
| Rich, Young and Pretty | |
|---|---|
Theatrical release poster |
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| Directed by | Norman Taurog |
| Produced by | Joe Pasternak for MGM |
| Written by | Dorothy Cooper (story) Sidney Sheldon |
| Starring | Jane Powell Danielle Darrieux Wendell Corey Fernando Lamas and introducing Vic Damone |
| Music by | Sammy Cahn (lyrics) Nicholas Brodszky (music)[1] |
| Cinematography | Robert H. Planck |
| Editing by | Gene Ruggiero |
| Distributed by | Loew's[2] |
| Release date(s) | July 24, 1951 (New York) August 3, 1951[2] |
| Running time | 95 min |
| Country | United States |
| Language | English |
Rich, Young and Pretty is a 1951 musical film produced by Joe Pasternak for Metro-Goldwyn-Mayer and directed by Norman Taurog. It was written by Dorothy Cooper (story) and Sidney Sheldon, starred Jane Powell, Danielle Darrieux, Wendell Corey, and Fernando Lamas, and introduced Vic Damone.
The film is the story of Elizabeth, a wealthy Texas rancher's daughter (played by Powell). Elizabeth accompanies her father (Corey) on a visit to Paris, where her mother (Darrieux) lives; while in Paris, she meets Andre (Damone), an eager young Frenchman. The father tries to keep her from marrying the Frenchman and thus repeating the mistake he had made when he married her mother.
The film was Darrieux's first Hollywood film since 1938's The Rage of Paris.[3]
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MGM promotion for the film emphasized the film's "songs rather than its patter"[1]; Sammy Cahn wrote the lyrics and Nicholas Brodszky the music for several songs, including "Wonder Why" (which was nominated for an Academy Award for Best Original Song). Other original songs by Cahn and Brodszky include "We Never Talk Much (We Just Sit Around)", "How D'Ya Like Your Eggs in the Morning?" and "I Can See You", both of which received radio airplay; "I Can See You" was also a jukebox favorite.[1]
The film also features a "studied going over"[1] of songs such as "Deep in the Heart of Texas" (written by June Hershey and Don Swander), "There's Danger in Your Eyes, Cherie" (written by Jack Maskill, Harry Richman, Pete Wendling) and "Old Piano Roll Blues" (written by Cy Coben).
Time said the film was "aglow with Technicolor and plush sets" and said it treated a "light cinemusical subject with the butterscotch-caramel sentimentality of the bobby-soxers it is designed to please"; the film "tackles its situations without verve or humor, and handles its lightweight problems as ponderously as if they had been propounded by Ibsen in one of his gloomier moods."[3] Bosley Crowther of The New York Times called it "pretty as a picture postcard and just about as exciting."[1]
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