Gloria Jean Movies

Comedian Jerry Lewis began directing movies in 1960, and this often unkind satire on the nature of American womanhood is one of his early efforts in that regard. The rubber-legged, rubber-faced Lewis plays Herbert, a man who is despondent over the break-up of his romance. While looking for a job, he comes across an impressive mansion (built as a set at the cost of $350,000) filled with women of all types -- and lo and behold -- they need a handyman. So Herbert gets to reside with a bevy of women of various types, all under the supervision of Mrs. Wellenmelon (Helen Traubel). In the end, the set itself outtrumps them all. ~ Eleanor Mannikka, Rovi

Whenever Monogram wanted to get prestige bookings, the studio released its product through its "class" subsidiary Allied Artists. Such was the case of There's a Girl in My Heart, a period musical that any of the larger studios would have been proud of. The only indication of its Monogram origins is its less-than-stellar cast, including Lee Bowman and Elyse Knox; surprisingly, the film's big-money musical stars, Gloria Jean and Peggy Ryan, are billed fourth and fifth. The story finds New York ward-heeler Terrence (Lee Bowman) trying to erect a sports stadium on the property partially occupied by music-hall entrepreneur Colton (Lon Chaney Jr.) The fly in the ointment is Claire (Elyse Knox), the owner of the property, who refuses to sell because several tenants would be thrown out of their homes. But Terrence is determined to have his way -- at least until he falls in love with Claire. Cast as the daughter of a music teacher, Gloria Jean gets to sing a couple of tunes, while Peggy Ryan hoofs it with her perennial dancing partner Ray McDonald. ~ Hal Erickson, Rovi

The combination of star Gloria Jean and director Arthur Dreifuss resulted in several pleasant if unmemorable late-1940s musicals. In An Old-Fashioned Girl, Jean is cast as Polly Milton, the poor relation of a prosperous 19th-century Boston family. Rather than accept financial support from her stuffy relatives, Polly elects to support herself as a music teacher. Mistreated and misunderstood by practically everyone she meets, our heroine at last finds true love in the arms of businessman Mr. Sydney (John Hubbard). The supporting cast includes former child star James Lydon and future adult star Elinor Donahue, as well as violin prodigy Sandra Berkova. An Old-Fashioned Girl is based on the story of the same name by Louisa May Alcott. ~ Hal Erickson, Rovi

Groucho Marx made his first solo film appearance away from his brothers in the musical comedy Copacabana. Groucho plays two-bit theatrical agent Lionel Q. Devereaux, whose favorite client--indeed, his only client--is fireball Brazilian entertainer Carmen Novarro (Carmen Miranda). Hoping for a double commission, Devereaux gets Carmen two different singing jobs at the Copacabana nightclub, through the simple expedient of having Carmen wear a veil and pose as a French chanteuse. Steve Hunt (Steve Cochran), manager of the Copa, falls in love with one of the Carmens, much to the dismay of pretty bookkeeper Anne (Gloria Jean). ~ Hal Erickson, Rovi

In this drama, a goodie-two-shoes singer tries to save her bankrupt family by getting a radio job. She is soon entangled in a fight between rival radio commentators that culminates in a mysterious murder that she soon solves. Songs include: "Hittin' The Beach Tonite", and "I'll Remember April". ~ Sandra Brennan, Rovi

Reckless Age is a by-the-numbers Universal musical, elevated by the presence of perky songstress Gloria Jean. The star plays Linda Wadsworth, the granddaughter of fabulously wealthy department-store magnate J. H. Wadsworth (Henry Stephenson). Rebelling against Wadsworth's close-minded tyranny, Linda assumes an alias and takes a job at one of his stores. She also moves into a boarding house for Wadsworth employees, overseen by stern-but-kindly Mrs. Connors (Jane Darwell). Oddly, there is no romantic subplot to speak of; like Deanna Durbin before her, Gloria Jean plays a sexless "Little Miss Fixit" who saves the day when all looks bleak. The film is noteworthy only as the screen debut of that matchless comic actor Jack Gilford, then starring in the Broadway revue Meet the People, whose budding film and TV career was egregiously cut short by the Hollywood Blacklist. ~ Hal Erickson, Rovi

Colonel Breckinridge Marshall (Walter Catlett) of Clearwater, GA -- who puts on a big front but is actually only a step away from the poor house -- rents a luxurious townhouse in Manhattan in anticipation of the Carnegie Hall debut of his two daughters, singer Melinda (Gloria Jean) and pianist/singer Susannah (Martha O'Driscoll). But on their first night there, they hear strange noises and other disturbances, including the sound of someone tap-dancing -- Susannah runs for help to the next building, which turns out to be a nightclub where Olsen (Ole Olsen) and Johnson (Chic Johnson) are working, and finds herself in the middle of one of their "nut humor" Hellzapoppin'-style sketches. The two comics try to make amends by helping her out and find themselves up to their neck in strange warnings ("First is worst"), noises, and bizarre, ghostly apparations seemingly from nowhere, and alleged ghostly goings on. They eventually figure out that the house once belonged to one Wilbur Duffington, a wealthy ne'er-do-well out of New York's "gilded age" whose main hobbies were tap-dancing and drinking plum brandy, before he fell from a third-story window in the year 1900 at a party he was throwing. The boys reason that Wilbur, if he is there, might want to finish the party he was having the night he died; when that doesn't work, they reason out that he had to be a real square because he died in 1900, and so they bring in a swing band and a bunch of jitterbug dancers to drive him out -- that seems to do the trick, the ghost seemingly departing. But then the noises continue and the Marshalls are at their wits' end, until Olsen and Johnson accidentally discover far more sinister goings on, involving a band of criminals who have already committed one murder, something in that house worth killing for, and a plan to eliminate the Marshall family. Before it's over, a pitched battle ensues between the heroes and a band of costumed thugs (including a pair of ill-tempered dwarves), and a race against time to get the Marshall girls to a performance on time to save their careers, plus the unmasking of the man behind all of the mayhem, all intermixed with lots of Olsen and Johnson's patented nut-humor and the presence of a pre-Sky King Kirby Grant leading a band, singing, and playing a violin. ~ Bruce Eder, Rovi

Drama students rebel in this musical set in a tiny drama school. The trouble begins when the students begin complaining to the school's proprietor that they should be doing more than just the classics. The kids are more interested in performing swing-type entertainment. When the owner takes a trip, the students decide to overcome the difficulties and put on their own show. They work hard, and manage to pull the whole thing off and prove to the owner that new music and dance has value too. Songs include: "This Must Be a Dream," "Kittens with Their Mittens Laced," "Things I Want to Say," "Spirit Is in Me," "Rude, Crude, and Unattractive," "Thee and Me," "We're Not Obvious," "Moonlight and Roses." ~ Sandra Brennan, Rovi

It Comes Up Love was typical of teenaged songstress Gloria Jean's Universal vehicles: good songs and a strong cast squandered on a low-budget B effort. Jean and Mary Lou Harrington play Victoria and Constance, the precocious daughters of big-city businessman Tom Peabody (Ian Hunter). Long separated from his girls, who've been raised in the country, the widowed Peabody brings them to live with him in New York. Hopelessly out of step with her new "hep" friends, Victoria is introduced to the pleasures of swing music by brash Manhattanite Ricky (Donald O'Connor, teamed with Gloria Jean for the third time). Meanwhile, the girls try to expedite the romance between their father and pretty secretary Edo Ives (Louise Allbritton). ~ Hal Erickson, Rovi

By popular consensus, Allan Jones' best Universal mini-musical of the 1940s was the timely When Johnny Comes Marching Home. Jones is cast as war hero Johnny Kovacs, who wearies of the adulation heaped upon him and takes refuge under an assumed name in a theatrical boarding house. Here he befriends orchestra leader Phil Spitalny and his all-girl aggregation, including the inimitable Evelyn and Her Magic Violin. When Army officials trace Johnny to the boarding house, his new friends assume that he's a deserter and try to convince him to return to duty. All is explained during the closing production number, which in addition to Jones and the Spitalny girls spotlights Gloria Jean (singing "You and the Night and the Music"), Donald O'Connor, Peggy Ryan, Jane Frazee, and the Four Step Brothers. That Universal was able to bring this star-studded entertainment in under budget and within a 73-minute running time is nothing short of miraculous. ~ Hal Erickson, Rovi

W.C. Fields heads to Esoteric studios to pitch a story idea to producer Franklin Pangborn. The producer wants to make a conventional romantic musical starring Fields' niece, teen-aged soprano Gloria Jean, but "The Great Man" has other ideas. As Pangborn sits in dumbfounded silence, Fields unravels an incoherent farrago which begins with him travelling to a Russian colony in Mexico--by way of an airliner with an open observation platform. Fields dives from the plane when his precious flask of gin falls overboard; he lands safely at the mountaintop mansion of the formidable Mrs. Hemoglobin (Margaret Dumont). Playing a kissing game with Hemoglobin's beauteous daughter (Susan Miller), who has never seen a man before, Fields decides to make a quick exit when Mama wants to get in on the game too. Reunited with Gloria Jean in the Russian colony, Fields learns that Mrs. Hemoglobin is worth millions, so he climbs back up the mountain, ignoring such obstacles as a displaced African gorilla. Disposing of his rival Leon Errol, Fields is about to wed Mrs. Hemoglobin, but is talked out of it at the last moment by Gloria Jean. At this point in the narrative, producer Pangborn can stand no more. He tells Fields to take his nonsensical screenplay and vacate the premises. After a brief episode at a soda fountain ("This scene was supposed to be in a saloon, but the censors made us cut it out"), Fields drives off to new adventures with his niece--but not before a zany slapstick car-chase finale, prompted by Fields' mistaken belief that he's rushing a corpulent middle-aged lady to the maternity hospital. W. C. Fields' original screenplay for Never Give a Sucker an Even Break (written under the fanciful pseudonym of Otis Criblecoblis) made a lot more sense than what ended up on screen, but Fields' extended absences from the studio, coupled with Universal's desire to reshape the film into a vehicle for their new star Gloria Jean, necessitated a complete restructuring of the plot. While hardly Fields' best or most representative film, Sucker is an excellent example of the sort of nonsensical "nut" humor in vogue in 1941 thanks to Olsen and Johnson's Hellzapoppin'. And, occasionally, the film stands still long enough to allow W. C. Fields to mutter a priceless aside or toss off a perfectly timed double-take. ~ Hal Erickson, Rovi

In this musical drama, a construction worker becomes the guardian of a 12-year old girl after one of his buddies is killed. She and he head to New York to look for her uncle, a vaudevillian. With the help of a good pal, they soon find the uncle. The three searchers encounter trouble when the pal uses all their money to buy a ramshackle restaurant. Fortunately, the construction worker saves them by turning the dump into a red hot night spot. Songs include: "I Haven't The Time To Be A Millionaire", "Meet The Sun Halfway", "April Played The Fiddle", "The Pessimistic Character (With The Crab Apple Face)", "If I Had My Way", "Ida, Sweet As Apple Cider", and "Rings On My Fingers". ~ Sandra Brennan, Rovi