Steineded How sad is this?

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Brenda 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

JohnHowardReid Producer: Martin Rackin. Copyright 1957 by Warner Brothers Pictures Corporation. New York opening at the Astor 2 October 1957. U.S. release date: September 1957. U.K. release: 29 December 1957. Australian release: 12 June 1958. U.S. and Australian running time: 118 minutes. U.K. length: 8,914 feet (99 minutes). U.K. release title: BOTH ENDS OF THE CANDLE. SYNOPSIS: Singer takes to drink.NOTES: Warner Bros purchased the rights to Helen Morgan's story from her estate in 1942 — a year after her death. The title role was initially offered to Susan Hayward — to capitalize on her success in "I'll Cry Tomorrow" — but she turned it down. COMMENT: Despite its simple, melodramatic, "Love Me Or Leave Me" triangle framework, "The Helen Morgan Story" is not only unwound at a wonderful pace, but given such breadth that it introduces a whole host of interesting support characters and diverting scenes. True, Ann Blyth is not much of an actress. She never was. But it still comes as something of a shock to see such a poor performance here, considering that she responded so effectively to Curtiz's direction in "Mildred Pierce". Not only does she give little indication of Morgan's personality and charisma, she doesn't even look like her. Fortunately, all her singing chores are entrusted to Gogi Grant, a splendid vocalist who really gives the old Morgan standards a great run. The many welcome musical interludes are, for the most, simply staged, but marvelously effective. And what a great score! In the Cagney role, Paul Newman gives a smashing, hard-edged performance — right up to his last-minute change of heart (which is the least believable plot twist of all the unbelievable episodes the writers have managed to dream up). In fact, Newman's powerful portrayal of the embittered gangster ("I got a chest full of medals") brings what could have been a conventional, clichéd character to vibrant life. Newman projects a magnetism that makes both his portrait and Morgan's reaction to him utterly believable. (Compare Omar Sharif's tepid and lackluster interpretation of a similar nemesis in "Funny Girl"). By contrast, co-star Richard Carlson is weak as water (as usual), but Cara Williams — more attractively gowned and photographed than Blyth herself — and Alan King head an energetic and highly ingratiating support cast. Alas, Rudy Vallee appears only briefly (but enjoyably). In addition to numerous other incredible liberties that the script takes with Morgan's "life", insult is added to injury when no mention whatever is made of the star's Hollywood fling in such films as "Applause", "Roadhouse Nights", "Sweet Music", "Go Into Your Dance" and "Show Boat". In fact the "story" ends with a spurious, happy re- union stolen from "The Joker Is Wild".But what does truth matter? When the songs, the lighting, the director's firm control and occasional inventiveness (Curtiz just loves to work with a mammoth budget), the crowd and street scenes are so marvelous. The number and variety of sets, their depth, the vast number of extras, Curtiz's tight CinemaScope compositions, all overwhelm us with a fabulous sense of period. Above all, Ted McCord's superb black-and-white cinematography (some of the outdoor, Depression shots have the look and texture of Steiglitz photographs) entrances the senses with its wondrous lighting. Always most attractive just to look at, "The Helen Morgan Story" is a terrific example of Hollywood craftsmanship at its best. It's a shame it wasn't appreciated for the gem it is at the time of its original release. Most critics homed in on the fictitious story line, dismissed Blyth's impersonation, and let it go at that. I say, never mind the flaws. Judge the movie as entertainment. Is the story interesting, is the acting engaging, are the songs and singers absolutely captivating? My answer is yes, yes, yes!

vincentlynch-moonoi I don't know a lot about Helen Morgan...just what I learned from Wikipedia. But here's the problem with this film. One possibility is that the film -- though somewhat fictionalized -- basically portrays Morgan as she was. In which case she was a pathetic sap. The other possibility is that the film portrays her unfairly as a pathetic sap. Either way, there's little reason for admiring Helen Morgan...at least based on this film.Ann Blyth can, at times, be a little shrill. Of course, the ironic thing is that even though Blyth was an accomplished singer, and had been in many movie musicals, Warner Brothers used Gogi Grant's singing voice throughout the movie. Frankly, if they weren't going to use Blyth for her voice, there were other, better actresses available. Although, I must say that the scene with DTs is quite memorable, as are the closing scenes.Those who love Paul Newman probably won't like him very much in this role. His character is as bad a cad as you'll find, dumping Morgan, slapping her around, and manipulating her and everyone to his satisfaction. A pretty pathetic character to be playing.More likable is Richard Carlson as the other love of Morgan, and a wealthy businessman at that. Alan King is not bad as a small-time confidence man, but the role is so clichéd as to be worthless. Cara Williams has a role as a dance hall girl-type.Interesting, three contemporaries to Morgan, each of whom she had a professional relationship with, appear in the film in sort of cameo roles -- Rudy Vallee, a very young columnist Walter Winchell, and famed song writer and Morgan's former accompanist Jimmy McHugh.I found the end of the movie, though well-acted, to be disappointing. If one didn't know better, one would think blue skies were ahead. They forgot to mention that she died of cirrhosis of the liver at the young age of 41.Although I would have preferred another actress in the role of Helen Morgan, this film does have a lot going for it. Recommended...at least once.

jjnxn-1 Mostly fictional, miscast biographical hogwash of hard luck songtress Morgan. Ann Blyth, in her last theatrical feature, was the wrong actress for the title role, many were considered she was probably the least suitable, so the film starts off with a major flaw from the get go. Judy Garland whose style especially when young was compared to Morgan's would have been ideal. Another shortcoming is that although Blyth was a singer whose voice was relatively close to the real Helen Morgan's she is dubbed by Gogi Grant, also a fine singer but completely different from Morgan in sound and technique. If they were going to dub her why not use Helen Morgan's voice? Curtiz direction is unremarkable here, a few of his more customary florid touches would have helped greatly. Paul Newman who was just starting out when this was made is adequate but missing that loutish air that is needed for the reptile he is playing either Kirk Douglas or Robert Ryan would have been more suitable. The real Morgan story is a compelling one so this comes off as a wasted opportunity.

writers_reign This is as if one of the Lilliputians had been tapped by Hollywood to top-line The Lemuel Gulliver Story. If that doesn't fly how about Tab Hunter in The Frank Sinatra Story. Th't how ludicrous it is to cast Ann Blyh, a minor talent at best, as a charismatic star of the 20s and 30s. You can see the thinking. Morgan's hey day was the 20s and 30s and by 1941 she was dead, the handful of films she played in weren't being shown on TV so who - of the Hollywood target audience, approx 15 to 25 - is going to say THAT'S not Morgan. By far the best thing about it is the score, as loaded with standards as MGM's Love Me Or Leave Me two years earlier, another tale of a real life singer of the 20s and 30s done wrong by a gangster. Thing is Doris Day was far more credible than Blyth and has a better voice than Gogi Grant. Alan King is effective in support but this isn't a keeper.