Inclubabu Plot so thin, it passes unnoticed.

Btexxamar I like Black Panther, but I didn't like this movie.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Married Baby Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

mark.waltz For years, I pinpointed veteran actress Elisabeth Risdon to the role of Aunt Della she played in the RKO "Mexican Spitfire" series. As the disapproving wife of Leon Errol in that screwball group of movies, she was always doing what she could to discredit the title character (Lupe Velez) in the eyes of her nephew. She was featured in dozens of movies from the silent movie era (as a lead) through the 50's, playing characters both nasty and nice, and this is perhaps her most memorable role. As a small town High School music teacher, she finds that her music appreciation class roster has been dwindling due to changing tastes in music. The kids of the swing era aren't interested in the classics, and she doesn't seem to understand why. When her principal asks her to write a High School fight song to promote school spirit, she has no idea that the song will be picked up by none other than Bob Crosby and his Bobcats as a novelty number. They come to see her but find disapproval from her over-protective niece (Jean Rogers). When Rison gets her check, she takes her niece for a trip to New York, and goes to see Crosby's show where she ends up on the radio. But as fast as she becomes famous, the faster her song becomes like the Macarena---popular today, despised tomorrow. Her attempts to write a new song fall flat, and while performing her fight song one more time, she falls ill. In the meantime, Rogers and Crosby have warmed up to each other, and Crosby takes matters into his hands, making her second song, "Central Park", another surprise hit. Risdon returns home to her job to an appreciative class of students, who have come to respect her for all she had tried to teach them.Most everybody remembers their High School fight song (if they still have them!), and as hard as they try to get it out of their heads, it will pop up on moments of sentimentality over a past that can't be recaptured. In the case of this High School fight song, I can understand it being popular in one community, but getting the attention of a national audience, let alone a popular swing band, is silly. Risdon, however, is so likable in the role, that she will win your heart the moment she steps on a New York nightclub stage to sing. You both admire her and feel sorry for her, especially in the scene where the audience starts to walk out on her. She is both sweet and feisty, standing up for her desire to contribute to the world of music. Crosby, who was talented but didn't have the long-lasting success of his more famous brother, appeared in several films as himself, most notably this one and a 1951 RKO musical called "Two Tickets to Broadway", where his spoof of his relationship with Bing was the focus of a very funny novelty number. He's likable, laid back and talented, but I doubt he could play any role but himself. Rogers is an adequate young heroine, but it's Risdon who wins the acting honors here. W.C. Fields said never play opposite children or animals, but he forgot sweet old ladies with a touch of vinegar in them.

Clothes-Off And I don't mean that in a bad way. This slowly-paced story is just the right kind of entertainment to watch as you're going to bed--or on one of those days you choose no to GET out of bed. This was long before every older person in movies had to be either cantankerous or full of spunk. Elisabeth Risdon's ready-to-retire teacher is that rarity of movie characters--one who actually is allowed to act her age. (For an even better film with just such a performance, check out Dame May Witty in "The Lady Vanishes".) The plot concerns a music teacher who writes a corny song for her school, only to have it somehow fall into the hands of a musician who makes a hit novelty recording out of it. What happens to her after that is best left for the viewer to discover, but suffice to say, it is rather amusing, but not all that exciting in the long run. There's some potential romance with the main character's stuffy daughter, but mostly the film hinges on Risdon, and it's nice to see her in a lead role after years of almost anonymous character acting.I found this movie just flipping channels and enjoyed it. I would recommend it to anyone curious about checking it out for light--very light--entertainment. (And if you're reading this, that's probably you.)

Alonzo Church Nathaniel West, author of Day of the Locust and Miss Loneleyhearts, also wrote for the movies. At first blush, a movie featuring Bob Crosby (Bing's brother) and his popular jazz orchestra, would seem unlikely.But this film is no embarrassment for the screenwriter, as the script is surprisingly subtle, and not full of the usual loud, bad comedy (see any Kay Kaiser film) that you see in movies that feature big bands. Instead, this is the tale of an old maid schoolteacher -- approaching 60 -- who knows painfully well she is boring her students, but is just not ready to hang up th towel. At the advice of her beautiful (but not really very kind) niece, she writes a fight song for her school, which, through a series of old movie devices, becomes a novelty hit for Bob Crosby & His Orchestra. The movie takes on the topic -- how will the schoolmarm deal with the success of her tune, and how will she handle things when the tune falls out of favor? The ending, while sentimental, fits the material.Bob Crosby plays Bob Crosby, bandleader, just fine. He's no worse than Bing in his early movies. The music, while OK, does not real justice to the Bob Crosby orchestra. The three featured tunes are production numbers, with changes in tone, tempo, and emphasis, that do not feature much of the dixieland-tinged swing that made this band different than all of the others of the 30s-40s. (Big Noise from Winnetka -- the second big number -- was originally a novelty number jammed by the bass player and the drummer for two-and-a half minutes. In the movie, we have a little bit of the drum/bass byplay, full orchestra, the pretty girl trio singing a chorus, Bob Crosby singing a chorus.) If you want to get an idea of how this band sounded on most of its records, catch some of the non-featured songs being played by the band during the night-club scene.

Arthur Hausner The plot was a bit tedious and unbelievable, but there was one musical number that made watching this movie worthwhile. The song "The Big Noise from Winnetka" was a big hit at the time it was recorded by Bob Crosby and to see it performed by him and orchestra was a big treat. Ray Bauduc was the drummer and Bob Haggart was on bass (both were co-composers of the song along with Crosby) and it winds up as sort of a duet with Bauduc and Haggart. The multi-talented Haggart whistles the tune between his teeth and fingers the bass violin while Bauduc uses his drumstick on the bass violin to make the music. A very enjoyable piece to listen to and watch, and it will surely be appreciated by lovers of the big band era, swing or jazz.I was a bit confused at the credits calling Crosby's quartet of singers "The Bobcats" while Crosby himself always refers to them as "The Bobalinks." I wonder what that was all about.