WiseRatFlames An unexpected masterpiece

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

dougdoepke Acrobatic musical from 1953 that spreads screen time between three couples instead of the usual romantic pair. Apparently the movie flopped at the box office (IMDB) despite MGM pedigree. For a musical the screenplay is more plot heavy than usual as three dancers compete for the lead in a Broadway musical. Not only does this divide screen time between the three, but generates unusual suspense for this kind of film. After all, which of the trio of talents will be selected. Also unusual is the general absence of romantic dance numbers. Instead it's flying feet, acrobatic tumbles, and super wide leg-splits-- no Astaire-Rogers here. That's surprising since the Champions would be expected to cuddle up in a few routines, but instead they're separated by plot wrinkles. So, all in all, I suspect normal audience expectations were let down. Nonetheless, Reynolds projects her usual charm and sparkle. But will she win. In my view, screen time should have featured her, with Marge and Gower, who are better dancers than actors, in support. At the same time, the incredibly nimble Fosse makes a compact visual match for Debbie. Anyway, MGM injects its usual color splash along with a load of extras. And fans of acrobatic fast shoe should find much to marvel at. Meanwhile, that opening marathon of the splits still has me crossing my legs. Amazing what they can do.

Dunham16 Certainly not as major a a combined financial and critical success or as familiar to the millennium public as are the iconic 1933 42nd STREET or the 1975 A CHORUS LINE on the same subject, its commercial release apparently started out with bad luck when MGM refused to give it a class A promotion or first run theater distribution. The considerable talents of Ira Gershwin and Stanley Donen showcase the considerable talents of Marge Champion, Debbie Reynolds, Bob Fosse and Gower Champion in a story making the final candidates to hastily replace the name star quitting mid rehearsal a classical ballerina, a faded former star performer and a scared novice with an overbearing mother, each the fantasy girl friend of someone having influence in determining the replacement casting. This meld of extraordinary talents showcases the historic dilemma of which dance direction professional musicals should take in the changing times of the 1950's. It does not fend off continuous barbs of an 82 minute show borrowing from ZIEGFELD GIRL, ON THE TOWN,and too many other more famous and more successful films.

SHAWFAN Another movie I had never heard of before I saw it on TCM. Robert Osborne pointed out afterwards the amusing anecdote about Mrs. Ira Gershwin saying to her husband after seeing the rushes of this film: "If you've got any MGM stock sell it!" He also said that MGM too had no faith in this movie and underdistributed it shamefully. That's probably why I never heard of it before. But this is scandalous! It's a brilliant and iconic and wonderful movie and needs to be talked about whenever the good old days of MGM musicals are discussed. Imagine all those talented dancers, choreographers and directors all there together in one movie: The Champions, Fosse, Robbins, Donen, Burton Lane, Ira Gershwin, etc. (Brilliant lyrics! "Our united state,""house full of cute representatives" etc, etc: brother George would have been proud!) Helen Wood's brilliant dancing made we wonder whatever became of her. A movie which combined venerable genres (the inside Broadway genre: 42nd Street, Lullaby of Broadway; the psychoanalytic dream sequence/vignette genre: Lady in the Dark, Oklahoma, Tales of Manhattan, The Secret Life of Walter Mitty, etc; career vs family genres: The Red Shoes) with things yet to come (The Turning Point). But the bottom line is: such dancing! To the Astaire and Kelly movies should be added this Champion/Fosse/Donen movie. So sad there weren't more of them!

F Gwynplaine MacIntyre 'Give a Girl a Break' deserves to be better known; it's certainly not one of MGM's greatest musicals, but it has many bright spots and some pleasant tunes by Burton Lane with excellent lyrics by Ira Gershwin. Modern viewers will probably be most interested in Bob Fosse's excellent performance, in a supporting role.Some aspects of this movie are clearly derived from earlier and better musicals. At one point, Gower Champion's character (a Broadway director) is besieged by struggling chorus dancers who want parts in his new musical. To escape them, he climbs up the wall of his theatre. This is apparently meant to show us how virile and athletic Champion is ... but it reminded me of the scene in 'Singin' in the Rain' when Gene Kelly escapes his fans by climbing up the side of a bus. The fact that 'Give a Girl a Break' is directed by Stanley Donen (co-director of 'Singin' in the Rain') only makes the link more obvious.Gower Champion plays Ted Sturgis, the big-shot director of a new Broadway musical still in rehearsal. Bob Fosse plays Bobby, his assistant and dance captain, although Sturgis usually keeps Bobby busy fetching coffee. (Prophetically, Champion later became a major director of Broadway musicals... as did Fosse.) Kurt Kasznar plays Leo Belney, the show's musical director: a role that should have been played by Oscar Levant. Sturgis's ex-wife (played by Gower Champion's real wife Marge) is Madelyn Corlane, a former star whose popularity has faded, but who is hopeful of a comeback.When Sturgis's leading lady throws a tantrum and walks out (not likely!), he needs a new leading lady in a hurry. Whoever he chooses for the role is destined to become a star. Will Madelyn get the job? Meanwhile, Bobby has become enamoured of Suzie Doolittle (the excellent Debbie Reynolds), a talented newcomer. The more classically-minded Leo wants the leading role to go to Joanna Moss (Helen Wood), a ballet dancer he secretly hopes to romance.There's some genuine suspense as we try to guess which of these three women will get the big break. Unfortunately, the three candidates aren't equal: it's extremely obvious that highbrow ballerina Joanna hasn't got a chance against the more conventional chorines Madelyn and Suzie.The best number in the movie is 'In Our United State' performed by Fosse and Reynolds. On a couple of other occasions ('Kiss Me Kate', 'My Sister Eileen'), Bob Fosse demonstrated his ability to do a backward aerial somersault, with astonishingly good amplitude. Here, he does it while facing the camera, in medium close shot, and it's extremely impressive. Unfortunately, Donen ruins the number with some gimmicky trick photography, speeding up the action and running it in reverse. After Debbie and Bob pop some brightly-coloured balloons, it's very weird to see the balloons unpopping themselves in reverse motion.Another number, called 'Applause', is pleasant. I also enjoyed 'Nothing Is Impossible', performed by the three men, which features a strange bit in which Gower Champion does a rapid tap dance with one foot while he keeps his other foot balanced on top of Bob Fosse's upright heel. The tubby actor Kurt Kasznar, who can't dance and can barely sing, shows some courage by performing a musical number with the athletic Champion and Fosse.There's a clever three-way dream sequence, in which each man envisions his own favoured lady's name appearing in lights above the theatre. But there's some clumsy dialogue involving the word 'palaver'. At the end of the movie, Marge Champion does a really ludicrous bit, in which she runs down the theatre gangway with her lips and her bosom thrust forward and her arms and her head thrown back. Corny!This is a good place to correct a misconception about Gower Champion: after a long career as a director of Broadway musicals, he supposedly died on the opening night of '42nd Street', his biggest hit. This was, of course, an extremely ironic death. ('42nd Street' is about a Broadway director who risks his own health in rehearsals while trying to make his biggest show a hit.) The truth is a bit less neat: Gower Champion actually died several days before his show opened, but producer David Merrick (recognising the publicity value of Champion's death) claimed on opening night that Champion had died earlier that day.I'll rate 'Give a Girl a Break' 6 out of 10, and I recommend it to you.