in fact, all but MacRae would appear together again in "Lullaby of Broadway" a year later. As most people know, "Tea For Two" was based on the 1925 hit Broadway show, "No, No Nanette", and includes three songs from the original show by composer Vincent Youmans, "I Want to Be Happy","Tea For Two" and "Call of the Sea". Warner Brothers added songs by Gershwin ("Do, Do, Do") and Al Dubin and Harry Warren ("I Only Have Eyes For You") as well as Jimmy Johnson's "Charleston", the tune that became a symbol of the 1920s. Studios at this time often created an early kind of jukebox musicals by including hit songs from different shows or composers.

They played around with plots, too. The 1925 Broadway show as well as both the 1930 and 1940 films of "No, No Nanette" all have similar but different plots though the names of the characters were retained. "Tea For Two's plot with its rather far fetched and silly idea of Nanette being required to say "No" to every question she is asked in order to win a bet isn't even vaguely related to the earlier stories.. This is just as well, as the plot of the stage musical had a fairly complicated setup with three pairs of people related in various ways plus three blackmailing women all meeting up in Atlantic City. The show's title song, "No,No Nanette" appears briefly in a show montage with its lyrics explaining that young Nanette wants some adventure and excitement in her life and is tired of everyone telling her "No" whenever she wants to do something. The plot here is about putting on a show and is much easier to follow.

The studio plays loose with many other aspects of the film. This was very common in its time but it in no way detracts from the film's entertainment and I'm mentioning it mainly because it sheds some light on movies of this period. Although set in 1929 more or less just days and weeks after the stock market crash (included in the film), only the vintage cars really keep to the period. The clothes, hairstyles, speech and even the production numbers are totally contemporary to 1949-50, when the film was made. Though all but two of the songs were from the twenties, all are done in late '40s style. This was in keeping with the attitudes of the day. People then did not want to see a historically accurate re-creation of an early musical. This was also true in the various films about Ziegfeld. They went to the theater to see and hear up-to-date performances of song and dance, even if the plot was in another era. This is most evident in the "Crazy Rhythm" number which even includes male dancers barefoot in calypso-style costumes, a feature in many musicals of the late forties when Latin music and rhythms were popular. Patrice Wymore, in her first film role, is featured in this number. She also married Errol Flynn in 1950. There's no reason to object to these anachronisms as all of the songs are well sung and danced by this cast as one would expect.

You may also notice that S. Z. Sakall as Uncle Mx, looks exactly the same in 1929 as he does in the opening scene in 1950, though really, there was no way the studio could make him look twenty years younger than he was and ageing him could only make him look a hundred. The stock market crash happened in late October, yet just a few weeks later rehearsing at Uncle Max's big Westchester County estate everyone is having a party around the swimming pool - in New York in November or December? These oversights are funny and again do not detract from the film, but they were just so obviously thought up in southern California.

There are some nice dance numbers as one would expect. The most memorable is Gene Nelson's solo at the end of the "Oh Me Oh My" number where he astonishingly jumps onto the bannister of a curved staircase and proceeds to dance on both the bannister and stairs. He came a little late, when dancing in movies was on the wane and is not as well remembered today as he might have been if he'd started earlier. His dancing is worth catching here, in "Lullaby of Broadway" and in his best known role as Will Parker in "Oklahoma!" This is the first film in which Day danced as well as sang. This was in the tradition of entertainers expected to be all around actors, singers and dancers which had been very common for decades. Day could do anything, even physical comedy, something rare in a glamorous actress.

The cast consists of some of Warner Brothers best regulars, each of whom does his usual bit. Billy DeWolfe is conniving, S. Z. Sakall is the charming Viennese uncle who is befuddled by the goings on. Eve Arden, as Nanette's secretary Pauline, gets lots of sarcastic one-liners.like, "If I'd said yes and no in the right places, I'd be wearing mink." Arden is an especially welcome addition. I wish the studios would have used her beyond her usual role as a cynical comic friend. She was in the 1940 film, "No, No Nanette" in a different role, with ZaSu Pitts playing Pauline in the 1940 and 1930 film as well. Sakall is always welcome even though with the exception of Carl the waiter in "Casablanca", he generally plays the same character.

A little DeWolfe goes a long way here because his Broadway producer,Larry Blair, is so strident and obnoxious. It's impossible for me to believe that Day had ever been in love with him, though the film suggests that it's all been in his imagination or just a ruse by him to get Day to back his show. He's also two-timing her with Beatrice Darcy (Patricia Wymore). Gordon MacRae's strong baritone goes well with Day in their duets and he makes a worthy romantic interest for her. He had just signed with Warner Brothers in 1947. Director David Butler knew well how to do Day's kind of musicals and would go on to also direct her in "Lullaby of Broadway", "April In Paris", "By the Light of the Silvery Moon" and "Calamity Jane". This musical delivers on the kind of frothy fun it promises and is one of the better early Day musicals.

I've just watched this film for the first time having been able to buy the DVD. I've been such a huge fan of Doris Day and Gordon MacRae since the fifties so there is something magical about being able to view more of their films that I have never seen before. It's almost as if their careers have been extended to cover these missing decades to see previously unseen material. Perhaps other people know what I mean, I don't know. This was pure joy for me, a good quality DVD and the picture was quite sharp, not HD but still pretty good for it's age played on my Blu Ray player. Based on the play No No Nanette, it tells the flimsy story of Doris having to say NO until a certain time to win a bet with her uncle to fund a show, a lovely performance by S Z Sakall who provides much of the humour, as does Billy De Wolfe as the creepy stage manager. Eve Arden is the strong friend in the background and Patrice Wymore gives a spirited performance as Doris' rival for the lead in the show. There is a stunning dance routine by the underrated Gene Nelson (Will Parker in Oklahoma!) where he jumps onto a newel post on a winding staircase and tap dances up the banister, absolutely incredible. Not sure how he ranks along side Kelly, Astaire and O'Connor but he must be up there, although not so famous perhaps. This film contains some great hit songs which has to be the winner,particularly the title track, Tea for Two, and sung by Doris Day and my favourite baritone Gordon MacRae, it's just bliss. Anyone who is interested, just look on YouTube for Gordon MacRae and listen to that magnificent voice, no one like him.

I am normally a very big fan of Doris Day, but this film was certainly not one of her best.

The following year's "I'll See You in My Dreams" is so much better, plot-wise, music wise, and especially "acting-wise".

Some of the songs are quite enjoyable to hear, however, the production numbers are very "clunkily" staged, and the fact that this film is supposed to be set in late 20's and no attempt is made at authentic period detail (except for the cars) is really quite annoying, and does takeaway from the overall enjoyment of the musical.

Not terrible, but definitely not Doris' best.

Surprisingly, I have heard that this was one of the biggest "hits" of 1950. Huh??

I love musicals in general, but this is one of my favorites! Definitely 10 out of 10. With Doris Day in it... how can it go wrong! With an Uncle who is beside himself with the knowledge that her family money is gone and they are now broke, (because of the sudden "crash" of the stock market), he just can't bring himself to tell her. So when she wants to invest her money in a theatrical play (with herself in the lead), her Uncle makes her promise to say "No" to everything for 24 hours then he'll say OK. But.... Anything and everything happens in that 24 hours. Fun and light-hearted! A perfect combination of musical singing, acting,and comedy. I am just hoping Warner Bros will come out with it on DVD soon! hint hint :)

Doris Day (I mean the character she portrays) is trying to win over her uncle to sponsor a new Broadway show in which she is going to star. Needless to say that her uncle is less than happy about the prospect: he is sure that the show is going to be a failure and he is going to loose all his money. Doris bets him that she can reply "no" to every single one question she is asked within a 24 hour time frame. If she wins, he will have to give her the money she needs. Of course, this bet is followed by a series of funny situations. Some are brilliant, some are silly but still there is a lot to laugh at in this film. For example, when Doris is asked by a police officer "Do you know your name?", she says with dignity "No". Sure, it is not a masterpiece but some will find it very amusing. If there is no better prospect than spending a lonely evening at home, why not to watch Tea For Two. S z Sakall is very funny as uncle Max, Eve Arden who plays the secretary is very good, she's got the best lines in the film and says them in the way which Goldie Hawn would be proud of. Why did not she get the Best Supporting Actress Oscar?

Doris Day at her best! This film made me a fan. I love you Doris...and hope you are blessed knowing you've lifted my spirits many times. The color is out of this world in this bright cheerful film too.

OK, so the plot is far fetched; but the songs are classic, the singing is great, the dancing is sometimes amazing, the stars are fresh and cheerful -- it's just a great hour and a half of enjoyment.

Early Doris Day shows why she was to become the biggest box-office draw of the mid '50s. Perfect pitch, perfect demeanour, perfect pertness -- a happy delight whatever your mood.

And, if for no other reason than Eve Arden's cut and thrust, which made me laugh out loud, literally, this is worth watching, and enjoying. They just don't write lines like that any more.

It is, as they say, what it is, and what it is is worth an 8.