Jeanskynebu the audience applauded

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Curt Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

jjnxn-1 What could have been a potentially interesting glimpse at a talent that has receded in the public memory is instead a garish collection of disconnected scenes. To start the framing device of having George Jessel mounting a biography of Eva Tanguay is a wasted and contrived waste of time and should have been scuttled. Then the story such as it is tells you nothing of the real Miss Tanguay.Mitzi is a talented girl, an excellent dancer and pleasing personality but she is given little too work with but she does wear feathers well. None of the male actors are given characters that make any sense. At least Oscar Levant gives his patented amusingly dry performance and gets a spotlight piano number which is the best thing in the movie. The leading man Bob Graham playing the fictitious Larry Woods is so bland he practically evaporates from the screen and makes no impact in the picture at all. If you like flashy production numbers, staged by the legendary Jack Cole, than this has plenty to enjoy but if you want narrative structure along with them you won't find that here.

robb marsh It's a great pity but "The I Don't Care Girl" was indeed severely cut. Scenes and numbers were shuffled, scenes and numbers ended up on the cutting-room floor, scenes were re-filmed, Jack Cole was brought in (and even his 'I Don't Care' and 'Beale Street Blues' traded places so that the one designed to end the film, didn't, and the other one, with its scene to follow, did), until what was released (in 1953, rather than 1952) was the hodge-podge you see today. Yet despite all of the butchery the multi-talented Mitzi sets the screen on fire whenever she appears, whether it's in a dramatic scene or dazzling her way through those Cole-choreographed production numbers. Sadly we'll never see the complete version, or those cut numbers. Drat!

marcslope It begins, even before the credits, with an onstage production number in which Mitzi, as famed vaudevillian Eva Tanguay, emerges hoarse and uncertain onstage, thus forcing the stage manager to ring down the curtain. AND IT NEVER COMES BACK TO THIS. That's how ineptly cut this Fox backstager is, leaving a major plot thread unacknowledged for the next 78 minutes. Along the way we get some clichéd show-must-go-on situations, the unappealing Oscar Levant (especially unappealing when deprived of good dialog, which Comden and Green provided him the same year in "The Band Wagon") plunking away on some classical piano, David Wayne in what first appears to be the leading-man role but turns into an inconsequential supporting part, the pleasant-voiced Bob Graham as Mitzi's love interest, George Jessel playing himself pretending to be a nice man, and several big, big production numbers. These have nothing to do with the vaudeville milieu and are set to undistinguished music, but the color's great, and Gwen Verdon gets to do some sinuous Jack Cole choreography in one of them. The whole thing's framed in a desperate-looking "Citizen Kane" conceit, as two studio boys are exhorted by Jessel to "come up with the REAL Eva Tanguay story," but the movie never wanders anywhere near the real Eva Tanguay story -- maybe it just wasn't that interesting. Worth looking at for the blazing Technicolor, the dances, and Mitzi, who's never less than professional, and never more.

Williams Not the greatest of musicals I've ever seen, but I was fascinated by the combination of Mozart & The Johnson Rag. The intricate dancing was dazzling & I replayed this sequence several times. Turns out that the Italian lyrics were not the original ones but the combination of Mozart & jazz dance steps I thought were brilliant. One of the most intriguing dance routines I've seen. Being 20th C Fox & not MGM, this has never been given the credit it deserves. Oscar Levant, as always, was a bonus.