Afouotos Although it has its amusing moments, in eneral the plot does not convince.

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Marva-nova Amazing worth wacthing. So good. Biased but well made with many good points.

JohnHowardReid Songs by Arthur Schwartz (music) and Leo Robin (lyrics): "I Happened To Walk Down First Street" (Carson, Morgan, Paige and Greene), "A Solid Citizen of the Solid South" (Carson and Paige), "Through a Thousand Dreams" (Morgan and Vickers, accompanied by Cavallaro), "A Gal in Calico" (Morgan, Carson, Paige, Vickers), "A Rainy Night in Rio" (Morgan, Carson, Paige, Vickers), "Oh, But I Do" (Morgan). Miss Vickers' singing voice dubbed by Sally Sweetland. Dances directed and staged by LeRoy Prinz. Music adapted by Frederick Hollander, arranged by Dudley Chambers, orchestrated and conducted by Ray Heindorf. Music director: Leo F. Forbstein. Copyright 28 December 1946 by Warner Brothers Pictures, Inc. A Warner Brothers-First National picture. New York opening at the Strand: 26 December 1946. U.S. release: 28 December 1946. U.K. release: 26 May 1947. Australian release: 22 January 1948 (sic). 9,483 feet. 105 minutes.SYNOPSIS: A musical highbrow (well played by Donald Woods) tries to stop the next-door nightclub from putting on a show.NOTES: "A Gal in Calico" was nominated for the year's Best Song award, but lost out to "Zip-A-Dee-Doo-Dah" from Song of the South.COMMENT: Engagingly acted by all concerned (especially by the lovely Martha Vickers and gold-digging Angela Greene), this is a bright, colorful musical comedy with two standout songs: "A Gal in Calico" and "A Rainy Night in Rio". The plot provides some amusing variations on the standard putting- on-a-show ploy and does tend to become a bit overloaded with material, presumably to ensure that all six of the principals (Morgan, Carson, Vickers, Paige, Sakall and Greene) enjoy a fair share of the action. Intending viewers are warned, however, that S.Z. Sakall manages to figure in rather more than a strictly equitable shake. For instance, he's not just a spectator of the musical numbers, but also tries to conduct the orchestra (whilst getting dressed, yet). I thought he was entertaining, but if you're not particularly partial to S.Z.'s visual and aural shenanigans, better give this Place a miss. On the other hand, everyone's favorite pianist (and mine), Carmen Cavallaro (later to win fame for his superlative dubbing for Tyrone Power in "The Eddy Duchin Story") is present both in person and on the sound track — and that is a major treat that surely no fan in his right senses would want to miss.

marcslope A boilerplate Warners mid-'40s musical, but a triumph for the Great American Songbook, this backstager has some gorgeous Arthur Schwartz melodies married to Leo Robin lyrics wittier than anything in the script. The Oscar-nominated "Oh, But I Do" is one of Schwartz' loveliest melodies ever, and the little-known "A Thousand Dreams" isn't far behind. There's "A Gal in Calico," which once it gets in your head simply won't leave (it's been in mine for days) and "A Rainy Night in Rio," part of the South American craze then hitting the Hit Parade. There's "A Solid Citizen of the Solid South," done in grimace-inspiring blackface, but actually a pretty good number if you can get past that. All are "diegetic" numbers, meaning they're part of the stage entertainment in the film rather than related to plot or character, and they're backed by luscious Warners orchestrations, which were brassier and jazzier than what the arrangers turned out at Paramount or 20th or MGM. To get to these goodies you have to sit through a lot of inconsequential backstage plot, not to mention the tiresome jowl-shaking of S.Z. Sakall and the badly dated comedy of Jack Carson. But there's Martha Vickers, pretty and appealing, and Janis Paige, always reliable for sex appeal and a tart way with a good line. And Dennis Morgan, a Warners staple in the '40s, who had more presence and testosterone than most of the singing-capon tenors movie musicals of the day typically turned out. Carson and Morgan were sort of Warners' Hope and Crosby and were teamed many times. This is one of their more tolerable efforts, thanks almost exclusively to the efforts of Messrs. Schwartz and Robin.

rube2424 For what it is, and it is simply a well crafted ball of fluff, THE TIME,THE PLACE and the GIRL is a delight. From Dennis Morgan crooning to Jack Carson clowning there are worse ways to spend a few hours. Best though is the Arthur Schwartz score with RAINY NIGHT IN RIO and A GAL IN CALICO rolling around in your brain days after the film is over. Check your brain at the door and sit back and relax. THE TIME THE PLACE AND THE GIRL is a real old fashioned charmer!!!!!!!!!!

Paul Petroskey A very funny movie. Dennis Morgan and Jack Carson are two guys who want to put on a musical, but they need a backer. Also hindering their plans is an orchestra conductor (S.Z. Sakall) who lives next door and doesn't like their "noise". Morgan simply has the conductor's daughter (Martha Vickers) - who is also an opera singer - fall in love with him. Then everyone gets along fine. Lots of good one-liners - Sakall gets a lot of the laughs. One of my favorite actresses, Janis Paige, also appears, as one of the show's stars (and Carson's girlfriend, if I remember correctly). There's one number that Morgan sings in blackface and there's a big production number with all the dancing girls dressed as cows that has just got to be seen to be believed! The only time I was bored was during the tap dancing - I have trouble watching that. Keep your ears clear for the best line, spoken by Vickers to Morgan - "I don't want the best, I want you!". I could say something similar to this film.