calvinnme I watched this because it had a middling rating on IMDb and yet was nominated for at least one Oscar because it was on Turner Classic Movies' 31 Days of Oscar. I always watch these and then look afterwards at what nominations the film got to see if I correctly guessed. This time I came up empty.It's a good film to watch if you are recovering from a nervous breakdown because there is little to no real conflict of consequence going on. Dennis Morgan and Jack Carson - the Hope and Crosby of Warner Brothers - are going to open up a club next door to the home of opera singer Victoria Cassel and symphonic conductor Ladislaus Cassel, granddaughter and grandfather, played by Martha Vickers and S.Z. Sakall, respectively. I guess we can talk about the bizarre zoning that would allow a nightclub next to a mansion another time. Their manager (Donald Woods sporting a ridiculous looking mustache) tells Morgan and Carson that he will have them shut down because they are hindering his clients' ability to practice their kind of music in peace.So Morgan and Carson invite Victoria and her grandfather over to listen to "their kind of music" and they admit there is nothing wrong with it. The real instigators of the trouble are the manager and the grandfather's wife, an ex opera singer herself, so the club is still shut down over the ignored protests of grandfather and Victoria.The rest of the film is about Morgan and Carson attempting to "put on a show" instead of opening their club. Of course there are complications. Vicki and Morgan's character begin a romance of sorts, but Morgan tells her he is not the marrying kind. That issue is never settled by the way. There is a gold digging woman who is the image of Scarlet Johansson who is either helping or hindering the show financially depending on whether or not she thinks Morgan's character is sweet on her versus her desire take a Texas oilman (Alan Hale) for all he is worth. The eternal struggle of muscles versus money. So the main issues are will the show ever get enough financial backing to open and how will that happen, and will the trouble-making manager, who seems to be doubly threatened since he seems to have a thing for Vicki, thwart Vicki's involvement in the show and her involvement with Morgan. One weird thing about the music - it turns out the film was nominated for best song for a very forgettable number. In fact, all of the numbers are pretty forgettable with the exception of the very hummable "Rainy Night in Rio". Also, all through this film, there is supposed to be a running argument about swing/jazz music versus symphonic music, with the swing music being what the show is supposed to be about and why the original nightclub was closed in the first place. The "show" that is the creation of Carson's and Morgan's characters consists of what I would call pseudo-symphonic music and production numbers tame enough for any garden variety MGM musical at the time.Summarizing - I wasn't at all impressed by the music, although Dennis Morgan's voice is always pleasant to listen to. So it's both Morgan and Carson doing their usual comic schtick with Morgan being the smooth one and Carson being the cruder and more forward of the two that is the draw along with the well intentioned S.Z. Sakall also being pretty amusing.

bkoganbing Warner Brothers did for Dennis Morgan and Jack Carson something that Paramount until the Road To Bali never did for Bing and Bob. The Time, The Place And The Girl was done in some really nice technicolor and they gave the musical numbers by Arthur Schwartz and Leo Robin full production numbers. They could do this because a great deal of the film has a nightclub setting.A nightclub setting that Morgan and Carson own and are trying to open. But they are next door to S.Z. Sakall and Florence Bates and their townhouse. Sakall is a symphony conductor and their granddaughter Martha Vickers is studying grand opera. Funny we hear no operatic notes from her. What to do but send the old lady killer Morgan into action. But he really falls for Vickers. I think you can figure the rest out.The musical numbers are not as elaborate as Busby Berkeley stuff in the Thirties, but are more elaborate than Road films numbers which only had the Crosby/Hope personalities to put them across and they certainly didn't do a bad job.One interesting bit of casting is that of Donald Woods as Sakall's business manager who plays it like Edward Everett Horton and threatens to close the whole club down and ruin Morgan and Carson. A change of pace for Woods who was never quite a leading man, but was a chameleon like actor who fit into many characters without a bit of personality usually. Here he borrows Horton's.Dennis's light tenor and Carson's antics are always entertaining.

harry-76 The beautiful "Oh, But I Do," is the Arthur Schwartz theme song of this Warners entry, with "Calico" and "Rainy Night in Rio" completing the tuneful bill.These fine numbers are given full production numbers to their credit, which are colorful and pleasing.There's nothing wrong with the casting either, headed by the lovable Dennis Morgan and versatile Jack Carson.If only the scripting were better. It's really quite stock writing, with formula lines and situations--nothing special.Don't know about you, but having "blackface numbers" pop up from nowhere for laughs is increasingly irksome in these period pieces.All in all, a slight pastiche in the WB stock company folio.

Paul Petroskey A very funny movie. Dennis Morgan and Jack Carson are two guys who want to put on a musical, but they need a backer. Also hindering their plans is an orchestra conductor (S.Z. Sakall) who lives next door and doesn't like their "noise". Morgan simply has the conductor's daughter (Martha Vickers) - who is also an opera singer - fall in love with him. Then everyone gets along fine. Lots of good one-liners - Sakall gets a lot of the laughs. One of my favorite actresses, Janis Paige, also appears, as one of the show's stars (and Carson's girlfriend, if I remember correctly). There's one number that Morgan sings in blackface and there's a big production number with all the dancing girls dressed as cows that has just got to be seen to be believed! The only time I was bored was during the tap dancing - I have trouble watching that. Keep your ears clear for the best line, spoken by Vickers to Morgan - "I don't want the best, I want you!". I could say something similar to this film.