Starring June Haver, Vivian Blaine, Vera-Ellen, and George Montgomery
Directed by H. Bruce Humberstone
Music by Josef Myrow and others; Lyrics by Mack Gordon and others
We began the summer with Moon Over Miami, the tale of three women seeking wealthy husbands in a glamorous resort, so it makes sense to end it with a later version of the same story. This time, we jump back to 1902 and north to New Jersey, where three lovely chicken farmers dream of a huge inheritance that'll make them wealthy ladies. How does the story look set in a rosy nostalgic past? Let's begin on that chicken farm in Red Bank, as the "little girls" of the title go about their daily chores, and find out...
The Story: Sisters Pamela (Haver), Myra (Vera-Ellen), and Elizabeth Charters (Blaine) are disappointed when the much-desired inheritance turns out to be about $2,000, not enough to fund their dreams of landing rich husbands. Pam poses as a rich woman, Elizabeth as her secretary, and Myra as her maid in order to save money and attract attention. Pam does indeed gain two wealthy suitors in southerner Steve Harrington (Frank Latimore) and his friend Van Damn Smith (Montgomery). Myra's happier with their bell hop Mike Baily (Charles Smith).
Pam falls for Van Damn and Elizabeth for Steve, but it turns out that Van is as much of a faker as the girls are. Strapped for cash, Pam accepts Steve's sudden proposal instead. They all end up down at his home in Maryland, where they're introduced to his flighty sister Miriam (Celeste Holm). Miriam is also interested in Van Damn, but Pam's no longer certain if she wants to continue the charade.
The Song and Dance: All four leading ladies stand out, but it's Vera-Ellen and, in a smaller role, Celeste Holm who walk off with the film. Vera-Ellen is adorable as the youngest sister who is perfectly happy with a normal guy of modest means, and Holm's a riot as Steve's silly southern belle sister. There's also the gleaming Technicolor sets and costumes, ably recreating Atlantic City during it's early 20th century heyday of elegant resort palaces and the post-antebellum south.
Favorite Number: We hear "On the Boardwalk In Atlantic City" at least three times in the opening, including as the girls dream of becoming grand ladies while romping in the hay and after they arrive in their palatial hotel room. Vera-Ellen (dubbed by Carol Stewart) sings "I Like Mike" twice, notably as a dance routine done partially in her frilly undergarments as Elizabeth helps her dress for a night out at Steel Pier. Vivian Blaine gets a lovely solo ballad, "Somewhere In the Night," directly after that number, as Elizabeth wishes to find a suitor of her own. Holm claims she's "Always a Lady" at Pam's introductory party, even when belting comedy numbers in French.
The big one here is "You Make Me Feel So Young." Somehow, the film draws this out into a huge dream sequence, where Myra imagines cavorting as children with Mike on a fantasy Steel Pier with mountains of cotton candy and bell hops in rainbow costumes surrounding her. It's truly bizarre and goes on for too long, though Vera-Ellen dances the heck out of it and looks like she has a wonderful time doing so.
Trivia: Celeste Holm's film debut.
The romantic duet "This Is Always" was filmed but cut, though it's listed in the credits and heard as underscoring during Pam and Van's dance in the hotel.
What I Don't Like: Um, did I mention this is a remake of Moon Over Miami, and would be remade again as the non-musical comedy How to Marry a Millionaire in 1956? All the Atlantic City and frilly gowns and "You Make Me Feel So Young" in the world can't entirely disguise the threadbare plot. The farcical second half in Maryland was a problem in Miami and is here, too. At least they cut the subplot with the third sister's guy trying to give them away...but that doesn't leave much else besides a goofy fox hunt and a few quips from Holm.
The biggest problem are that the male leads don't come anywhere near the charisma of their female counterparts. Montgomery and Latimore are interchangeable blocks of wood. I have no idea how Pam and Liz could tell them apart, let alone fall for them. Too bad they didn't keep Victor Mature for Van Damn; he may not be the best singer or dancer, but he doesn't lack in the charm department. Smith barely registers as the sweet bell hop.
The Big Finale: Moon Over Miami really has the better cast and does (slightly) more with the material, but this probably has the better musical numbers. Worth checking out for fans of Vera-Ellen or the musicals of the 40's and 50's for the music alone.
Home Media: Only on DVD (in a fairly washed-out copy) from the 20th Century Fox Cinema Archives.
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