Hellen I like the storyline of this show,it attract me so much

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

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Yazmin Close shines in drama with strong language, adult themes.

misctidsandbits Yep, this is a fun family flick that is truly (remember this phrase ...) heart warming. Works for me, as it will for anyone who will just relax and let it.It reminds me of "Thoroughly Modern Millie" for the flapper thing.But, the family fun and family project elements of this subject film have the same effect as Doris Day's 1951 and 1953 films. They are titled "On Moonlight Bay" and "By the Light of the Silvery Moon" (sequel). You do feel good and they are engaging.Also, there's "You Can't Take It With You," for a fun and endearing family frolic.Another feel good film, for me, is "Oklahoma." I know that is a much more ambitious project than the ones mentioned here, but there's good clean zest in all of these.Also, saw this film on Amazon, some singles and in some Sirk packages.There's a pseudo sophistication nowadays that won't allow this type of thing as a rule. Uncool. Has to be complicated and "real," generally meaning about people with multiple layers of psychoses. It's considered much more substantial and in tune to produce, direct, perform and watch complicated imbroglios.Dare to unbend and flap with these flappers. It will help you. Laughter is very healthful. :-)

Richard Burin Has Anybody Seen My Gal (Douglas Sirk, 1952) is a winning comedy from the soon-to-be master of romantic melodrama, Douglas Sirk, who went on to make the smash-hit "women's pictures" Magnificent Obsession and All That Heaven Allows. Just as those films pack a notable satirical bite, so Has Anybody Seen My Gal has a few choice things to say about greed and the worship of money, even if Sirk gets his message across in an overly broad manner. Charles Coburn, who could do "crustily avuncular" like no-one else in Hollywood, plays a multi-millionaire with a novel idea about what do with his will. Having made his fortune after losing the only girl he ever loved, he resolves to give the money to the late woman's family: daughter Lynn Bari, her husband Larry Gates - who runs a grocery store - and their likable children, Piper Laurie, William Reynolds and Gigi Perreau. But he wants to make doubly sure he's doing the right thing, and inveigles his way into their household posing as a surrealist painter.The film is extremely entertaining and the scriptwriters generally make the right decisions within scenes, knowing when to play for laughs (almost always), when to deliver a little jolt of emotion (like Coburn seeing a portrait of his lost love) and when to curtail an encounter. It's also genuinely funny, with Coburn an absolute joy as the film's good-hearted centre, alternately omniscient and naive. The scenes where he's reprimanded by judge Paul Harvey for supposedly immorality are particularly strong and there's a hilarious, ridiculous sequence in which the paternal old cove is accused of necking with young woman Laurie in a cinema that's masterfully-handled. Coburn, in career-best form, also generates an easy chemistry with both the wide-eyed, red-headed Laurie (later of The Hustler, Carrie and Return to Oz) and the charming Perreau, who reminds me of Margaret O'Brien. Being a Douglas Sirk film, this one looks absolutely great, while it's also significant in movie history as the director's first teaming with frequent collaborator Rock Hudson (playing Laurie's soda jerk boyfriend) and for a blink-and-you'll-miss-it turn from James Dean as a kid ordering a soda. That's if it takes you 10 seconds to blink.But the film falls short of greatness in several ways. The narrative, which sees Bari turn into a nouveau riche monster, is apt to offend people of all political persuasions, with the idea that money is evil being a socialist concept and the suggestion that poor people can't handle the paper stuff an old-fashioned right-wing one. There's also the problem of Bari's character, who is crucial to our investment in the story. Familiar as the "other woman" from countless Fox films of the '30s and early-'40s, the actress is poorly-cast in a badly-written role and delivers a one-dimensional and unsympathetic performance. Though the '20s setting is enthusiastically utilised, it's also a little synthetic, while little jokes about rising prices and changing fashions are largely meaningless today to all those without a PhD in early-20th century American history. Perhaps most frustratingly, the film ends in an unorthodox manner that doesn't suit the material, taking the peculiar decision to keep the identity of Coburn's millionaire a secret. A climactic unmasking has obvious comic and dramatic potential, but instead all we get is Coburn walking down the street and out of his adopted family's lives.Has Anybody Seen My Gal is top entertainment, powered by Charles Coburn's lovely performance and packed with good jokes. But it's let down by the simplistic, slightly negative central message, Bari's weak characterisation and a refusal to play ball with its audience, which would have turned this period piece into prime Americana.Trivia note: The film's title refers to a '20s hit, sung here by a bunch of kids at a soda fountain. It's one of several tunes tossed into the mix, apparently at random.

gerdeen-1 The title "Has Anybody Seen My Gal?" comes from a popular song of the 1920s, and presumably it was slapped on this non-musical movie to let people know when the story is supposed to be taking place. That was a silly idea, but the movie itself is charming. Charles Coburn plays the world's richest man, an elderly recluse whose face is known to virtually no one. (Bear in mind that this movie was made before tycoon Howard Hughes became legendary for his secretive ways.) The rich man travels incognito to the small town where he spent much of his youth. There he becomes the anonymous benefactor of a family that played an early role in his success, though none of its members have any idea of their link to him. He works as a seemingly down-on-his-luck soda jerk in the town, watching up close how his mysterious checks change the lives of people in this ordinary, close-knit family. It's not always a pretty sight, but it does teach a lesson, not just to them but to him. There's a Christmastime angle that isn't absolutely essential to the plot, but it did point out to me this film's similarity to another bittersweet fantasy, Frank Capra's "It's a Wonderful Life." If you want a movie that's heartwarming and entertaining and has a moral, this is a good choice. Try it for Christmas.

dlapage I like to watch this movie when I am `down' or when things aren't going right. Charles Coburn is one of my favorite `all time' movie actors. With the exception of the character Howard Blaisdell, the film was perfectly cast. I have watched this movie at least 20 times.