TrueJoshNight Truly Dreadful Film

Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

mark.waltz Tap dance contest winner Ann Miller arrives in Hollywood hoping to get a studio contract and become a movie musical star. That's pretty much it for plot in addition to western star Jess Barker's interest in her. Like Reviles with Beverly, this is a collection of musical numbers collected into a single plot line, but when you got the amount of talent that this film engages, the results are going to be extremely entertaining to say the least. Being World War 2, the housing shortage is on, even in Hollywood and Annie has a hysterical predicament and trying to find a room which leads to the discovery of the one that is available. Louis Armstrong has a cameo at the beginning singing I can't give you anything but love, which Annie would later sing with Mickey Rooney on Broadway in Sugar Babies. There's a hysterical sequence where she disguises herself as an old lady to sneak into what is presume to be Columbia Studios to get an audition, and revealed herself to be wearing very little makeup even under her disguise. Practically every musical had a polka to go with it, and here it's the Victory Polka which is the lavish finale to end the film. Not a classic, but certainly a step above many of the be budgeted music homes that were coming out during the war. Annie is charming and is surrounded by a fun supporting cast. I really like Renee Riano who plays her hatchet- face landlady. She is a Margaret Hamilton / Mary Wickes type character actress that deserves more recognition then she has gotten.

Neil Doyle Watching JAM SESSION, the big question that comes to mind is why on earth did it take ANN MILLER so long to break into A-films and become a big musical star? She had pep, verve, charm, an overload of personality and those twinkling dancing feet. She plays a girl with aspirations for becoming a Hollywood movie star, even breaking into studios to pretend being secretary to handsome JESS BARKER, or onto movie sets to watch a musical number being filmed while she watches from the sidelines.The big drawback is that Ann doesn't get to do her own "Victory" dance routine until the final five minutes or so. Then she gets her big production number with a sizzling routine that ought to have convinced MGM to take her away from Columbia much earlier than they did.Several popular bands and band singers of the day are featured in a thin plot that has the usual predictable ending for these sort of show biz stories. For fans of 1940s nostalgia, there are The Pied Pipers with Jo Stafford, Nan Wynn, and bands like Charlie Barnet, Glen Gray, Alvino Ray, Teddy Powell, etc., all squeezed into the running time of this Columbia B-film with Ann Miller in the lead.A pleasant diversion, the sort of programmer Miller was featured in more often than not.

dougdoepke Sprightly Ann Miller musical featuring many of the top bands and vocalists of the day. Notable too for a rather tough-minded look at the movie industry, as Kansas contest winner Miller tries to break into the big time. The studio scenes are an occasional hoot-- like the stagecoach driving in from the street to shoot an Old West scene! However, the business side gets a pretty realistic and none-to-flattering treatment (maybe the writers' revenge). Some other nice touches-- Alvino Rey's "echo-box dummy" that sings electronic lyrics (that one spooked me); Miller's under-the-staircase bedroom, about big enough for a midget if she doesn't stand up; and the big-finish "marching at ya" tribute to the boys overseas. Miller is engaging throughout, wholesomely pretty with a lot of verve and sparkle. This was perfect war-time escapism, a programmer with no pretensions that despite the years continues to entertain.

timothymcclenaghan Copying the format used in Ann Miller's previous film, "Reveille With Beverly", once again the plot is an excuse to piece together musical performances by popular recording artists of the day.Nevertheless, it's an opportunity to enjoy the lovely Miller, who was only in her early 20s at the time of filming. I read that Dorothy Parker was once quoted as saying Miller "was the most statuesque broad in Hollywood". While she dances only once, it's a nice production number with a World War II theme. She remarked in her autobiography that her Columbia films were intended as entertainment of the troops.