VeteranLight I don't have all the words right now but this film is a work of art.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

marcslope Everybody seems to be dissing the Jule Styne-Leo Robin score to this friendly little 1955 widescreen musical, so let me put in a word for it. True, Columbia might have had an even better movie had it shelled out for the Bernstein-Comden-Green "Wonderful Town" Broadway score. But this one works just fine. It's tuneful, witty, and to the point, and it gives the great Betty Garrett (a replacement for Judy Holliday, whom Harry Cohn originally cast, but she was trying to be seen as less of a plain-Jane) several wonderful opportunities. Her comic timing's expert, she has a natural warmth, and it's easy to buy her as the overlooked sister of the well-cast Janet Leigh. Columbia, trying Jack Lemmon out in a number of guises at the time, perhaps shouldn't have cast him as a playboyish editor; it's not a very likable part, and he's not a singer, though he did do two other musicals for the studio around that time. But there's a splendid supporting cast, notably Bob Fosse (also choreographing) and a hideously underused, under-billed Tommy Rall. The Blake Edwards-Richard Quine screenplay preserves most of the best lines from previous versions and adds a few of its own, and the location footage is almost indistinguishable from the backlot work. Most raters have this one right--it's unpretentious, clever, happy, and picturesque. But it may send you out humming, too.

Neil Doyle A musical remake of the original Broadway play, MY SISTER EILEEN is a little-known gem from Columbia in the mid-'50s, produced in lively Technicolor and starring JANET LEIGH as Eileen and BETTY GARRETT as her writer/sister, both newcomers to the Greenwich Village scene. And naturally, the story and the film are very dated when viewed today.But for light entertainment, it passes inspection beautifully. BOB FOSSE and TOMMY RALL are excellent ingredients as singer/dancers and both of them have more screen time than usual here. JACK LEMMON doesn't have much to do as the publisher in love with Garrett and gets to sing the film's most undistinguished song--unfortunately.The "Conga" number that comes near the end of the film is a treat, the Brazilian soldiers bursting into dance at the drop of the word "Conga," with some imaginative choreography by Bob Fosse. KURT KAZNER is the Greek landlord who actually joins in the number, as do most of their Greenwich Village neighbors.A bright, unpretentious and sunny film, it's long on charm but short on inspired musical numbers. It's a wonder Columbia decided not to use the Comden/Green Broadway score but hired Jule Styne and Leo Robin to write a new one. Watch for DICK YORK as "Wreck," the husky neighbors who looks out for the girls.Passes the time pleasantly, but is easily forgotten.Trivia note: Director Richard Quine was featured in the original MY SISTER EILEEN starring Rosalind Russell in the 1942 film version.

mark.waltz I first saw "My Sister Eileen" years ago as a kid. In the early 90's, I saw the film at a tribute to Betty Garrett at which she was present to answer questions. I found her to be a wonderful person full of humor and warm remembrances of her co-stars and experience in Hollywood. She talked candidly about the blacklist that kept her and husband Larry Parks out of films for several years until she made this film, but did not show any signs of bitterness over the experience. What a wonderful lady!Anyway, the film still holds up 46 years later as a fresh and entertaining remake of the Rosalind Russell film of the 40's which I have yet to see. Russell had done the Broadway musical version, "Wonderful Town", which was also done as a TV special some time during the 50's as well. Since Leonard Bernstein was not willing to let his music go without a huge price, Columbia instead hired Jule Styne to write the music. I have seen the TV version of "Wonderful Town" which is enjoyable, but this film brings the story to life in color and with beautiful location footage of New York's Greenwich Village. Shots of the surrounding area including the famous Washington Square make this a must for lovers of the Big Apple. Having visited Greenwich Village several times in the past couple years, I was amazed by how much it has NOT changed! This aspect alone makes "My Sister Eileen" seem as fresh today as it was during its initial release.As Eileen, Janet Leigh is perky and lovable, but it is Betty Garrett who steals the scene as Ruth with her wonderfully likable personality. The not-so-plain jane, Garrett is a struggling writer who comes to New York from Ohio with her pretty sister (Leigh) whom all the boys go gaga over, making Ruth feel unattractive. Before you know it, Eileen has the attentions of sweet Bob Fosse and scoundral Tommy Rall, while Ruth finds herself attracted to publisher Jack Lemmon. In only his third year in Hollywood films, Lemmon had proved himself to be a versitile actor. This was one of three musical remakes he did at Columbia during the mid 50's. The other two were "Three For the Show" (a remake of "Too Many Husbands") and "You Can't Run Away From It" (a remake of "It Happened One Night"). He sings one song ("It's Bigger Than You or Me"), and doesn't do too badly!Then, there are two other characters who fit into the storyline: shyster landlord Kurt Kasznar, and athlete neighbor Dick York (of "Bewitched" fame). Kasznar, Rall, and Fosse had all appeared together in MGM's "Kiss Me Kate". Rall and Fosse's rival dance shows the potential of the future Broadway legend Fosse who went onto create the dances in such memorable musicals as "Pippin" and "Chicago" (as well as direct several classic musical films). Fosse's creative touch is clearly visible here.The musical highlight is the "Give Me a Band" number with a tipsy Garrett leading Leigh, Rall, and Fosse in a dance number with invisible musical instruments. The other songs are hardly classics, but in this film, that just doesn't matter; the shear magic of New York's Greenwich Village and the wonderful stars make this an all-time classic.In comparing this to "Wonderful Town", I can say listening to the Original Broadway Cast and viewing the video of the TV special, I would like to have seen Bernstein's songs in the film as compared to Jule Styne's. The production number of "Christopher Street" (which is not even mentioned in this film) is ironic considering that 15 years after it was written, Christopher Street would become part of another legend: the Stonewall riots for Gay and Lesbian rights. Then, there are two other production numbers lead by Russell: "Swing" and "Conga", which is done in "My Sister Eileen" as a non-sung dance number. Eileen, as played by Edie Adams, comes off as unknowingly selfish, while Leigh's Eileen is a seemingly goody-goody miss perfect. Russell and Garrett are both perfect as Eileen, and I am glad that Garrett had the chance to play the part which Russell had already done on film the decade before.

altaf-2 This is one of the most entertaining musicals to ever come out of Hollywood. Light and witty, sweet and subtle, it's almost as if Lubitsch made it. The songs are a joy, the dancing a treat and the story deliciously simple. Janet Leigh and Jack Lemmon shine, but the true star is the glorious Betty Garret, who should have been much bigger than she was. Please check this out, it's a charmer