La blonde ou la rousse

Thank god this film is on DVD!It is now possible to skim right through Frank's obnoxious role and concentrate strictly on the two female stars.Talk about a fantasy-the two most beautiful women in the world are obsessed with this obnoxious little man! Kim and Rita are so stunning it is almost surreal. On second glance, Hayworth is still gorgeous here, even though in declining health(alcoholism, etc.). Her skins looks absolutely translucent. The stunning beauty of Rita and Kim and the wonderful Rodgers and Hart songs are the highlights of this entertaining, beautifully photographed musical drama. Barbara Nichols is memorably funny in a tiny role. (TRIVIA: Beautiful dancer/actress Doreen Woodbury committed suicide while in rehearsals for this film).KIm's voice, by Trudi Erwin, on My funny Valentine, sounds exactly how she would sound if she sang! A vocal dead ringer!

George Sidney may not be one of Hollywood's best-known or most appreciated directors, but he does turn PAL JOEY into an enjoyable viewing experience by releasing it from stagebound sets and giving it an open air look that is refreshing and watchable, especially since the scene has been transferred to San Francisco rather than Chicago.

Some of the songs are borrowed from other Rodgers and Hart musicals, but when FRANK SINATRA sings standards like "There's A Small Hotel" and "The Lady Is A Tramp", he can do no wrong. He plays a no-good piano lounge lizard who has the world on a string as long as he stays one step ahead of the nightclub owner that he keeps making deals with.

The "mice" are played by RITA HAYWORTH and KIM NOVAK, Miss Hayworth making up for the badly-in-need-of-acting-coach Novak, who really stumbles in this one. Apparently George Sidney couldn't give her any guidance on how to play any of her scenes--the way Hitchcock did for "Vertigo". Their confrontation scene has no ooomph because Novak is simply not there and thus there are no real fireworks. Even so, Hayworth makes her character strong and possessive.

It's really Sinatra's show all the way and he delivers a solidly engaging performance, even though his character is lacking in what we might call integrity.

Enjoyable musical--Hayworth's "Zip" and "Bewitched" are nicely done even if she doesn't do her own vocals. The dancer magic is still there in the way she moves through any number she does.

Summing up: worth a look if you like musicals.

I enjoyed this film about a man (Frank Sinatra) who is being kept by a wealthy older woman (Rita Hayworth) despite being more interested in a young chorus girl (Kim Novak). Sinatra allows the wealth and social standing of Hayworth to lead him astray from the affections of Novak. He initially seduces Hayworth to get her to bankroll his dream nightclub--Chez Joey (corny name). Unfortunately, Hayworth ends up falling in love with Sinatra, while he still holds a torch for Novak. The crux of the story is that Sinatra ends up having to choose between his club/Hayworth (obviously dumping Hayworth and thus, dumping her money, would spell the end of Chez Joey) and his true love, Novak.

I thought Hayworth was very beautiful as "the older woman" (even though she's younger than Sinatra). My only complaint about Hayworth's appearance, like my complaint about her appearance in Cover Girl, is that the makeup she has on is almost garish. She's wearing too much rouge or something, which I think aged her. Novak, on the other hand, was wearing more subtle makeup (save for the red lip) and was absolutely gorgeous as the young chorus girl. It's hard to look at anyone or anything else when Novak was on the screen. I especially loved her performance of "My Funny Valentine." Aside from 'Valentine,' many Sinatra standards were featured, like "Bewitched" ("performed" by Hayworth, dubbed by Jo Ann Greer) and "The Lady is a Tramp" (performed by Sinatra).

The role of Joey Evans was pioneered by Gene Kelly on Broadway seventeen years prior on Broadway. However, for the film version, he was turned down (or perhaps not considered) for the film version and Sinatra got the role.

Another marvelous effort from prolific director George Sidney, who once again displays an uncanny ability to make us wish we lived in the and time and place of his films. The classic Rogers and Hart songs selected from the smorgasbord written for the original 1940 play alone make this movie well worth a look.

Gene Kelly, a chorus boy a year earlier, was cast in the title role in the original but critically panned "Joey" of 1940. The story line for "Joey" was too sleazy and cynical for the 40's, but today comes across better than the average fare in support of many musicals of the period.

Frank Sinatra is well suited as the film-version Joey. His musical and acting styles add contemporary flavors that are as appealing in the 1950's film version as they were in the critically acclaimed 1952 revival of the play featuring Harold Lang as Joey. Frank's signature song delivery retains, but also in part redefines in a more contemporary way, the classic appeal of the best show tunes of the 40's and 50's.

Although Rita Hayworth's acting talents too often are overlooked, she is the standout actor in "Joey." Casting Kim Novak in a 50's film rather defines the genre, and while she is both appealing and likable in her role, you can't help but be aware that she is stretching her limits as an actor, singer, and dancer.

Finally, the film is a visual treat, and San Francisco a more than an adequate substitute for Chicago. Don't analyze, just sit back and enjoy.

I really wanted to like this colourful adaptation of one of Rogers and Hart's last and most successful shows and attracted by big names like Sinatra, Hayworth and Novak, thought I couldn't lose. Sheesh, was I wrong.

Concerning ne'erdowell Joey (Sinatra's) self-obsessed attempts to get himself up the greasy pole to his own club in San Francisco and no doubt attendant fame and fortune, the film fails ultimately for a number of reasons. First Frank's character just isn't desperate enough, purportedly down on his luck, he always looks perfectly turned out, even before he becomes wealthy widow Hayworth's kept man. And the idea to give this hard-bitten Casanova a cute puppy dog is just wrong on so many levels. His character never seems to stop talking and often re-hashes the same stock phrases, which gets wearing after a while. As for Hayworth and Novak, both look fantastic, filmed in great clothes in great light, as befits two of the sexiest women to ever come out of Tinseltown, but the former lacks that dare I say it, Norma Desmond controlling, self-deluding and even slightly deranged conviction which would have made her character more rounded while Novak gets to play a whimpering simpering child, completely at odds with her overly sensual demeanour.

Some of the scenes are ridiculously contrived too, like Novak's strip-tease, her later passing out on Sinatra when they're on Hayworth's yacht and Joey's dream sequence when both his loves sashay around him like bees to honey. Worst of all is Hayworth's "Sugar Mommy" backing out of the competition for Joey by personally fetching Novak for their hold-hands, run-at-the-camera, big love shot at the conclusion.

On the plus side, as indicated, the stars all look great, Sinatra too, being in the middle of his classic Capitol series of recordings, even getting to quote one of his catch-phrases "Ring-a-ding-ding" at one point. The San Francisco locations are also easy on the eye and the musical numbers excellent, including "The Lady Is a Tramp", "My Funny Valentine" and "Bewitched Bothered and Bewildered" amongst them. Unfortunately, the movie dialogue too rarely matches the sharpness of Lorenz Hart's lyrics. Damon Runyan, this ain't.

A missed opportunity them and I'm not sure I can tell quite why. Some shows may just work well on stage, I'm guessing this is one of them.