mark.waltz
Sometimes, studios recycle old scripts with ease and some success. But in most cases, they are pointless, and in a few of them, the result of the second or even third version is a rancid mistake. That is the case with this 1942 "B" musical, first done in 1930 as "Street Girl" and in 1937 as "That Girl From Paris". Here, a talented cast is put together for this version where the plot creaks and the jokes land with a thud.The first scene of Bolger quickly moves into a charming number, "I'm in Great Shape For the Shape I'm In" which is staged cleverly (Bolger aping practically everybody he passes on the street in his rubber legged dance) but all of a sudden harshly interrupted by the arrival of Anne Shirley whom he prevents from being hit by a car. The way it is done is so awkward that it reminds me of bad edits of movies in the old days on television. Unfortunately, the film never lifts itself back up. This type of plot (A member of European royalty and his look-alike causing confusion for a dance band and its new singer) went out of style in operetta more than a decade before. Even with some fine moments by "Dainty" June Havoc (as a really tough band singer) and Desi Arnaz (in a dual role that seems more suited for real-life wife Lucille Ball), the efforts are too late.
Ray Faiola
Okay, first of all this is the second remake of RKO's wonderful STREET GIRL. The first remake was THAT GIRL FROM Paris with Lily Pons. Anne Shirley is the faux continental who sings. It sounds like Vera Van doing the actual vocals (Vera sang in DARK VICTORY and DUST BE MY DESTINY). The cutting of this picture is a disaster, which is pretty ironic seeing as the director is a former editor. It is very obvious that scenes were trimmed and transitions shortened. There are holes all over the place. The songs are so-so. One of them, "Boogie Woogie Conga" is almost a carbon copy of "Congo Beso" from HELLZAPOPPIN. For my money, the two best reasons to watch FOUR JACKS are June Havoc and Jack Durant. Durant, late of the team of Mitchell (Frank) and Durant, is quite hilarious as a slightly psychotic gangster. Russian tough mug Constantin Romanoff actually has a few lines in this one. If you're into cinema archeology, watch this one to compare and wonder.
Neil Doyle
What was RKO thinking? ANNE SHIRLEY, who couldn't sing (and whose dancing talent was negligible), was put into a few dismal musical comedies at RKO during the '40s, shortly before she retired from the screen. Martha Mears dubs her voice for a few not especially memorable songs. In fact, the only catchy number in the whole film is the "Boogie Woogie Conga" and it comes too late in the film to salvage it in any way.RAY BOLGER is the big star here, but even the great Bolger gets very little in the way of strutting his stuff as a hoofer--and the script, which pairs him with Anne Shirley as her romantic interest, has a hard time making them seem like a convincing couple.At least DESI ARNAZ is likable enough (with less accent than usual), and the reliable HENRY DANIELL is smoothly cast as a villain. But the script is fluff with barely a moment of reality written into it and nobody manages to look or act their best.A sad little musical easy to forget.
lzf0
This film isn't much and it doesn't make much sense. It is one of the few vehicles designed for comedian Ray Bolger. When MGM finally cast him as the Scarecrow, they got it right. (Bolger was the goofball, Haley was the worrier, Lahr was the cowardly clown, and Morgan was the inept con artist.) Well, Bolger is at his goofy best in this film. He does a routine as a tap dancing boxer which is absolutely hysterical. The film also uses the comic talents of Fritz Feld, Eddie Foy, Jack Durant, and Desi Arnaz, but it is Bolger's vehicle. The biggest problem with the film is that it does not end. It merely stops. Bolger would fine a better vehicle on Broadway with "Where's Charley".
AD
