Why so much hype?

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Producer: Joe Pasternak. A Henry Koster Production. A Metro-Goldwyn-Mayer picture. Copyright 26 February 1946 by Loew's Inc. New York opening at the Capitol: 6 June 1946. U.S. release: April 1946. U.K. release: 24 June 1946. Australian release: 17 October 1946. 10,229 feet. 113 minutes.SYNOPSIS: Two Boston girls go to New York to find song and/or romance. NOTES: One of the top 36 boxoffice attractions in U.S.-Canadian cinemas for 1945-46.COMMENT: Bright and breezy musical especially in its first half before the plot gets too involved with grand opera and the aristocratic Lawfords. Mr Durante is in top form and has some really funny dialogue and made-to-order patter songs. The climax, an imaginary opera Marie Antoinette, obviously designed to utilize Adrian costumes from the Norma Shearer film, does not otherwise impress, especially as it is played straight when earlier on the whole notion of grand opera is gently ridiculed. Miss Grayson's voice as usual is poorly recorded. Melchior is hammy even when playing straight, Miss Allyson is much as usual. It is Mr Durante and the movie's supporting players that are its real joy. Harry Hayden in particular is given some delightfully stinging additional dialogue by James O'Hanlon and Harry Crane. Koster's direction is more lively than usual. Surtees has given it a nice period atmosphere and flavor with unusual-for-a-musical film noir lighting. Dance director Jack Donohue is at his best in the zesty Bowery numbers.

Here's a film that's a pleasure to view and hear. All departments work together, as does the talented cast, to make this a fun-filled experience.Jimmy Durante ties the various comedic elements together with spunk and verve. Katheryn Grayson sings her operatic selections beautifully, yet it's her skill in the honky-tonk numbers that surprises and delights. Likewise June Allyson works smoothly on several levels, as does Peter Lawford.The musical team has skillfully crafted operatic arias and montages for Lauriz Melchoir that shows off his glorious heldentenor marvelously. The entire production is fun-filled and thoroughly pleasant. It may seem like a modest effort, but there's a lot of solid craftsmanship at its core.

Nice turn of the century film where Kathryn Grayson comes to N.Y. to sing in a joint. Her presence there threatens a scandal in her native Boston as her uncle is the Republican candidate for mayor of the town.He comes with his wife to investigate and the fun starts. June Allyson is her sister and Jimmy Durante, the owner of the place where Grayson is singing. To save Grayson, Durante arranges for her to sing at the opera with the established Lauritz Melchior.Peter Lawford, falls for Allyson but thinks that Grayson is having an affair with his father.The picture becomes funny at times but needed technicolor to brighten it up.Ben Blue is funny as a drunken waiter and Melchior shows some comedic gift here.A pleasant film capturing the turn of the century musical traditions in America.

June Allyson takes full advantage of the chance to show off her comic talent in this charming film set in turn-of-the- century New York. Kathryn Grayson, who was at the time a bigger star, is in fine voice. Lauritz Melchior and Jimmy Durante make substantial contributions to the fun. It's the first time June Allyson and Peter Lawford were paired, and he is delightful. But it is June's film, and one of her best during her MGM years. Unfortunately, it wasn't filmed in technicolor.