WasAnnon
Slow pace in the most part of the movie.
Gurlyndrobb
While it doesn't offer any answers, it both thrills and makes you think.
Lidia Draper
Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.
mark.waltz
Gentlemen don't marry corporations, especially one with a woman in charge, and basically for wealthy Texas rancher Jane Russell, she finds her money is the key to single unhappiness. So what does she decide to do? Catch the French Line to Europe and try to catch a beau the old fashioned way: pure animal magnetism, and with the double delights that Russell holds up, she's got the key in the door. Joining up with old friend Mary McCarthy, Russell becomes an entertainer, leading her into the arms of several possible suitors, particularly womanizing "Frenchman" Gilbert Roland who becomes aware of Russell's identity thanks to her interfering uncle Arthur Hunnicutt.Rather secondary even with its controversy, it has a few magical moments; Roland's production number, "With a Kiss", is pleasant and nicely staged, but Russell's musical numbers are rather focused on her curvy figure than written to be heard on the American hit parade. McCarthy, already a rising Broadway songstress (who would score in the 1970's on Broadway in the original "Follies" and "Chicago"), adds spark as her old pal who rose from good old country girl to New York fashion house maven, and Arthur Hunnicutt provides folksy humor as Russell's uncle. Spotting chorus girls/models Kim Novak and Joi Lansing among the beauties becomes a distraction in the musical numbers. For me, the highlight wasn't the controversial "Looking For Trouble" number (sanitized for American release), but the "Take those trays of canape's away!" which leads to an eye rolling number with Russell and McCarty ("Any Gal From Texas") that includes some of the strangest lyrics ever in a movie musical song. 1954 was a sensational year for musical numbers, so it's easy to see why this has fallen into obscurity. The plot is a variation of what Russell did in "Gentlemen Prefer Blondes", and the musical numbers here are weak in comparison. Several minor subplots just weaken the film even more, and the aging Roland seems just too sleazy to be the romantic lead. It also doesn't help that the rather garish color photography often seems slightly out of focus. If you go into it searching for camp, you might just get your wish, but those looking for something for something artistic or profound will be severely disappointed.
jarrodmcdonald-1
It is difficult getting past the terrible condition of the RKO Technicolor print for The French Line. It is even more difficult believing that nobody has wanted to do something about it. Someone: please clean it up, restore it, do whatever needs to be done. Jane Russell is superb as a sassy southern belle on a cruise to Europe. Adding to the fun is character actor Arthur Hunnicutt and leading man Gilbert Roland. The musical numbers are indeed risqué but the lyrics and choreography are not to be missed. Neither is Miss Russell's costuming which one must see to believe. Aside from a better print, the only way this film could have possibly been better: if Robert Mitchum had been in it.
writers_reign
It seems that the majority of people who have posted comments on this can't wait to note that it is both a rip-off of and inferior to Gentlemen Prefer Blondes. There is, of course, something in this; both begin in the US, wind up in Paris with the bulk of the running time spent on the transatlantic crossing. Oh, yes, both also have songs. On the other hand I think it's possible to trace a more direct link to Warners' Romance On The High Seas in which Doris Day (in her first film) is travelling incognito, as is Jane Russell here, both girls are the subject of scrutiny by men hired to monitor their every moves and both men fall reciprocally in love with the girls they are tailing BUT not before ten reels or so of mistaken-identity plotting which itself is reminiscent of Top Hat. While GPB had to-drawer songs by Jule Styne and Leo Robin this time around Styne has been replaced by the bush league Josef Myrow and Robin has to settle for a co-lyricist credit with Robert Wells. It's worth watching without being memorable.
Rod Evan
The British publication "Radio Times" in a recent review said that Jane Russell was past her prime in this movie. Were they watching? She looks great, her singing is fantastic and she seems to really enjoy herself in this film.In my book this is one of the best musicals of the 1950's, but it's strength is that it doesn't take itself too seriously. Irreverent and vulgar, the plot is a feminist's nightmare and Jane Russell's "talents" are exploited to the full. As the picture was released originally in 3D, the tagline was "Jane will knock BOTH your eyes out!"One of the most censored movies in American history, the film was cut to shreds in many states. The final musical number "lookin' for trouble" is truly outrageous. But the overall spirit of the film is goodnatured and full of energy.Watch this film again and again!
