Cubussoli Very very predictable, including the post credit scene !!!

Lightdeossk Captivating movie !

Console best movie i've ever seen.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

ctomvelu1 There's a reason for watching an antique like this, and that's Alice Faye. She was at the top of her form here, in what was to be her final Fox musical. Basic plot: John Payne is a vaudevillian with his eye on greater things. His troupe consists of Faye, Jack Oakie and June Havoc. The Gay 90s costumes are a riot and, I assume, reasonably authentic. I also imagine some audience members in 1943 might have lived long enough to remember the period in real life. Faye belts out an endless number of great tunes, including her signature song, "You'll Never Know." Payne is stiff as usual, but veteran comic actor Oakie and his predictable antics help make up for that. The plot is as thin as a piece of tissue paper, so enjoy the movie for its many and memorable musical numbers. With her deep voice and striking looks, Faye really shines here. One caution: It is slightly jarring to watch the "rag" number, as all the performers are white but acting as if they were Stepin Fetchit-type blacks. This old-time minstrel baloney is certainly not uncommon in old musicals. You can see similar numbers in even later fare such as "Holiday Inn" (Bing Crosby in black face!) and "Jolson Sings Again." The offending "Abraham" number in "Holiday Inn" used to be cut for TV viewing. But there wasn't much TV could do about "The Jolson Story" and "Jolson sings Again" without emasculating the movie, as Al Jolson rose to fame singing "Mammy" and other numbers in black face.

Alex da Silva Trudy (Alice Faye), Johnny (John Payne), Dan (Jack Oakie) and Beulah (June Havoc) share a song and dance act on the entertainment circuit. Dan and Beulah are partners while Trudy wishes for the same with Johnny. However, while he asks her for dates, he is more concerned about career. He comes into some money and starts putting on shows and he also meets a wealthy heiress Bernice (Lynn Bari). He marries her while Trudy goes solo to make her fortune in Europe. Their roles are reversed as Bernice bankrupts Johnny and Trudy's career takes off. Things come together at the end in the club that they started out in as everyone is re-united.The story isn't really important as the film is a collection of music numbers. And they are all pretty good, eg, the scene at the Rollerdrome. John Payne's character is difficult to sympathize with and difficult to read as you can't tell when he's romantically interested in someone or not.....maybe he has some form of autism...... or maybe he is just a bad actor................his actions and reactions are very unusual. Jack Oakie and Laid Cregar who plays Johnny's friend Sam are noisy and shouty and so the film drags when these two are on screen. I think the film needed more from June Havoc who is the best out of the cast.The story drags in parts but it is the colour, costumes and music numbers that pull this film into the good category.

Ishallwearpurple I don't know what is wrong with Leonard Maltin, giving this 2 stars and calling it a big comedown for the stars. This is one of my favorite musicals starring Alice Faye and she has never been so beautifully filmed in technicolor. Her costumes, hair styles and hats, are gorgeous as is the way she is made up.Jack Oakie and June Havoc are joyous in their comic musical numbers. John Payne plays his ambitious, clueless, social climbing saloon keeper well enough. The opening number "Hello, Frisco, Hello" going right on into "You'll Never Know" is beautifully staged. Forever after this song was introduced in this film, it was Alice Fayes signature song and thousands of WWII couples danced and dreamed to it. Lynn Bari is also gorgeous as the rich femme fatale from Nob Hill that comes between Payne and Faye. But the story is secondary to the songs and stars. A real pleasure that I keep in my permanent collections of films of the Golden Era. 8/10

Fred-36 Strong evidence of why Alice Faye was such a big star in the 40s. Good support from John Payne, Jack Oakie, and femme fatale Lynn Bari. Some critics, including Maltin, are down on this one, but they're wrong. It's a joy from end to end, and as easy on the eyes (in color) as Faye's voice is on the ears (especially in Academy Award winner "You'll Never Know"). Wish they gave Payne more songs to sing, but you can't have everything. Offhand, I don't know of a Fox musical of that era that's as enjoyable.