An ambitious jazz musician tries to make it in The Big Apple despite hardships. Meanwhile he befriends a desperate taxi dancer trying to hold on to her self-respect.
The 105-minutes amounts to a sour valentine to New York City. The ending is predictable from the start. Why else cast two big Hollywood stars in the leads. The fact that Peggy (Reynolds) and Pete (Curtis) finally get together is not because of the City, as we might expect, but in spite of it. Thus the screenplay breaks with Hollywood convention of big cities with a soft heart. Note, for example, how the landlady's morning grouch gets quickly reflected in other grouchy New Yorkers.. That sort of uncompromising attitude may be the movie's best part.
Otherwise, it's Reynolds breaking with her malt shop image, as a hard case who registers zero smiles throughout. At the same time, the effort to break with the Tammy image (Tammy And The Bachelor, {1957}) is too pointed and resolute to be convincing. Curtis, on the other hand, is fairly amiable, and not quite as miscast as Reynolds. Still, his Bronx accent sort of comes and goes for a guy supposedly from Milwaukee. Having two stars at the peak of popularity also means giving them adequate screen time to satisfy their fans. But that also means padding a slender storyline with lots of talk that too often drags out the runtime. Note too, how awkwardly the script plays with the key topic of prostitution, a word or even concept that dare not speak its name, thanks to the suffocating Production Code.
Anyway, Oakie and Medford supply subtle amusement, while Rickles chews the scenery like he's starving for attention. All in all, it's a 105-minutes that doesn't wear well, despite being cutting edge at the time. All in all, I'm glad that Reynolds soon went back to the personality roles she was so good at.
The 105-minutes amounts to a sour valentine to New York City. The ending is predictable from the start. Why else cast two big Hollywood stars in the leads. The fact that Peggy (Reynolds) and Pete (Curtis) finally get together is not because of the City, as we might expect, but in spite of it. Thus the screenplay breaks with Hollywood convention of big cities with a soft heart. Note, for example, how the landlady's morning grouch gets quickly reflected in other grouchy New Yorkers.. That sort of uncompromising attitude may be the movie's best part.
Otherwise, it's Reynolds breaking with her malt shop image, as a hard case who registers zero smiles throughout. At the same time, the effort to break with the Tammy image (Tammy And The Bachelor, {1957}) is too pointed and resolute to be convincing. Curtis, on the other hand, is fairly amiable, and not quite as miscast as Reynolds. Still, his Bronx accent sort of comes and goes for a guy supposedly from Milwaukee. Having two stars at the peak of popularity also means giving them adequate screen time to satisfy their fans. But that also means padding a slender storyline with lots of talk that too often drags out the runtime. Note too, how awkwardly the script plays with the key topic of prostitution, a word or even concept that dare not speak its name, thanks to the suffocating Production Code.
Anyway, Oakie and Medford supply subtle amusement, while Rickles chews the scenery like he's starving for attention. All in all, it's a 105-minutes that doesn't wear well, despite being cutting edge at the time. All in all, I'm glad that Reynolds soon went back to the personality roles she was so good at.