SMALL TOWN GIRL was a 1953 musical from the MGM stable about a rich playboy (Farley Granger) who gets arrested for driving too fast through a small town and falls for the sheriff's pretty young daughter (Jane Powell). Nothing really special here, Granger and Powell are charming enough, but this film will always standout in my mind because of two musical numbers performed by supporting players Ann Miller and Bobby Van. Both of these numbers would later be featured in different installments of THAT'S ENTERTAINMENT. "You Gotta Hear that Beat" was a sizzling production number featuring Ann Miller dancing amongst a disembodied orchestra where you only see the arms/hands of the orchestra playing various instruments. The second number "Take Me To Broadway" featured Van as a human pogo stick, bouncing his way all over town, greeting people and interacting with people and places in town, but he never stops hopping. It's just an amazing number and because of these two musical highlights, SMALL TOWN GIRL is a film I will always remember.
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Isaac58551 December 2005
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bkoganbing9 August 2006Jane Powell gets to try a role first done by Janet Gaynor in a musical remake of Small Town Girl. Though she has top billing the best numbers in the film are given to Bobby Van and Ann Miller.
Playboy Farley Granger goes whizzing through Jane's small town and interrupts the church service. The cops clock Farley at 85 miles an hour and he's arrested and hauled before Judge Robert Keith. Farley's passenger is fiancé and musical comedy star Ann Miller. They're in a big rush to elope.
As it turns out the Judge is Jane's father and Farley's attitude earns him 30 days in the joint. Jane also has a boyfriend in Bobby Van, the son of the local department store owner, S.Z. Sakall. Of course she takes one look at handsome Farley and she shifts her romantic gears.
The big number that everyone remembers from Small Town Girl is Take Me to Broadway where Bobby Van acts like a human pogo going through the entire town or at least one very big MGM soundstage. The original film had James Stewart in Van's part and was considerably smaller.
Robert Taylor was in Farley Granger's part and wasn't quite as haughty or arrogant as Granger plays it here. Yet in both cases you can see why the small town girl thought Prince Charming arrived.
Small Town Girl is not the best MGM musical done, nor is it the best of Jane Powell's films for MGM. But it's entertaining enough. -
Small Town Girl is cute, fluffy and moderately entertaining. It tells the story of a handsome rich young man (Farley Granger) and the titular daughter of the small town judge who sentences him to 30 days in jail for speeding. Antics ensue.
There is much singing and dancing and Bobby Van has a long scene where he hops through town -- even with two or three cuts, it's still a whole lot of hopping!
What made me sit up and take notice, though, was Nat "King" Cole's number, set in a New York nightclub. It makes the film definitely worth watching, even worth buying. -
The tagline I quote above was prominently featured on the posters outside the Bay Theater in Pacific Palisades, California, where I saw this film in mid-summer of the year of its release. I hadn't yet entered my teens and, up to that point, had only seen "Singin' in the Rain" from among the treasure trove of M-G-M's greatest musicals. So with my admittedly undeveloped critical tastes, this amiable pastiche seemed pretty good. And Busby Berkeley's showstopping inventions - Ann Miller's tap dance among all those disembodied instrumentalists and Bobby Van's seemingly endless pogo dance through the small town of M-G-M's backlot (One can only imagine Berkeley slave-driving Mr. Van to achieve that amazing feat of energy and agility!) - are still moments I can distinctly remember from that first viewing.
Even when M-G-M wasn't adding a Midas touch to one of their musicals, the studio assembled some talented professionals both before and behind the cameras, and this one has its share. And for fans of Nat King Cole, one of the all-time greats, there's even a brief song in a nightclub (the sort of thing that M-G-M could easily excise to spare the sensitivities of white Southerners, as they did with Lena Horne's solos in previous Technicolor memories, although by the mid-Fifties, Mr. Cole's appearance was probably not removed for bookings below the Mason-Dixon line.) -
mes521 May 2006Does anyone know any behind the scenes info about the dance number "Take Me to Broadway" as performed by Bobby Van in this movie? It is comprised of several minutes of hopping. For example, did he do it in one take? Did he have to have special shoes that had major cushioning inside? Whose idea was it to have him perform a dance that consisted only of hopping? As someone who has suffered from shin splints, I think this choreography would make him a prime candidate for that or some other kind of injury as a result of this dance. Did he do special warm-ups? This just struck me as I watching the film on May 21, TCM channel. Some people will think it odd to focus on this, when the major dance number is Ann Miller's, but I just got to thinking . . .
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The plot to "Small Town Girl" is very sweet...and I enjoyed it. The dancing to "Small Town Girl" is amazing...and I marveled at it. But the film simply had too much in the way of singing that I found it, after a while, to be a bit exhausting.
The story is set, naturally, in a small town. A rich and entitled jerk (Farley Granger) goes speeding through the neighborhood in his car and is caught and brought before the judge (Robert Keith). Amazingly, Richard is NOT contrite and acts very haughty and entitled....and as a result he's sentenced to 30 days in jail. What's next? See the film.
The two dance numbers that simply blew me away was Ann Miller dancing among musical instruments where the bodies and heads of the performers are hidden. It's really hard to describe...you just need to see it. The other, and even more amazing scene is where Bobby Van is hop-dancing...again, it's hard to describe but you have to see it. Add to that Cuddles Sakal as well as Nat King Cole (as himself) and these alone are reasons to watch the film....even if the songs are a bit too many and not exactly memorable. -
TheLittleSongbird15 October 2016'Small Town Girl' is a pleasant and entertaining film, but it is a case of some parts faring much better than others.
One shouldn't expect too much from the story, which makes even the thinnest of ice seem thick in comparison and is so old-fashioned with very little variation that in the non-singing and dancing moments one can hear the creaks. Or the script, which does have some light-hearted moments and some sweet and amusing comedy but the more romantic parts lack warmth and momentum, and don't go looking for depth (know this is not the kind of film, but even for a comedy/musical/romance there is a lot of fluff and pleasant moments but not much more than that.
The supporting cast do fare much better than the leads. Bobby Van is an energetic charmer and Ann Miller is a sheer delight. Hearing Nat King Cole sing is always a pleasure, and S.Z. Sakall and Billie Burke sparkle. To be honest Van and Miller would have made better leads perhaps than Jane Powell and Farley Granger, whose performances or scenes are nowhere near as good or as memorable.
The problem by all means does not lie with Powell, who is cute as a button and radiates in charm, her voice bell-like in its clarity. The problems are her lack of chemistry with Granger, one gets the sense that they either didn't have much rehearsal or didn't get on, and with Granger, who is handsome but is a complete blank and looks like he took part in a bet, lost it and is regretting it on screen or something because he doesn't look as though he is enjoying himself one bit and it's draining to watch.
It is Van and Miller that bag 'Small Town Girl's' best scenes. For me, Miller's ingenious routine in "I've Gotta Hear that Beat" (one of my favourite dance numbers from her, and this is from such a talented performer whose dancing and routines were highlights in films she appeared in) is the highlight. Will admit to have not always liked Van's hopping routine in "Take Me to Broadway", on first viewing (which actually wasn't from this film, it was when it was featured in 'That's Entertainment II') it seemed bizarre and too silly a scene but on repeat viewing it is actually a lot of fun and the energy is astounding, whatever opinion one has of the number that it won't be easily forgotten is undeniable.
Cole's soulfully beautiful rendition of "My Flaming Heart", with Cole sounding as dreamlike as always, is another highlight. The scene does feel thrown in somewhat but when it features such a lovely song so beautifully performed that is forgiven very quickly. 'Small Time Town' looks great with the cinematography and costumes being especially pleasing, and while the songs themselves are not exactly timeless (as good as "My Flaming Heart" is, it's not one of Cole's greatest hits in a list that includes "When I Fall in Love" and "Unforgettable") they are very easy on the ear and they along with the dances accompanying them provide the energy, momentum and emotional impact lacking elsewhere in the film.
All in all, a decent film that is worth seeing for the supporting cast and the dance sequences but anybody wanting a good story, depth good lead performances and chemistry between the leads will find themselves short-changed. 6/10 Bethany Cox -
boblipton11 March 2020What's the Hungarian word for Gemütlichkeit? One of my best friends married a Hungarian from Michigan -- she was raised Episcopalian, I think, converted to Judaism and, as my friend says, "They must put something in the mikvah water."
I think it's something about Hungarians, though. In the British industry, was there anyone prouder of being English than Alexander Korda? Anyone who more loved the quiet bypaths of English wackiness than Emeric Pressburger? Who could George Bernard Shaw trust to put his Hibernian observations of the English but Gabriel Pascal? Over in these United States, if you wanted to make a movie called YANKEE DOODLE DANDY, would you think of anyone directing it except Michael Curtiz? STARS AND STRIPES FOREVER? Henry Koster.
If you wanted a producer for a hodge-podge collection of American variety acts mixed with a decent American family, then Joe Pasternak was your man. After he shaped Deanna Durbin's career at Universal, he moved to MGM, where he wound up in charge of their second musical unit. Among the films he produced was this one, directed by László Kardos, with S.Z. Sakall in a major supporting role. It starred Jane Powell, pretty much in the Durbin mode, with Ann Miller doing her brassy high-speed tap routines and Bobby Van, whose routines are so high energy that they make me tired to look at.
It's all very white bread and very minor and pleasant. It's not a great musical, like Freed's unit aimed at and managed to achieve with an astonishing regularity. However, it's a fine piece to round out a double bill with one of them. -
wfergie26 June 2005It's just too bad more people didn't appreciate Bobby Van when he was around. I've never seen him before, but I certainly will remember his energy and incredible footwork. Where are they now? 50 years seemed to have taken away the fun of making a entertaining musical. Watching rappers and boy bands has diminished our appreciation of what dance was all about. Donald OConnor, Fred Astaire, Gene Kelly, Danny Kaye all had desire that is lacking in movies now. Perhaps the cycle will return and will get away from Gangsta rappers and back to a style of entertainment that celebrated life rather than threaten it. Great work Bobby... Too bad I missed you. ......Wayne
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Not one of the great MGM musicals. But if you like them at all, you'll probably want to see Small Town Girl.
It's about what goes on when a New York playboy (Farley Granger) speeds through upstate Duck Creek, gets arrested, and has to do jail time. He's a bit of a spoiled brat, with a girlfriend who's a lead dancer on Broadway (Ann Miller). The daughter (Jane Powell) of the local judge (Robert Keith) can't stand him - but you know that won't last. Also around is the local boy (Bobby Van), the son of a merchant (S. Z. "Cuddles" Sakall). The kid has dreams of a big Broadway career as a singer and dancer.
The plot finds our Jane helping Farley out of jail for the night. He wants to see his girlfriend but claims it's his sick mom's birthday. They (and we) get to see Nat King Cole in a nightclub, singing the sultry, Burn Low, My Flaming Heart. We're introduced to his high society mother (the delightful Billie Burke). Farley's escape causes a big hoo-hah but it all gets resolved nicely by the end, of course.
There are imaginatively staged Busby Berkeley musical numbers. A couple of them were good enough to be featured in the That's Entertainment films. There's a memorable number where Ann Miller dances among disembodied human limbs that seem to be playing various musical instruments. There's also a cool bouncing dance performed by Bobby Van all over the small-town set. He just hops all over, like a kangaroo - that's the choreography. (Van said he was sick for a year after doing this number - it's not surprising). Bobby also does a socko number in his father's small town store; the lyrics go something like, "Hey, Mister Taxi Driver, take me to Broadway, to wonderful Broadway, that razzle dazzle heart of New York." The kid really knocks himself out.
The cast includes Fay Wray as Jane's mom and Chill Wills as the jailor.
Jane Powell is lovely, charming, and a beautiful singer.
It's a nice little show you will probably enjoy. -
ron-fernandez-pittsburgh15 July 2010SMALL TOWN GIRL is really a dated film. All the men are always in ties, even home at the dinner table. Girls were all made up and wore skirts and everything and everybody is squeaky clean. But wait, this is an MGM musical!! There are three musical numbers in this film that are worth catching. The two with Bobby Van (a Donald 0'Conner type) and one with Ann Miller. The plot is forgettable as it was meant to be, but somewhat fun while you're watching. This is one of Jane Powells lackluster performances and Farley Granger looks good. Look for Beverly Wills (Joan Davis daughter) in a brief but bright supporting role. One aspect doesn't make sense. Farley Granger receives a call from his butler saying the Jane Powell character is locked in his mothers fur closet and is told to come home to rescue her. He gets home and goes to the closet and simply opens it. Why couldn't the butler do it?????
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weezeralfalfa12 August 2014How often do you get two topnotch tap dancers of opposite sex in the same film. Yes, Fred and Eleanor, and Fred and Rita. Here, we have two very under-appreciated dancers and all around actors in Ann Miller and Bobby Van. And what luck, Busby Berkeley is the choreographer! But, this is not to say that the pure singing and screenplay is without interest, as well. Brodszky and Leo Robin composed some decent upbeat songs for particular situations or messages or for the dances.
Too many reviewers just highlight Van's cartoonish extended bunny hop around the town, with an uncredited musical background. Yes, this is quite a unique and interesting scene. Certainly, more interesting than Kelly's much ballyhooed "Singing in the Rain" number. But, in truth, it doesn't showcase Van's versatile dancing talent. Presumably, most any slim young man in good shape could easily learn to do this scene. Several reviewers mistakenly claim this is his "Take Me to Broadway Number". It isn't! This was a prior romp through his father's department store, in which he is demonstrating his dancing talent, dressed as Fred Astaire, hoping to become a Broadway star. This act is also quite impressive, and impressively staged, if shorter than the bunny hop scene. Although dressed as Astaire, this is more a Gene Kelly or Don O'Connor-type performance, with lots of bounding around on furniture and banisters. In contrast to Kelly's "Singing in the Rain", in which he is celebrating a new -found love, Van, in his bunny hop number, is celebrating the rejection of his marriage proposal to Jane's character, which his father pressured him into doing. Now , he is free to go to NYC from little Duck Creek, and pursue his ambition, without conflict from Jane, who wants to stay in Duck Creek. Van also had a third bouncy dance number, with Jane and a female chorus, in a park setting. In the song, they say they feel fine, optimistic, as small towners. This isn't bad either!. Hollywood sure missed the boat when it failed to groom Van as a big musical star. He will likely remind you of a mix of Don O'Conner and Ray Bolger in looks and dancing style.
Ann Miller plays her typical role as the sensuous 'other woman', sole dancer talent. Ann has 2 dance productions. The unique "I've Got to Hear that Beat", with musicians(supposedly) under the floor or behind the wall, and only hands and instruments showing above. Ann dances up a storm between and around the instruments. Lots of above shots, with Ann often in a spotlight, and an oversized shadow of a drummer often in the background. Later, in a more conventionally staged number, she dances to "My Gaucho", as a flamingo dancer, with a bevy of gaucho dancers. Shorter, and no overhead shots, but not bad either!
Earlier, while visiting snobbish big city Rick(Stuart Granger), in jail for arrogantly speeding through Duck Creek at 85 mph, Jane sings "Small Towns are Smile Towns", extolling an idyllic picture of slow-paced, friendly, small town life, in contrast to the supposed superficial bustle of big city life. Later, she sings "The Fellow I'd Follow", in Rick's opulent family mansion. This functions to suggest her incongruous warming up to Rick. Very formulistic! Meanwhile, Rick, who is engaged to Ann's character, is quickly warming up to Jane, setting the stage for a switcheroo. He's also OK to move to Duck Creek, having been won over by the character of the people there during his short stay. During his jail stay, Granger supposedly goes on a hunger strike, but is secretly supplies with goodies through his window by various hopeful female admirers, later including Jane.
The take home message is that some people are happiest in big cities, while others only feel comfortable in small towns. Where you grew up is not necessarily where you feel most comfortable as an adult. However, the bias is still clearly toward small towns. In addition to top musical talent, some wonderful character actors are included. Will Rogers-like Chill Wills serves as the town sheriff, while the inimical fuss body "Cuddles" Sakal serves as Van's department store-owning father, who wants Van to stay in Duck Creek. Billie Burke, who played the 'good witch' in "The Wizard of Oz", and was Florenz Ziegfeld's widow, is Rick's charming mother, who is won over by Jane's beauty, charming personality and singing. Robert Keith serves as Jane's father and the judge in Duck Creek: a town so informal that he sentences Rick to jail time while in his home, after a policemen brought Rick to his home. The film makes the point that church is important in promoting the sociability and morality of small town people, presumably more so than in big cities. We have a church scene near the beginning and in the finale, with Jane a lead singer in the choir. Seems everyone in this town goes to the same church!
Jane's MGM films from the late '40s and '50s nearly always included at least one other 'name' musical talent. Those that included some unusual dancing are generally the most popular in recent times. Ann Miller would return to do several specialty dances in Jane's last MGM musical "Hit the Deck", but without BB to direct them. -
SnoopyStyle15 August 2022Rick Belrow Livingston (Farley Granger) is arrogant, rich, and entitled. He's speeding to elope with Broadway starlet Lisa (Ann Miller). He's caught speeding through a small town and a judge sentences him to 30 days in jail. The judge's teenage daughter, Cindy Kimbell (Jane Powell), and the other girls are taken with the freewheeling handsome inmate. The town is holding a boxed lunch auction and Rick makes a large bid on Cindy's box.
This is a 50's musical although Nat King Cole's performance is probably my favorite. The old style music is not my favorite. The story is teen melodrama. I like the box lunch bit but the rest is forgettable. It's a simple old Hollywood musical. -
MicahG18 June 2000All in all, a less than impressive movie. Standard characters without any unique qualities and a story line that's been used in too many movies are what stand out in this bland romantic comedy. What saves the movie though are the dance numbers. Especially the famous Ann Miller scene where she's dancing amongst the musical instruments protruding from beneath the stage.
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Small Town Girl (László Kardos, 1953) is virtually unknown today, but two of its musical numbers have gone on to enjoy a life of their own. One is Ann Miller's 'I've Gotta Hear That Beat', included in the '70s smash-hit MGM compilation That's Entertainment!, which sees her prancing around a Broadway stage in that genuinely inimitable manner (and believe me, I've tried), accompanied by a string and brass section consisting only of arms thrust through the floor. The other, referenced in adverts and music videos and selected for That's Entertainment, Part II, is Bobby Van's spectacular four-minute jumping routine, in which he bounces around the whole town, shaking hands, banging dustbin lids and leaping over hedges. Beyond the simple joy of the spectacle (though it's worth noting that, rather subversively for the studio, Van is celebrating not having to get married), it's an impressive feat of endurance. Some of the takes within it are more than a minute long, which must have absolutely caned his knees and shins. With Tommy Rall and legendary choreographer Bob Fosse, Van was one of the trio of hoofers who lifted Kiss Me Kate from something very special to arguably the greatest MGM musical of them all, and he played a key part in another of my favourites, the blissfully entertaining college-set songfest The Affairs of Dobie Gillis, opposite Fosse and Debbie Reynolds.
Small Town Girl itself is fairly typical of producer Joe Pasternak's less thematically and creatively ambitious movies, which regarded small-town values as sacrosanct (as epitomised by Jane Powell), while somewhat contradictorily backing those who wanted to decamp to the big city to make something of themselves (like starry-eyed Broadway hopeful Van). The narrative is ye olde chestnut of a selfish urbanite - in this case boy racer Farley Granger, who passed away last month - getting trapped in an altogether more insular, innocent, slower-paced world, and being completely won over, thanks in part to a certain special lady. You think it might have been an influence on Doc Hollywood and Cars? I think you might be right.
Andre Previn famously said Pasternak had the "gift of mediocrity": never hitting the heights of a genius like Gene Kelly, but knowing what punters wanted and unfailingly giving it to them. I'm not sure that's quite true. Even aside from unassailable non-musical endeavours like Destry Rides Again and The Flame of New Orleans, several of the producer's films look simply wondrous today. Particularly Three Smart Girls - the intoxicatingly vibrant vehicle that launched teen singing sensation Deanna Durbin. And even after joining MGM in 1942 and slipping into a groove of fairly formulaic fare, Pasternak broke off to make trend-setting and artistically important smash-hits like The Great Caruso and Love Me or Leave Me, finding new protégés in Kathryn Grayson, Jane Powell and Mario Lanza, while giving Doris Day the opportunity - and the encouragement - to obliterate her screen image as vampy chanteuse Ruth Etting, opposite James Cagney's despicable crime lord, Moe Snyder.
Small Town Girl is one of Pasternak's safer endeavours; there are no morally repugnant gangsters on show here. It's a charming and straightforward musical full of pleasant characters, in which nothing too bad happens and the guy in need of reforming is just a bit flash. To some, the existence of a film in which one of the characters has dimples, people go to church and no-one gets shot in the face is the gravest insult imaginable, and one they can only compute through a torrent of caustic cynicism. Let's ignore them, shall we? There's nothing wrong with 'nice' - on the screen or off it.
He's about to start bouncing again.
First up, the diminutive Powell is a very attractive lead on which to hang such a virtuous film. Sweet and engaging without being overly naive, she was a gifted soprano, a fine hoofer (though she only dances once in the film, presumably because she was pregnant during filming) and could spark off anyone. Even Granger, who's not really putting in the effort here. Considering his character is a smug, devilishly appealing six-footer with hazel eyes called Rick, I didn't warm to him at all. Not that it matters, though, thanks to Powell and a supporting cast that includes such welcome faces as S. Z. "Cuddles" Sakall (Carl, the waiter, in Casablanca), Robert Keith, Billie Burke, Chill Wills, King Kong screamer Fay Wray, two scintillating specialty dancers - Miller and Van - and Nat "King" Cole. Some of the comedy is disarmingly funny, especially the interplay between Sakall and screen son Van.
The numbers were staged by the incomparable Busby Berkeley, the chap who created those eye-popping kaleidoscopic dance numbers in 42nd Street and the Gold Diggers series, later adapting these into 'water ballet' set pieces for Esther Williams' aquatic escapades. In addition to Powell's enjoyable vocal performances, several with a backing choir, we get her routine with Van ('Fine, Fine, Fine'), his two solo spots - the bouncing and 'Take Me to Broadway', which is simply phenomenal, as he skips and taps around a grocery store - and Miller's shaky-shaky one-two of 'I've Gotta Hear That Beat' and the lyrically-nondescript 'My Gaucho'. Still not enough? Then here's Nat "King" Cole, somewhat incongruously slapped into the narrative with a syrupy-voiced nightclub rendering of 'My Flaming Heart'. Ooh yeah.
You can quibble with Small Town Girl's flimsy narrative - which has been utilised more effectively elsewhere - and look at Granger with a beseeching expression that says: "Come on, you were amazing in They Live by Night; could you try a bit harder?", but this is still top entertainment: an immersive diversion with a winning atmosphere and a stack of knockout musical numbers. So shut your face, Previn, you're mediocre*.
*That's obviously not true, you're clearly very talented, but just give Pasternak a break. -
Typical Hollywood fanfare with rich playboy Farley Granger sentenced to 30 days for speeding in a tiny hick town. Engaged to Ann Miller, he protests his sentence to no avail, but gets the judge's daughter to get him out of the slammer for one night.
Ann Miller does two nice dances but her talents are largely wasted here along with Billie Burke, who plays Granger's mother. Missing in the film is that usual high-pitched voice of hers. Instead, she plays the wealthy mother without much fanfare on her part either.
Constant interruptions while saying grace come about due to the presence of the boyfriend of the judge's daughter, an aspiring dancer, who yearns for such a career on Broadway. Even his dad S.Z. Sakall is subdued here and only confuses the word pardon with something else. -
A feature-length episode of The Andy Griffith Show with musical numbers staged by Busby Berkeley. At least that's how it starts. Once the plot gets to its obligatory forward motion, then things are a little more, shall we say, plain. The principals were fine, but the supporting cast stood out more. My personal favorite was S. Z. Sakall, playing the type of role he did so well. The musical numbers were also fine, although Busby Berkeley really only had one in which he was able to go wild, that one being Ann Miller's big dance number, in which she taps up a storm on a stage filled with a sea of disembodied hands playing (miming) instruments. The ending this built up to was a happy one, but done in a rather clumsy way. That had to be the single weirdest use of the 'Hallelujah Chorus' in isolation I've seen in a movie. Almost as weird as Berkeley's fascination with bodies (or body parts) in motion. Overall, this was one I liked, even though it wasn't anything to rave about.
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ronfernandezsf20 October 2020Good for a B MGM musical. Quaint story line with some solid singing and dancing. Naturally totally unrealistic, but its a musical. Great Hopping though town by Bobby Van. Just three cuts can be noted. And how on earth did they get that dog to hop on cue???? Another of his dances in the store is fantastic. Rivals Donald o'Conner in Singing in the Rain. Ann Miller is always fun to watch, and her big number is another smash. But how could that number, with those underground men, possible fit on a small broadway stage???? One must suspend disbelief of course!! Our leading lady, Jane Powell, is as usual pert and appealing. Mr. Granger does what he can with a one note role. Other character actors do their best with what they're given. Amazing how all the men are always in suits and ties, even at home at the dinner table?? And does no one else work at the jail? When Granger leaves for the night, how did acquire the suit??? He had no other clothes or a suitcase when put in jail. Just asking.
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writers_reign19 May 2020Dorothy Kingsley got hold of some Industrial-Strength gossamer, dipped a quill in it and fabricated this yarn an amoeba with learning difficulties. Surrender to it, however, and it's a minor charmer with a quirky cast and some clever lyrics that Leo Robin couldn't find room for in Gentlemen Prefer Blondes. Robert Keith, road-testing his patriarch for Young At Heart, a judge who mows his own lawn and does his sentencing in his dining room, gives Farley Granger 30 days for speeding through Duck Creek, a wide part in the road. Granger is with Broadway hoofer Ann Miller, ostensibly they are eloping but that doesn't stop Miller dashing back to Broadway (Duck Creek is in Connecticut) to do her big number. Gaoler Chill Wills thinks he's still playing Mr. Neely in Meet Me In St Louis and judges wife Fay Wray seems to miss King Kong. S.Z. Zackall owns a department store that wouldn't be out of place on Madison Avenue in a town with a population of 4,000 souls. Zackall has a son, Bobby Van, a highly accomplished song-and-dance man who aspires to play on Broadway though it never occurs to him to take a bus there while Zackall wants to see sonny boy shackled to judges daughter, jane Powell. Granger has a parent tooo, Billie Burke, aka Glinda the 'nice' witch from The Wizard of Oz. This somewhat eclectic mix fits where it touches and includes some good numbers, arguably - this WAS 1953 - among the last of the melodic melody/literate lyric school. In my case there were two major faults with MGM, Kathryn Grayson and Jane Powell, technically there were three but Jeannette MacDonald was before my time, but despite my aversion to the soprano voice I found this easy to take.
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JLRMovieReviews13 June 2012There's nothing wrong about a small town and those living the small-town lifestyle. That's what city boy Farley Granger finds out, when he's stopped for going 85 in a 25 mile zone. When the sheriff's daughter, played by Jane Powell and who is the "Small Town Girl," sees him, she instantly takes a liking to him. Who wouldn't? But she doesn't admit it. When her father gives him 30 days in the clinker to prove a point, Farley becomes adamant that he isn't staying the full term, because it's ludicrous to stay that long. He even goes so far to withstand the food given him, at least the food made by deputy Chill Wills. (Other small town girls sneak in hamburgers through the window.) Farley was incidentally going to be married to Ann Miller, but with his incarceration, it's obviously postponed. But will it be altogether dropped? This lightweight musical comedy may not be that important, but I have not been so entertained and left feeling so good in a long time. Its energy and upbeat musical numbers are infectious, especially Ann Miller's two dance numbers and Bobby Van's hopping number. And, Jane Powell has never looked lovelier. Costarring S.Z. Sakall, Billie Burke, Fay Wray, and Robert Keith as Jane's father and the voice of reason, who wants to eat his dinner in peace, this is one small town story that's sure to please even the crankiest of city people.
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guswhovian8 August 2020Rick Livingston (Farley Granger) is imprisoned in the small town of Duck Creek for speeding, but he soon falls in love with Cindy Kimbell (Jane Powell).
Small Town Girl is a lesser MGM musical, but still quite entertaining. Farley Granger's character is a jerk, so it's hard to sympathize with him. Jane Powell is alright, and it's nice to see Fay Wray. Billie Burke and Chill Wills in bit parts. Nat King Cole appears briefly.
There's some quite good dance sequences. Bobby Van is wonderful as Ludwig, and his "Take Me to Broadway" number is great, while his "human pogo stick" dance is fantastic. Ann Miller is largely wasted, but she gets the surreal "I've Gotta Hear That Beat", which features disembodied hands playing instruments. -
mark.waltz21 August 2012As a musical comedy, "Small Town Girl" is not on par with MGM's top films in this genre. However, it is a basically pleasant movie, colorfully made and professionally performed. Jane Powell, the beautiful leading lady, lacks in decent material, relegated to unmemorable songs and a characterization that is pretty bland when comparred to supporting characters played by Bobby Van and Ann Miller. The small town innocence is there, although a production number with Van and Powell at a box social seems totally out of place. When Van breaks into a musical number in Papa S.Z. Sakall's store, pure joy erupts, and when he starts his delightful hopping number, the silliness doesn't matter. His elation becomes the audience's.] As for the story, I couldn't find myself believing wealthy New Yorker Farley Granger falling in love with Duck Falls resident Powell and planning to move there. I liked the fact, however, that his mama (Billie Burke) supported Judge Robert Keith's decision to arrest Granger and hold him for 30 days for speeding through town and contempt of court. However, that as a ruse in the screenplay to get Granger and Powell together in a romantic way just didn't ring true. Powell is charming and Granger is very handsome, but they shared no chemistry. As for Annie Miller, she gets some witty lines and a magnificent musical number (the lavish "I Gotta Hear That Beat!") staged by Busby Berkley that features huge drums and other instruments coming out of the stage with only the musician's hands appearing to play them. Pure genius on Berkley's part, and an equal visual treat as original as the "Our Love Affair" number in "Strike Up the Band!" where cakes and a fruit bowl become an entire orchestra.
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m-leschack28 January 2011I think this musical is highly underrated. Yes the plot is not particularly original, but how many are original. The plot and acting are not a strong point, but it's a musical. To me this is better than half the Astaire Rogers musicals which I do love. The singing by Nat King Cole and Jane Powell are superb. Plus there are so many wonderful character actors in this like SZ Sakal, Billie Burke and Chill Wills. Their comedy is really great. The dances are by Busby Berkeley and music by Andre Previn. How can you ask for more? It should be remastered and get higher reviews by the critics. I was overwhelmed by the Take me to Broadway number by Bobby Van. This is the best Ann Miller I have seen. She did at least two fabulous tap dancing numbers including a splashy flamenco dance near the end.
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richard-178716 October 2022This is set up to be a vehicle for Jane Powell, and that's where the problems begin. She gets several solos, all immediately forgettable, and then concludes the movie with the flabbiest, most uninspired rendition of the Halleluiah Chorus from Handel's Messiah that I have ever heard. Since her dialogue is uninteresting, this left her with nothing to work with.
Farley Grainger, her co-star, is even worse off. He couldn't dance or sing - we get to hear how badly he sang several times - so he had nothing to work with either. And there is NO chemistry between the two.
What's left to save the show? Bobby Van gets several spectacular dance numbers - he is the real star of the movie, no matter how the billing is set up - and Ann Miller gets two impressive but unmemorable tap numbers.
Those aren't great, but they are the only four numbers worth watching in this otherwise bland feature.
When you think that MGM was making musicals like *Singing in the Rain* at the same time, you can't help but wonder how the studio could have let such doomed-to-failure films as this get out at the same time.
Even if you love Jane Powell, there's nothing for you here. Just watch the Bobby Van dance numbers and forget the rest. -
jromanbaker19 July 2021Despite its appalling opening and ending(no spoilers)this is a splendid early 1950's musical. It is also a strange film in that it appears to uphold what it subverts. It manages to make a small piously religious town into a fantasy land of incredible set pieces, and only occasionally takes us to New York to show off Ann Miller at her very best. Farley Granger speeds too fast through this ' dot ' of a place as he initially calls it and is given 30 days in jail. Here he is well fed and eventually grows to like being behind bars, only escaping to New York once to his fiance Ann Miller before returning to his prison. Crazy ? Of course it all is, and the acting cast make it even crazier when the look of love starts to show in the face of the judge's daughter played beautifully by Jane Powell. The pious town also has the dancer and good actor Bobbie Van in it and the witty dialogue is thrown about like confetti. Add the idiosyncratic S. Z. Sakall and you have a small town that holds the best of Hollywood during that briefly short period, end of the 1940's to almost midway 1950's of delightful, unpretentious musicals. I love the film and if you are depressed by the world outside just sit down and enjoy its fantasy of a life that exists in dreams, and rarely has a place on earth, except in that dream place of once upon a time called the cinema screen. If hard to find hunt for it. And let the pious aspects of the film dissolve into dust and forget that these scenes were not necessary, unless of course you are pious yourself. A 9 for a near masterpiece of escapism.