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1951 film by Norman Taurog From Wikipedia, the free encyclopedia
Rich, Young and Pretty is a 1951 American musical comedy film produced by Joe Pasternak for Metro-Goldwyn-Mayer and directed by Norman Taurog. Written by Dorothy Cooper and adapted as a screenplay by Cooper and Sidney Sheldon, it stars Jane Powell, Danielle Darrieux, Wendell Corey, and Fernando Lamas, features The Four Freshmen, and introduces Vic Damone. This was Darrieux's first Hollywood film since The Rage of Paris (1938).[4]
Rich, Young and Pretty | |
---|---|
Directed by | Norman Taurog |
Screenplay by | Dorothy Cooper Sidney Sheldon |
Story by | Dorothy Cooper |
Produced by | Joe Pasternak |
Starring | Jane Powell Danielle Darrieux Wendell Corey Fernando Lamas Marcel Dalio Una Merkel Richard Anderson Jean Murat Vic Damone |
Cinematography | Robert H. Planck |
Edited by | Gene Ruggiero |
Music by | Sammy Cahn (lyrics) Nicholas Brodszky (music)[1] |
Production company | |
Distributed by | Loew's, Inc.[2] |
Release dates |
|
Running time | 95 minutes |
Country | United States |
Language | English |
Budget | $1,528,000[3] |
Box office | $2,999,000[3] |
Elizabeth (Jane Powell) accompanies her wealthy Texan rancher father (Wendell Corey) on a visit to Paris, where her mother (Danielle Darrieux) lives. In Paris, she meets Andre (Vic Damone), an eager young Frenchman. The father tries to keep her from marrying the Frenchman and avoid the mistake he made when he married her mother.
MGM promotion for the film emphasized the film's "songs rather than its patter";[1] Sammy Cahn wrote the lyrics and Nicholas Brodszky the music for several songs, including
Other original songs by Cahn and Brodszky include
The film also features a "studied going over"[1] of songs such as
According to MGM records, the film made $1,935,000 in the US and Canada and $1,064,000 elsewhere, making a profit of $54,000.[3]
Time said the film was "aglow with Technicolor and plush sets" and said it treated a "light cinemusical subject with the butterscotch-caramel sentimentality of the bobby-soxers it is designed to please"; the film "tackles its situations without verve or humor, and handles its lightweight problems as ponderously as if they had been propounded by Ibsen in one of his gloomier moods."[4] Bosley Crowther of The New York Times called it "pretty as a picture postcard and just about as exciting."[1]
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