Mitzi Gaynor Movies

This is an unimpressive spy-comedy from director Stanley Donen who inserts his specialty, a small song-and-dance number, into the odd proceedings. Gangster Nico March (Yul Brynner) has been ordered out of the United States because of his unsavory activities and back to the Greek island from whence he came (actually Rhodes). Once on the island, various characters enter the picture, including a local, corrupt police chief. Nico decides to send for a bundle of money left in the States but his double-crossing "friends" send him a bundle of feminine wiles instead, Gabby Rogers (Mitzi Gaynor). Obviously, Nico is none too pleased with the lousy substitution for hard cash, though he does not yet realize he is sure to fall in love with her. ~ Eleanor Mannikka, Rovi

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, Rovi

Les Girls is the Rashomon of MGM musicals. The film is told in flashback, as Mitzi Gaynor and Taina Elg, two-thirds of a popular cabaret trio, attempt to legally block the third, Kay Kendall, from writing her memoirs. Each of "Les Girls" has her own interpretation of the group's previous professional and amorous escapades. To make sense of these wildly diverse recollections, the court must rely upon a fourth party to straighten things out. Enter Gene Kelly, the dancing star who organized "Les Girls" in the first place. But can Kelly be believed? The "truth" of the many reminiscences in Les Girls is secondary to the dazzling beauty of its female stars, and to the delightful musical numbers, the best of which is an extended Marlon Brando parody titled "Why Am I So Gone About That Gal?" This was Gene Kelly's last musical effort for MGM, the studio he joined way back in 1943; the film was the inspiration for the short-lived 1963 TV series Harry's Girls, which starred Larry Blyden, Susan Silo, Dawn Nickerson and Diahn Williams. ~ Hal Erickson, Rovi

Anything Goes is a Technicolor-and-Vistavision remake of the 1936 film of the same name, which in turn was based on Cole Porter's hit 1934 Broadway musical. The 1956 bears little relationship plotwise to its predecessors, except for the fact that most of the story takes place aboard a luxury liner. Bing Crosby and Donald O'Connor star as Bill Benson and Ted Adams, a pair of top Broadway tunesmiths who agree to collaborate on their next musical just as soon as they complete their respective vacations. Complications arise when, unbeknownst to one another, Bill and Ted each sign up a potential leading lady; Bill's choice is ballerina Gaby Duval (Zizi Jeanmaire), while Ted's selection is brassy chanteuse Patsy Blair (Mitzi Gaynor). Retained from the original Cole Porter score are such standards as "You're the Top", "I Get a Kick Out of You" (with appropriately laundered lyrics), "Blow, Gabriel Blow", and the title tune. New songs, penned by Sammy Cahn and Jimmy Van Heusen, include "You Gotta Give the People Hoke" and "A Second-Hand Turban and a Crystal Ball". To avoid confusion with the 1956 adaptation of Anything Goes, the 1936 version was for many years retitled Tops is the Limit for television. ~ Hal Erickson, Rovi

Mitzi Gaynor was contractually awarded with top billing in 20th Century-Fox's Three Young Texans, but the film's true star is Jeffrey Hunter. To prevent his father from being blackmailed into committing a train robbery, Johnny Colt (Hunter) pulls off the theft himself. Our hero and his lady friend (Mitzi Gaynor) intend to return the money as soon as his father is out of harm's way. Unfortunately, Colt's "friend" Tony Ballew (Keefe Brasselle) has other ideas. Running off with the money, Ballew makes the mistake of crossing the path of Apache Joe (Michael Ansara), who masterminded the robbery in the first place. Three Young Texans is another of those "thinking man's westerns" conceived in the wake of such films as The Gunfighter and High Noon. ~ Hal Erickson, Rovi

Mitzi Gaynor plays legendary vaudeville headliner Eva Tanguay, whose signature tune was the bouncy "I Don't Care". The film's actual producer George Jessel costars as "himself;" the gimmick is that Jessel wants to produce a biopic based on Tanguay, but can't get a handle on the story until he interviews all those who remember the lady. This throughline allows Gaynor to impersonate Tanguay without the added encumbrance of a plot. Well, there is a love story involving Tanguay and her vaudeville partner (David Wayne), and some welcome comic relief from "professional neurotic" Oscar Levant, but otherwise The I Don't Care Girl is more a revue than a movie. At the end, inveterate scene-stealer George Jessel shows up backstage during one of the flashback sequences, "Just to see how the story will turn out." ~ Hal Erickson, Rovi

Bloodhounds of Broadway was one of many Damon Runyon adaptations filmed in the wake of the 1950 Broadway hit Guys and Dolls. Manhattan bookie Scott Brady skips town to avoid a crime investigation. He meets hillbilly Mitzi Gaynor and vows to get the talented young miss into show business. Thanks to her positive influence, the bookie agrees to face the investigating committee, but changes his mind and plans to skip the country. The broken-hearted Gaynor is gratified when Brady changes his mind again, confesses his crimes (none of them homicidal) and serves a year in jail. When he returns to civilian life, Gaynor is headlining at a posh nightclub, whose employees are all former crooks and gangsters--including Charles Bronson as a waiter! Bloodhound of Broadway was remade (sort of) under the same title in 1989, this time as a PBS American Playhouse special (subsequently given theatrical release) starring Matt Dillon and Madonna. ~ Hal Erickson, Rovi

Take Care of My Little Girl is a genteel "expose" of college-sorority snobbery. Jeanne Crain stars as Liz Erickson a perky coed who is pledged to an old, established sorority. At first amused by such rituals as "rushing" and "Hell week," Liz eventually feels threatened by the tyranny of the sorority caste system. She is particularly upset with her "sisters"' preoccupation with doltish boyfriends and their disdain for their classwork. With the moral support of student Joe Blake (Dale Robertson), Liz finally gets her priorities in order. Take Care of My Little Girl would make a fascinating companion piece with For Men Only (1951), director Paul Henreid's vitriolic attack against the injurious rituals of male fraternities. ~ Hal Erickson, Rovi