Cubussoli Very very predictable, including the post credit scene !!!

ThiefHott Too much of everything

Pluskylang Great Film overall

Pacionsbo Absolutely Fantastic

malcolmgsw I saw this for the first time today and unlike most other reviewers was struck by the mediocrity of the film and the unmemorable score.It is clear that Grable was putting on a few pounds in weight and it does seem puzzling that she was put in such a film unless it was felt that her star was on the wane.What intrigued me also was the fact she had a different dress for each scene.

mark.waltz Long before they were referred to as "secretaries", "girl Friday's", "administrative assistants" or even "typists", those who worked on those new fangled writing machines were simply called "typewriters". Graduating from a New York typewriters school, valedictorian Betty Grable is sent to Boston where she is informed by her new boss that he (Dick Haymes) expected a man. Fortunately, he has a suffragette aunt (Anne Revere) who has controlling interest in the firm, and that gets Grable the job. Now if she can just get her boss's respect, prevent office manager Gene Reynolds from sneering at her, and find a suitable place to live where a "typewriter" who happens to be a woman isn't confused for being a Jezebel, she'll make it just fine.And fine she does make it. She moves in to the boarding house of a bunch of self-acknowledged outcasts, run by rebellious Boston socialite Elizabeth Patterson who was ostracized for her unconventional ways. When Haymes attends a suffragette meeting with her, the stage is set for a romance between the two, even though that is against "rule #6". Grable expects his socialite mother (Elisabeth Risdon) to be a judgmental snob and prepares a series of society aimed insults for her with amusing results. Miss Pilgrim is an instant Boston celebrity, loathed by some and loved by others, and when the line-up of suffragettes and their few male supporters are revealed, the visual result is hysterical, featuring a few whom in 1894 were obviously of the "love that not reveal its name" category. (Films after the production code came in rarely showed obviously gay or lesbian characters, and this is one of the few).I wish there was less of the romance (featuring some unknown George Gershwin music that his brother Ira wrote new lyrics for) and more of the office setting and suffragette plot. That is more interesting, although the "scissors"/"knives" reference is truly hysterical and gives the impression that even if these two do get together, there will be no "pants wearing" in this family: it will be a marriage of equality-or else!I felt sorry for Gene Reynolds here, typecast in his usual prickly fat man role of a chauvinist fool. But for Revere and Risdon, I really wanted to see more of them. As sisters-in-law in the film, they never even appear together, a loss for the script. Patterson and her band of delightful eccentrics add some needed comedy which includes a transaction between three of the tenants simply to feed their egos. A woman resident of Patterson's house who has been working on re-writing the dictionary wouldn't be out of place in this new rhetoric world where the English language has all but disappeared together.

bobj-3 The highlight of this film is the undiscovered songs by George Gershwin, which brother Ira wrote new lyrics to and Kay Swift arranged to make a film score that is a delight. One genuine hit, "For You, For Me, For Evermore," plus a near-hit, "Aren't You Glad We Did," are supported by a host of other pleasing tunes, including the witty novelty, "But Not in Boston." Dick Haymes' rich baritone is another strong point in what is, from a storyline point of view, a rather silly film.

Richard-23 This film is a post-war notice to women (who had been 'minding the store' while all the guys were over- seas)--that they just might have some choices. Not a strong statement to be sure--but surprising in its way. Not surprising is that Hollywood chose Betty Grable to represent the modern woman in this period picture. Betty was (in 1947) the highest salaried woman in the United States--and a box office champion (at a time when women really pretty much dictated what movies we were going out to see). So it is not Betty Grable the famous pin-up you are seeing (though she is also present, but under more wraps than usual)--it is Betty Grable the successful woman--who was a role model for women at that time in a way. They cared that she was glamorous, married, had children and a career--and was a hell of an entertainer. This film is charming and presents a slightly softened Betty--but a resourceful and independent Betty. As is so often the case, the resolution of the film is not a true triumph--but we are talking about the 1940's--so they took the ball as far as they felt they could. I like this film. I hope that you will, too. Betty and a great bunch of character actors will give you a really pleasant ninety minutes or so.