Hellen I like the storyline of this show,it attract me so much

BlazeLime Strong and Moving!

Pacionsbo Absolutely Fantastic

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

JohnHowardReid Copyright 19 March 1951 (in notice: 1950) by Warner Bros. Pictures, Inc. New York opening at the Strand: 27 March 1951. U.S. release: 24 March 1951. U.K. release: 29 December 1951. Australian release: 26 March 1953 (sic ). 92 minutes.SYNOPSIS: Arriving in New York from London, an unknown musical comedy actress discovers that her mother is not the Broadway star she's supposed to be. NOTES: A re-make of "Honky Tonk" (1929) which starred Sophie Tucker and Lila Lee in the roles now played by Gladys George and Doris Day. The film was directed for Warner Bros by Lloyd Bacon. COMMENT: Doris looks absolutely stunning in this brightly colored Technicolor musical. She's in fine voice too. And though many critics complained about the story I thought it served its musical, comic and dramatic purposes well. Besides being an obvious peg for the wonderful songs, it allows both Billy De Wolfe and S.Z. Sakall some wonderfully comic opportunities, of which naturally they take full advantage. In addition to the dancing of the principals, I also enjoyed the ingenious De Mattiazzi specialty. Florence Bates and Anne Triola are both stand-out in the support cast. Gladys George is almost too convincing. Production values are lavish and credits A-1.OTHER VIEWS: Gorgeously costumed and presented, here's that ultra- pleasant, effervescent and highly photogenic Doris Day, singing and dancing with great vitality and style. Mr. Nelson offers agreeable support and has one vividly choreographed solo number that cleverly leads up to a spectacular finale. Aside from the lively title number (the opening of which has been cribbed from Busby Berkeley's Gold Diggers of 1933) and a nice duet with Day on the other side of a glass door, the other musical numbers are staged in a somewhat more routine, straight style, though still most agreeable. Unfortunately the story on which the numbers are pegged is somewhat less inventive. It's a simple variation on that old Apple Annie routine which Frank Capra filmed a couple of times and also rears its changeling head in such movies as "Lady For a Day". Still, the old story does allow S.Z. Sakall to delight his fans with unashamed mugging, and also provides a similar work-out for Billy De Wolfe (who seems somewhat jaded and understandably bored with his part here). It even slots in two songs for Gladys George. Plus some comic business for our favorite, Florence Bates. All this seems agreeable and even promising. But why does the silly story take itself so seriously? Why do the players act it out with such straight faces? Why is the direction so heavy-handed and tortuously paced? The wind-up is brief enough, so why is the lead-in to the plot so elaborately long-winded? Butler is certainly not the right director for this sort of frothy material. He has neither a deftly light touch nor a sense of pace and movement. He's too over-conscientiously routine. Fortunately, the movie is attractively photographed, costumed and set, even if the budget seems none too expansive. - JHR writing as George Addison.

Steven Torrey Isn't here a line in a movie where one of the characters is singing an old time favorite and attempting to pass it off as new--and the auditor says something like--"Yeah, I already remember that..." This 1951 movie brought out the old songs in a revue format--so that they are not old songs in new garb--but old songs in old garb.Doris Day sings "Just one of those things" in a tux and steals the show at the outset. Never mind she gives verve to a song about dumping a flame after a few dates. "Bye Bye mien Herr" from 'Cabaret' gives the same jazzy up-temps to the same topic of moving on quickly from one affair to another. But in any event--Doris Day knocks the song out of the park--so to speak.The comedy team of Billy de Wolfe and Anne Triola are a delightful comedy duet--actors acting as servants so they don't starve to death."Lullaby of Broadway" is a delightful romp, showcasing many talents to produce something lite and frothy and surprisingly enduring. The froth disguises something dark and central to the acting profession. People who are washed up too early for the wrong reasons--yet endure beyond reasonable expectations. The song "Lullaby of Broadway" is itself a ballad/ode of what amounts to frenzied and self-destructive lifestyle. Gene Nelson pretending he can't dance when he is a great dancer--all to seduce Doris Day; well that's trickery and deceit which she rightfully resents. And Doris Day's own mother is not a world class performer but a barely and rarely sober cabaret singer in a gin joint. "Your getting to be a habit with me" is one of those nightmare scenarios of addiction that no actor wants to fall into--and yet many do. And, of course, the whole premise of the movie to fool Doris Day into thinking this palatial residence actually belongs to her mother.Despite the dark central themes to the move, it appears light and frothy--one more deception, this time on the movie goer.One wonders how this movie could have been made with different actors and one suspects it couldn't be made any better.

rick-gleitsmann I'm watching "Lullaby of Broadway" right now during TCM's "Summer Under the Stars." The entire production looks good in color (especially Doris). But it's a 100% idiot plot. The whole Runyonesque deception that her mother is a washed-up drunk seems particularly unnecessary. Everyone is aware of this except her own daughter?I find the Gene Nelson's character Tom, who assumes Melinda is a slut, especially creepy. Maybe it's his slick veneer or the fact that he's practically stalking her. One Hollywood essential in the 50's was the happy ending. The easiest way to end a picture was just show that a girl who says "no" really means "yes, take me away." Everybody lives happily ever after. Times have changed, at least I hope so.As a musical, the song and dance numbers look great. I was unaware what a good dancer Doris Day was! There's no denying she is enormously talented performer, whether it's your cup of tea(for two) or not. She made a lot of show-biz pictures- all vehicles that highlight her considerable appeal (the only other performer who comes close is Debbie Reynolds). I hope she comes out of retirement long enough to make an appearance at this years TCM Festival.

Bobby Samadhi Light entertainment at its best, a great guilty pleasure for your pc.This film boasts surprisingly strong performances by a solid cast: let's say it, a cast humble enough to throw themselves into an odd sort of film: part melodrama, part musical, part fashion show for its star.Radiating joie-de-vivre, out-singing anyone of her time, serious one moment then tongue-in-cheek the next, Day is a star, an under-rated one these days.Gene Nelson's dancing is important to see if only to better understand Fred Astaire's. The Astaire difference was this: talent, yes, Nelson had it as well, but not the ability to bring us to the brink of something endless through his motions: to make you know he was on the edge of something vast and mysterious; to suggest a whole unseen world by dancing in this one. Bravo, Fred!