#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Rusty Parker, a red-headed leggy dancer at Danny McGuire’s Night Club in Brooklyn, wants to be a successful Broadway star. She enters a contest to be a ‘Cover Girl’ as a stepping-stone in her career. She reminds the publisher, John Coudair, of his lost love, showgirl Maribelle Hicks. He was engaged to Maribelle, although his wealthy society mother made fun of her. Maribelle left John at the altar when she saw the piano at her wedding. It reminded her of the piano-player she truly loved. Rusty is Maribelle’s granddaughter and there are musical sequences with Maribelle dancing to songs from the beginning of the 20th century. Rusty lands on the cover of her grandmother’s former fiancé’s magazine (as a bride). She is pursued by Coudair’s pal, the wealthy theatrical producer, Noel Wheaton. He produces a lavish musical to star Rusty, surrounded by real cover girls of the mid 1940’s. Rusty runs down a huge spiral into the arms of dozens of men who seem clumsy next to her ethereal dancing. But her success threatens Danny McGuire. He expressed his distress that his girlfriend will find success without him in Kelly’s famous dance with himself, ‘Alter Ego’. He and his sidekick, Genius, leave New York and entertain soldiers fighting in World War II. Rusty agrees to marry Noel, dazzled by success, security, and his power and money. But she drinks and loses weight because her heart belongs to Danny. She receives a symbolic pearl with great power and tells Coudair and Wheaton that she must spend her life with the man she loves.
Plot: A nightclub dancer makes it big in modeling, leaving her dancer boyfriend behind.
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|6.8/10 Votes: 5,246|
|6.4 Votes: 55 Popularity: 4.706|
Ignore the cheesy first dance–this one is vivid and classic in many ways
Cover Girl (1944)
The war is on, and this musical covered two fronts–escapist entertainment, and good old leggy girls for the guys in uniform (those who got to see it). Betty Grable may have been the unofficial pin up actress in wartime, but Rita Hayworth was one of the real hotties of the 1940s, and another G.I. staple, and she is the visible star of this very colorful musical.
The other star, secondary except in name, is Gene Kelly, who is actually a relief in his scenes, adding some stability to a sometimes frivolous and girly musical. Hayworth is great as a presence, too, for sure, and she does do her own dancing, but her singing voice is dubbed by another vocalist. Third in importance is Eve Arden (for me) playing her usual world-weary wit, in this case in the center of the cover girl search.
An interesting if minor trick to the plot early on is the way they create two plots in two time periods, the present (1944) and forty years earlier. So the musical numbers (and lavish costumes) vary from one period to the other, with Hayworth providing the link. Most of the time, thought, it’s the early 1940s with the usual competing romances, and a striving for glory takes off. This was Hayworth’s biggest success to date, and she was married to Orson Welles at the time. The movie was a hit, both with audiences and with critics. It even won an Oscar (for the music).
How does it compare to other musicals? Well, for one thing it has totally vivid color, I mean vivid, true three-strip Technicolor (the ultimate), and it helps. The dance numbers are on obvious sets, carefully and beautifully designed. Kelly was instrumental in making the dance numbers work, even dominating the director (Charles Vidor) on this score. You might even see hints of his later more famous musicals (a street scene has echoes of “Singing in the Rain” in set design, without the rain–a cop even ends the scene in both cases). The dancing is something of an evolution from the 1930s Astaire-Rogers dancing which was heavily tap and ballroom kinds of couple numbers. Here we see more choreographed integration with the plot and the scenes.
The story, as the title suggests, has a great theme. Rita’s character, Rusty Parker (she has reddish hair, which is common in these Technicolor affairs) is trying to be a cover girl for a magazine contest. Of course, so is everyone else in the country. And they bring it to an amazing climax by presenting “covers” designed for all the major magazines, the real thing from Cosmopolitan to Look. The actual magazines around the country got on board with the movie while it was being made and had their own contests for their covers. One dance number features each of the winning covers, seen through a giant camera lens, and each of the winning girls–so the cover models got a small dose of Hollywood stardom, too. It’s fun, and clever, and it sold the film big time.
There is an odd mistake in the movie–when the original Variety cover with Rusty Parker on it is pinned up by her dance friends and rivals, it shows a picture of her looking at the camera. When the camera pulls back for a wider view, it shows a different cover! Parker is looking to one side. Pretty ridiculous boo-boo.
I can’t over emphasize how much the production values of the film support it. The color, the photography, the set design, and the editing are all really fabulous. There are two photographers listed, and one is Rudolph Mate who has a number of great Hollywood films to his name (as well as a true legend, the German/Danish “Vampyr” from 1932). Technicolor consultant Natalie Kalmus is in top form (she insisted on certain colors and color pairings that worked best with the film stock).
Kelly was loaned from MGM (to Columbia) for the movie, and he was given liberties in production, making his career jump two notches. The choreography is his, and MGM began to pay attention to him at this point. The great number where he plays against his ghost on the streets is inventive and fun. The production is high here, with true Technicolor, but it lacks the high standards of MGM (see “Singin’ in the Rain” for some better echoes). There are lots Broadway based visuals, with sets and contrivances. It only goes so far, and it’s so infected by the “cover girl” mentality it drives any normal person not to boredom but to disappointment. I know if I say it’s sexist many people think I’m just not getting it, or I’m applying a 21st Century filter to a normal situation back then. But it’s an objectifying movie with all the worst stereotyping clichés you can write into a script. And the fact remains that neither Kelly nor Hayworth are what you would call great actors. Likable (and pretty) but limited in their range. It’s a musical, yes, and it gets around to real music eventually, and it’s no less than Kern and Gershwin. The great song is a quiet number between them, Long Ago and Far Away. Some of the other songs are formula stuff, and you have to hang in there. In fact, you start to realize you are being patient a lot, waiting for the movie to rise up.
1944 may be long ago and far away, but the beauty of this film is here to stay.
What is essentially a very simple story ends up becoming a musical classic in this Columbia musical from the days of World War II that had soldiers clamoring for Rita Hayworth photos and home front movie audiences standing in line for hours to see. Even if she had never played Gilda, Hayworth would have entered screen immortality for the magnetism she possesses in this movie, in addition to the two films she had earlier starred with opposite Fred Astaire.
While Rita had been seen on screen in color before (“Blood and Sand”, “My Gal Sal”), Technicolor really falls in love with her in this outstanding musical. She plays a modeling hopeful who goes to the top of her profession after becoming a successful musical star, and ends up engaged to a stuffy heir (Lee Bowman) to a fortune. In denial that she’s really in love with hoofer Gene Kelly, Hayworth prepares for a life of boredom while deep down inside, she’s anxious to dance again down the street with him and his low-class friend (an amusing Phil Silvers) and “Make Way for Tomorrow”.
With Jerome Kern’s former lyric writing partner Oscar Hammerstein II now busy with Richard Rodgers and Ira Gershwin’s music writing brother George deceased, the two joined forces to write an original music score that has been called one of the best original song scores written for the screen. Hayworth, as usual, is dubbed, and performs an ancient musical hall song (complete with a dress covered in huge polka dots) bemoaning the fate of a heroine whose potential mother-in-law openly disapproves of her, and dances joyously with Kelly and Silvers to the optimistic “Make Way For Tomorrow”, then flings herself down a curvy run-way to the magnificent “Long Ago and Far Away”. Kelly gets some neat special effects, dancing with a transparent version of himself, in “Alter Ego Dance”.
Another highlight is the fashion show “Cover Girl” number which resembles “Easter Parade’s” “The Girl I Love is on a Magazine Cover” and “Beautiful Girls” from “Singin’ in the Rain” featuring live girls either on calendars or magazine covers. In fantastic support are Eve Arden as the sardonic magazine executive secretary who becomes Rita’s confidante, Leslie Brooks as Rita’s chorus girl chum, and Otto Kruger as a father figure in Rita’s life. In short, this is a movie about Rita, aka Rusty, aka Maribelle. There’s also a delightful cameo by Jack Norton, the tea-totaler actor who plays a drunk delightfully joining in Gene, Phil and Rita’s big number together.
This is a musical and visual delight from start to finish, probably Columbia’s most popular film of the 1940’s along with “The Jolson Story” and one of the factors that moved the studio from the “B’s” to the “A’s”.
Original Language en
Runtime 1 hr 47 min (107 min)
Genre Comedy, Music, Musical
Director Charles Vidor
Writer Virginia Van Upp, Marion Parsonnet, Paul Gangelin
Actors Rita Hayworth, Gene Kelly, Lee Bowman
Country United States
Awards Won 1 Oscar. 1 win & 4 nominations total
Production Company N/A
Sound Mix Mono (Western Electric Mirrophonic Recording)
Aspect Ratio 1.37 : 1
Camera Technicolor Three-Strip Camera
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 2,985 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm