This decades-spanning tale of a vaudeville family was a big hit in 1954--but not big enough to cover the cost of the film. So it came to be known as a flop. In fact this is nifty family entertainment--very corny, sentimental and obvious. It is tremendously appealing. Merman, Dan Daily, Donald O'Connor and Mitzi are all terrif. Merm socks out a performance that is proof positive she would have been sensational in the film version of "Gypsy." (Despite my admiration for that unjustly maligned movie and Miss Roz Russell.) Believe me, when she finally gets around to belting out the title song, prepare the hankies.
Miss Gaynor just never got the right breaks. She is triple-threat and a knock-out.
This leaves Johnny Ray and Miss Monroe as the movie's two surreal question marks. Ray was a briefly, hugely popular singer. He could not act. And being almost stone deaf gave his "acting" and his singing a weird intensity.
As for MM, she did not want to make this movie. Fox blackmailed her with the promise of "The Seven Year Itch." If she did "There's No Business..." she could have "Itch." She agreed. She was horrified to see how sketchy her character was, and how she would be forced to mock her own serious ambitions and play the Fox vision of her as a viciously aggressive sex-pot. (Her character is on the receiving end of plenty of rude remarks) MM's acting is often strained--she was still in the grip of a dramatic couch who insisted on over-enunciation. But the script said "sexy" and MM was obedient to that plot point. She thrusts herself every which way.
Jack Cole, who had choreographed MM so well in "Gentlemen Prefer Blondes" here leaves her to lead with her pelvis. Monroe's "Heat Wave" number is a high-camp scorcher. It shocked 1954 audiences and even today it's something to see! Vocally, Monroe is very strong. Especially on "After You Get What You Want, You Don't Want It." And her "Lazy" is awfully good. But with MM in a beaded flesh-colored bodysuit, thrusting herself against patrons in a nightclub, or wedged into skin-tight black leotards lolling around on a chaise lounge, who can concentrate on her voice?
As to her "Heat Have" get-up, it looks like something Carmen Miranda would reject as "too much"--suffice to say, Monroe makes startling use of the flamenco skirts and her bare legs. (This was the movie that finally propelled Monroe out of Hollywood and into forming her own production company.)
I always enjoy this film. It has heart. And courtesy of Miss M, heat! Here's my viewing suggestion--watch the full-screen rather than the letterbox version. This was very early Cinemascope. On TV, the wide-screen version leaves everybody with heads the size of postage stamps. Very few close-ups. The color, however, is gloriously vivid and unrealistic. Just the way I like it.
Miss Gaynor just never got the right breaks. She is triple-threat and a knock-out.
This leaves Johnny Ray and Miss Monroe as the movie's two surreal question marks. Ray was a briefly, hugely popular singer. He could not act. And being almost stone deaf gave his "acting" and his singing a weird intensity.
As for MM, she did not want to make this movie. Fox blackmailed her with the promise of "The Seven Year Itch." If she did "There's No Business..." she could have "Itch." She agreed. She was horrified to see how sketchy her character was, and how she would be forced to mock her own serious ambitions and play the Fox vision of her as a viciously aggressive sex-pot. (Her character is on the receiving end of plenty of rude remarks) MM's acting is often strained--she was still in the grip of a dramatic couch who insisted on over-enunciation. But the script said "sexy" and MM was obedient to that plot point. She thrusts herself every which way.
Jack Cole, who had choreographed MM so well in "Gentlemen Prefer Blondes" here leaves her to lead with her pelvis. Monroe's "Heat Wave" number is a high-camp scorcher. It shocked 1954 audiences and even today it's something to see! Vocally, Monroe is very strong. Especially on "After You Get What You Want, You Don't Want It." And her "Lazy" is awfully good. But with MM in a beaded flesh-colored bodysuit, thrusting herself against patrons in a nightclub, or wedged into skin-tight black leotards lolling around on a chaise lounge, who can concentrate on her voice?
As to her "Heat Have" get-up, it looks like something Carmen Miranda would reject as "too much"--suffice to say, Monroe makes startling use of the flamenco skirts and her bare legs. (This was the movie that finally propelled Monroe out of Hollywood and into forming her own production company.)
I always enjoy this film. It has heart. And courtesy of Miss M, heat! Here's my viewing suggestion--watch the full-screen rather than the letterbox version. This was very early Cinemascope. On TV, the wide-screen version leaves everybody with heads the size of postage stamps. Very few close-ups. The color, however, is gloriously vivid and unrealistic. Just the way I like it.