There is no form of cinema that has gone out of fashion quite so substantially as the musical, and though not purposefully, there's no other that I've engaged with so little. That especially goes for mid-century studio pictures that distinctly tie stars and producers together in the type of emphatically staged, choreographed fare that seems so particular, at least in the public imagination, to the 1950s. With all this said, it's hard not to plainly be charmed by the simple, earnest entertainment that 'The I don't care girl' represents. I could foresee wearing out the welcome of that five-letter word within the next few moments, as the film is oozing from top to bottom with irrepressible charm: in the honest countenances of its cast, in their sprightly performances, in the vibrant displays of song and dance, in the witty dialogue and scene writing, and in the very construction of the narrative that by more recent standards feels somewhat unconventional. This is really just such a joy!
I very much appreciate the detail and artful consideration seen in the set design and decoration, hair and makeup, and not least of all the costume design that in telling the story of Eva Tanguay is so essential. In other titles such exceptional aspects would simply round out the presentation of light and sound that is dominated by concrete storytelling, but here they are critical - owing to the specific content, but also to the nature of the production as indicated. As these elements build the literal structure of each scene, every passing moment is then filled with tremendously clever writing - by which I mean both the screenplay, and the music. I cannot overstate how delightful and unexpectedly invigorating, and even entrancing, each number is. The tunes and their lyrics are sharp, lively, and engrossing, and the choreography is utterly terrific. Meanwhile, though less physically demanding, the broad scene writing and any given line is just as absorbing - smart and dynamic, rich and compelling. There is a great deal of heart that was poured into this feature, and I admit I'm surprised by just how much and how quickly I fell in love with it.
Of course none of this is possible without a brilliant assemblage of players to bring the film to life, and 'The I don't care girl' is overflowing. Everyone here demonstrates fine range, nuance, personality, and physicality in realizing their characters. Above all, though, Mitzi Gaynor is absolutely riveting in the foremost role as Tanguay. Even without the magnificent set pieces, sartorial arrangements, chords, and fluid movements that define the music selections herein, Gaynor could carry these scenes all by herself with her exquisite charm, presence, and utmost skill - and still, in the slightly more quiet scenes of personal drama, she's no less capable and captivating. And though Gaynor is most prominent, so it is down the list of credits with all others involved here, including Oscar Levant, Bob Graham, David Wayne, and Hazel Brooks as the various figures in Tanguay's life.
If there's any flaw here, it's that the sequence of events is sometimes smashed together with a brusque inelegance that makes the whole come off as contrived, and unconvincing. It's an unfortunate indelicacy - though to the credit of cast and crew alike, they very ably roll with the punches and smooth over the rough edges as best as they can. It's also perhaps worth noting that any cursory reading of Tanguay's life reveals that the fictionalized rendition concocted for this feature is a sterilized reduction of a figure whose exploits onstage and off were all but legendary. Still, in any event, these seem like minor detractions compared to the bewitching, charming, robust fun that the feature otherwise represents. It's ever so marginally imperfect, but every possible facet is so roundly superb that it's easy enough to overlook the blemishes - with, once again, star Mitzi Gaynor and the musical numbers standing out most of all. I couldn't begrudge anyone who engages honestly with the title and finds that it's not their proverbial cup of tea; I once would have included myself in the same camp. However, for anyone open to the wide variety of entertainment that cinema has to provide, and especially for those viewers who admire the films of past eras, 'The I don't care girl' is a fantastic, mesmerizing, lovely good time that's worth far more than the 79 minutes it takes to watch. As far as I'm concerned this is a must-see, and earns my enthusiastic recommendation!
I very much appreciate the detail and artful consideration seen in the set design and decoration, hair and makeup, and not least of all the costume design that in telling the story of Eva Tanguay is so essential. In other titles such exceptional aspects would simply round out the presentation of light and sound that is dominated by concrete storytelling, but here they are critical - owing to the specific content, but also to the nature of the production as indicated. As these elements build the literal structure of each scene, every passing moment is then filled with tremendously clever writing - by which I mean both the screenplay, and the music. I cannot overstate how delightful and unexpectedly invigorating, and even entrancing, each number is. The tunes and their lyrics are sharp, lively, and engrossing, and the choreography is utterly terrific. Meanwhile, though less physically demanding, the broad scene writing and any given line is just as absorbing - smart and dynamic, rich and compelling. There is a great deal of heart that was poured into this feature, and I admit I'm surprised by just how much and how quickly I fell in love with it.
Of course none of this is possible without a brilliant assemblage of players to bring the film to life, and 'The I don't care girl' is overflowing. Everyone here demonstrates fine range, nuance, personality, and physicality in realizing their characters. Above all, though, Mitzi Gaynor is absolutely riveting in the foremost role as Tanguay. Even without the magnificent set pieces, sartorial arrangements, chords, and fluid movements that define the music selections herein, Gaynor could carry these scenes all by herself with her exquisite charm, presence, and utmost skill - and still, in the slightly more quiet scenes of personal drama, she's no less capable and captivating. And though Gaynor is most prominent, so it is down the list of credits with all others involved here, including Oscar Levant, Bob Graham, David Wayne, and Hazel Brooks as the various figures in Tanguay's life.
If there's any flaw here, it's that the sequence of events is sometimes smashed together with a brusque inelegance that makes the whole come off as contrived, and unconvincing. It's an unfortunate indelicacy - though to the credit of cast and crew alike, they very ably roll with the punches and smooth over the rough edges as best as they can. It's also perhaps worth noting that any cursory reading of Tanguay's life reveals that the fictionalized rendition concocted for this feature is a sterilized reduction of a figure whose exploits onstage and off were all but legendary. Still, in any event, these seem like minor detractions compared to the bewitching, charming, robust fun that the feature otherwise represents. It's ever so marginally imperfect, but every possible facet is so roundly superb that it's easy enough to overlook the blemishes - with, once again, star Mitzi Gaynor and the musical numbers standing out most of all. I couldn't begrudge anyone who engages honestly with the title and finds that it's not their proverbial cup of tea; I once would have included myself in the same camp. However, for anyone open to the wide variety of entertainment that cinema has to provide, and especially for those viewers who admire the films of past eras, 'The I don't care girl' is a fantastic, mesmerizing, lovely good time that's worth far more than the 79 minutes it takes to watch. As far as I'm concerned this is a must-see, and earns my enthusiastic recommendation!