A big hit in its day, this typically fictionalized 20th/Fox bio-musical now looks downright unpleasant. Composer/subject Paul Dresser, unlikely older brother to novelist Theodore Dreiser, comes off as a heel, churning out a series of anodyne tunes at the turn-of-the-last-century when not forcing his attentions on the eponymous ‘Sal,’ or ignoring her for high society booty call. With Victor Mature in early blobby form, there’s not enough physical appeal to explain the attraction, especially when ‘Sal’ is Rita Hayworth, in her first TechniColor musical, he’s tossing over. Are you insane, man? (The main plot gimmick has him make up with a series of new hit songs.) No doubt, Rita, and the lux production, was enough to bring in the crowds, especially in those epic-grossing early WWII days. (They also caught a break nabbing Hayworth when planned lead Alice Faye went on maternity leave.) But between the wan songs and a storyline as poorly structured as it is disagreeable, the film is only worth a look for a few stage-worthy numbers, choreographed (and directed?*) by Fred Astaire collaborator Hermes Pan, nicely altering screen ratios with cuts that use stage framing devices to playful effect.
WATCH THIS, NOT THAT: After Rita reteamed with Fred Astaire at home studio Columbia for YOU WERE NEVER LOVELIER/’42, Hayworth boss Harry Cohn finally gave in to TechniColor on COVER GIRL/’44, with new kid Gene Kelly, and Phil Silvers brought along from this pic. Even sticking in a throwback ‘Gay ‘Nineties’ number.
ATTENTION MUST BE PAID: *Hard to imagine journeyman director Irving Cummings bothering with this sort of careful visual styling.
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