LOVELY TO LOOK AT

US, 1952, 103 minutes, Colour.
Kathryn Grayson, Howard Keel, Red Skelton, Ann Miller, Marge and Gower Champion, Kurt Kasnar, Zsa Zsa Gabor, Marcel Dalio.
Directed by Mervyn Le Roy.

Lovely to Look At is a remake of the 30s musical Roberta.

Roberta starred Irene Dunne, Ginger Rogers with Fred Astaire In the supporting cast. Lovely to Look at is a glossy musical trifle. Kathryn Grayson and Howard Keel, who had starred in the popular Show Boat are the main stars. Red Skeleton does some comic turns . Ann Miller is excellent as usual with her dancing. Marge and Gower Champion who were specialty dancers at MGM in the early 50's e.g Show Boat, Give A Girl a Break dance some routines very well, especially the classic Jerome Kern song Smoke Gets In Your Eyes. It is interesting to note that MGM did not choose any aspects of this film for their 70's anthologies That's Entertainment.

1. The impact of Jerome Kern's musical comedy 'Roberta’" in the thirties? This film as a re-make with the musical stars of the fifties? Its quality as a big-budget M.G.M. musical? Reliance on Kathryn Grayson and Howard Keel for the music? The Champions and Ann Miller for the dancing? Red Skelton and Zsa Zsa Gabor for the comedy? How we11 did it blend?

2. The conventions of the American musical comedy? The slight plot, the hero and heroine, the sub-plot with comedy, mistaken identities and farcical situations? The happy ending? How well were these presented in this film?

3. The importance of the colour photography, American and French atmospheres? The staging of the songs and the choreography? The attention given to 'Lovely to Look At', 'I Won't Dance', 'Smoke gets in Your Eyes', the dancing numbers? The emphasis on the choreography and the red colouring for the Champion's dance? The special effects with the final quarter of an hour and the lavish fashion show? How appropriate was this because of the plot dealing with fashions? Parisienne atmosphere for fashions?

4. The plausibility of the plot - at least sufficient for musical comedy conventions? The traditional story of getting money for backing of the Broadway show? Ambitions but lack of money? The three men and their complementary characters? The transition to Paris and the two sisters trying to run the shop? The change of heart with the men supporting the women and the idea for the fashion show? The inevitability of the temptation of easy money for the Broadway show and the hero succumbing to temptation, but a change of heart at the last minute and success? The modern fairy-tale overtones for the American dream - the appeal of American musical comedy?

5. The complementary characters of the three men? Tony as the leading man, brains and personality, ideas? The sequences of his trying to get deals for money, the rehearsals, failure? Pressurizing the sisters but falling in love with Stephanie? The temptation of money from Max and his going to New York, his change of heart and happy ending? The contrast with Red Skelton's style as Al? the expectations from Skelton comedy routines and their impact, the sentiment for the man who is going to be rejected by the heroine but falls in love with the vibrant second leading lady? Gower Champion and his dancing, the conventional Gerry?

6. The comparison with the leading lady: Kathryn Grayson and her gracious style as Stephanie, her falling in love, reliance on Tony, not wanting to hurt Al, her disappointment with Tony but the happy ending? Marge Champion with the comedy style as Marion and the importance of her dancing? Ann Miller's exuberant leading lady? money, her anger, but her falling in love? Zsa Zsa Gabor as the glamorous model satirizing herself? The minor characters of Max as the tycoon and Pierre?

7. The humour of the screenplay, the comedy in the situations? How well did this blend with the romance and the songs? The culmination with the fashion show?

8. The film has suffered in reputation in comparison with other M.G.M. musicals of the time. Why? Its impact now?