The true Coney Island, corny, bawdy and brash, evidently wasn't deemed sufficiently colorful for George Seaton, scripter of this film, so he just hung the title on what amounts to a 95-minute audition of Betty Grable's chassis and legs - in color.
The true Coney Island, corny, bawdy and brash, evidently wasn’t deemed sufficiently colorful for George Seaton, scripter of this film, so he just hung the title on what amounts to a 95-minute audition of Betty Grable’s chassis and legs – in color.
Slowness marks the story all the way; also sameness. Both these negative factors were inevitable in view of the fact that Grable is either dancing or singing, or both, in much of the running time. Remainder is taken up by a flash of the Coney Island midway and to sustain an oft-told story about two pals after the same girl.
Only in one musical number is Grable a boff, and that’s her brownskin take-off of ‘Miss Lulu from Louisville’, a pictorial review of derriere exercising. Her other Robin-Rainger songs are ‘Take It from There’, ‘Beautiful Coney Island’ and ‘There’s Danger in a Dancer’, latter given one of those out-of-this-world-except-in-Hollywood mammoth productions. None of the tunes is distinguished.
