Scanialara You won't be disappointed!

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

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

Dunham16 Columbia pictures tried for the first time in COVER GIRL to make a high budget film. Many inventions pave the way for future movies. One is the flashback as several scenes set forty years before the action. One is an out of character choreographed sequence when Gene Kelly dances with his alter ego his own choreography. One is a hodge podge of themes as the comedy routines of Stanley Donen, Phil Silvers and Gene Kelly alternating with Rita Hayworth's brilliant portrayal of a poor girl reaching for her dreams at the expenses of giving up her happiness. The harsh color pallet of the forties and the less brilliant panning shots of the choreographed sequences are the reasons I do not rank this academy award winning box office smash higher.

jacobs-greenwood Rita Hayworth plays two characters and the title role in this musical comedy which won an Academy Award for Best Musical Score; the film also received Oscar nominations for its Color Art Direction-Interior Decoration, Cinematography and Sound; its Jerome Kern-Ira Gershwin original song "Long Ago and Far Away" was also nominated. It was directed by Charles Vidor, with a story by Erwin Gelsey and a screenplay by Virginia Van Upp; Marion Parsonnet and Paul Gangelin wrote the adaptation.Hayworth plays chorus girl singer-dancer Rusty Parker (and her grandmother Maribelle Hicks in flashback) opposite Brooklyn club owner and fellow performer Danny McGuire, played by Gene Kelly. Phil Silvers plays Genius, the third wheel and comedian in the trio that's struggling to make it big; they spend every Friday night at Joe's (Edward Brophy, uncredited) bar hoping to find a pearl in an oyster. When Rusty hears fellow chorus girl Maurine Martin (Leslie Brooks) discussing her dream to "get out of this dump and become famous" by auditioning for Vanity magazine's cover, she too decides to give it a try. But Maurine intentionally gives her some bad advice such that Rusty blows her chance with the fashion magazine's Cornelia 'Stonewall' Jackson (Eve Arden). Model Jinx Falkenburg appears briefly, as herself. Otto Kruger plays Vanity's owner, John Coudair; Jess Barker plays Coudair opposite Hayworth's character in the flashback sequences.Cornelia and Coudair go to McGuire's club one night to take another look at Maurine and he "discovers" Rusty, who bears a remarkable resemblance to his first love, singer-dancer Maribelle Hicks (Hayworth again), who'd left him at the altar for a piano player. Coudair puts Rusty on the next cover of his magazine and suddenly McGuire's Brooklyn club is all the rage. When Cornelia and Coudair take Broadway producer Noel Wheaton (Lee Bowman) to the club, he falls head over heals for Rusty and Coudair is only too happy to facilitate their introductions. Wheaton sends her flowers every day (via Billy Benedict's uncredited delivery boy) and, with Coudair's help, manages to sign her for his Broadway show. Naturally, this jeopardizes Rusty's relationship with Danny, whose jealously causes him to exacerbate the situation. Kelly performs a remarkable Stanley Donen-choreographed dance routine with (a ghost-like double exposure version of) himself. Danny and Genius enter military service - there's a war going on - while Rusty stars in Wheaton's show and drinks to salve her lost love. She walks down the aisle with Wheaton just like her grandmother had with Coudair, jilts him just the same, and returns to Danny at Joe's, where Genius joins and the three of them happily dance to the end, together again.

jc-osms Never mind the studio with more stars than there are in heaven, this war-time musical has more colours than there are in a rainbow. "Cover Girl" really is a feast for the eyes and one can imagine it cheering up cinema-goers of the day and taking their minds off events overseas.The plot is a little silly as it tends to be in so many musicals I guess as lovely show-girl Rita Hayworth finds herself torn between true love for a jobbing choreographer (Gene Kelly obviously) and an ardent suitor who's a rich theatre-owner, in almost exactly the same dilemma as her identical grandmother forty years ago. Her present-day pursuer is coincidentally sponsored, if that's the right word, by an even richer publishing magnate on the search for the face of the year to emblazon on his magazine's cover, who wouldn't you know it was the spurned lover all those years ago. The latter scenario gives Hayworth the opportunity to dress up in turn-of-the-century costumes and sing (albeit her vocals are obviously dubbed) more old-fashioned Vaudevillian numbers. The outcome in both time-frames naturally is never in doubt.Employing the familiar device of a pair of love-birds (Kelly and Hayworth) and their tag-along pal, on this occasion a slightly camp Phil Silvers of all people, the film is undemanding entertainment, if not, in my opinion, of the very best of its type. The songs I'm not totally familiar with and sound to my ears pleasant if not outstanding. Charles Vidor directs solidly and occasionally stolidly, the camera staying fairly static throughout especially for the tiresome cavalcade of contemporary popular woman's magazine covers and Hayworth's ancestor's hackneyed routines of yesterday, including the worst attempt at a Cockney accent until Dick Van Dyck in "Mary Poppins".The best sequence is undoubtedly when Kelly dances with his own bad self in a routine reminiscent of similar trick-devices employed by the great Astaire. Hayworth however holds her own in her own numbers and photographs beautifully in glorious colour. Neither has to overstretch themselves in the straight-acting stakes and it's probably fair to say they don't try too hard anyway, but one can still easily imagine this light and bright movie cheering up war-time audiences back in the day.

SnoopyStyle Rusty Parker (Rita Hayworth) is a chorus girl dancing at Danny McGuire(Gene Kelly)'s Night Club in Brooklyn. Genius (Phil Silvers) is the m/c performer in the club. She wins the Cover Girl spot in Vanity magazine when she reminds publisher John Coudair (Otto Kruger) of his lost love Maribelle Hicks. Showgirl Maribelle had left John at the altar for her true love, the piano player. It turns out that Maribelle is Rusty's grandmother. Coudair's friend wealthy theatrical producer Noel Wheaton takes an interest in Rusty both personally and in his Broadway show.Rita is a better bombshell than a young ingénue. She doesn't really fit the innocent young thing quite as well. It's great that she's dancing up a storm in this with Kelly and Silvers. The comedy doesn't work well especially with Gene Kelly being possessive of Rita. Don't get me wrong. I get it. I wouldn't want her to go off to do the magazine and everything else after. I would want her to only be in my show too. For the romance to really work, he has to do the best for her no matter what. It's the self sacrifice that sells a true romance. The struggle in Kelly should not be as hard as it is and it takes him too long to get there. It doesn't give Rita's character enough time to change. The dancing is well done with a few good sequences. There are some really big sets for Rita to strut her stuff. Rita is dubbed but that's the standard operating procedure at that time.