Word: connore
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There's No Business Like Show Business (20th Century-Fox) is another picture that does a lot of big-name-dropping -Ethel Merman, Dan Dailey, Donald O'Connor, Mitzi Gaynor, Marilyn Monroe and Johnnie Ray-and some of the names drop with a big thud. The show is an Irving Berlin potpourri, containing some good old sweetmeats along with a few fresh-picked sour apples. The mixture will probably simmer steadily at the box office, even though fussy moviegoers feel they have reached the Berlin point. Singer-Dancer Mitzi Gaynor has a figure that suggests a finely machined...
...side of the U.A.W. was the Rev. William ("Father Bill") O'Connor, a labor priest who has fought for 22 years in Rock Island for what he calls "vigorous American unionism," often over the protests of Quad-City* businessmen. In the last seven years Father O'Connor has set up 30 labor schools for workingmen in his district to fight Communist infiltration, notably in the Farm Equipment Workers union, which was thrown out of the C.I.O...
With the election in doubt, Father O'Connor called on his friend Msgr. T. J. Jordan, dean of ten Rock Island-East Moline Roman Catholic churches for support. On Sunday before the election, the parish priests read an announcement of Msgr. Jordan from the pulpit: "The issue is simple-the choice of C.I.O.-U.A.W., a good American union, or Communist-dominated U.E.-F.E. Good Catholics, who know the evils of atheistic Communism, should vote . . . C.I.O.-U.A.W." Across the Mississippi in Davenport and Bettendorf, Iowa, another seven priests joined the campaign. After the sermons, two U.E.-F.E. shop stewards bolted...
With its entertainers stretched from one end of Cinemascope to the other, There's No Business Like Show Business bristles with fast-paced song and dance routines that drag only when the projectors grind Marilyn Monroe across the screen. She is usually followed by a drunken Donald O'Connor, intent on being a nimble bad boy who dances with statues after Marilyn tires of the whole business...
...mixture is a pleasing serum of Irving Berlin's tunes and a splashing does of technicolor. Ethel Merman is the film's biggest asset, launching into her songs with a driving enthusiasm that shames Dan Dailey, who is busy worrying about his errant showtime son, Donald. O'Connor hoofs and melodizes in his usual manner, but looks like the Soap-Box Derby Winner with a Cadillac when he romances with a healthier and heftier Marilyn. For all her eye and hip rolling, Monroe is unable to project effectively as she did in Gentlemen Prefer Blondes. She mouthes through several enticers...