Romance on the High Seas (Warner Bros.) (1948)

(Advance) FOUR STARS TOP ‘ROMANCE ON THE HIGH SEAS’ CAST Pulsating calypso, beautiful color by Technicolor, plus Jack Carson, Janis Paige, Don DeFore and the new singing sensation, Doris Day make Warner Bros.’ long-heralded new musieal, “Romance On The High Seas,” a Michael Curtiz production, something to look forward to. The Strand Theatre has booked it for a week starting next Friday. Mere mention of Havana, Trinidad and Rio brings up vivid pictures and through the magic of Technicolor, no little care has been spared to make this a lavish treat. It is the most important musical since “Night and Day” and “This Is The Army,” both from Warners, were presented. The lively music from Sammy Cahn and Jule Styne leads off with “It’s Magic” asa film-stopper. Busby Berkeley gives plenty attention to calypso, samba and other West Indian themes in his dance direction. Avon Long, Lancelot, the Samba Kings the Page Cavanaugh Trio s during these sequences. At Grot practically outdoes hi with his tasteful pastel Tec colors for backgrounds. Director Curtiz has ste the film wi 2 aay an eve Lor is Michael Curtiz’ first mus under his own producing ba Ace Tunesmiths T wy Out Lilting Song Jule Styne and Sammy ( ace songsmiths, have turne one of the finest filmusical s¢ ever written for Warner B Technicolor film, “Romane The High Seas,” a Michael tiz production, which dls Ae JACK CARSON Stull JC-38 Mat 356-1A Cuban Postcards From Chicago Michael Curtiz, director of Warner Bros.’ brilliant Technicolor musical, “Romance On The High Seas,” coming next Friday to the Strand Theatre, is a stickler for small details. He wanted authentic Cuban posteards for a key scene. Cuban posteards are made in Chicago. Chicago had none. Telegrams galore had to be sent to various Havana hostelries before Curtiz could acquire the real thing for the film. “Romance on tHE Higu Spas” ROMANCERS DON DE FORE and JANIS PAIGE share honors with Jack Carson and Doris Day, Warner Bros.’ new comedienne, in the dazzling Technicolor musical, “Romance On The High Seas,” due Friday at the Strand Theatre. nll 356-526 Mat 356-2A The CAST Beler: Virgil segeacestis ss. 6 +0 «0 dagen e« JACK CARSON tN ee Cs ee tr JANIS PAIGE Michael-Kent’ .......... 3.02355 DON DEFORE | Georgia Garrett .,ccceclecesveescscsivees DORIS DAY Oscar Farrar 7Uee ee. oc ee tcc eb ees OSCAR LEVANT BEIETULO=. 5). s v+ ecaccsaie iedeecnee eee FORTUNIO BONANOVA S Jad a ik oe 0 5 2 2 aia bev oe ae ERIC BLORE Meee trotel Clerk ... os... se ewe FRANKLIN PANGBORN BU LESLIE BROOKS IN OEE 55s big, sido 0 32a abe e WILLIAM BAKEWELL me Drums... uvac ws oes eee JOHNNY BERKES Barhemats civic ices «ace oS oe Hen les KENNETH BRITTON and AVON LONG SIR LANCELOT THE SAMBA KINGS THE PAGE CAVANAUGH TRIO PRODUCTION STAFF Produced by Alex Gottlieb. Directed by Michael Curtiz. Screenplay by Julius J. and Philip G. Epstein; additional dialogue by I. A. L. Diamond, from a story by S. Pondal Rios and Carlos A. Olivari. Photographed by Elwood Bredell, A.S.C. Art Director, Anton Grot. Film Editor, Rudi =} Fehr. Sound by Everett A. Brown and David Forrest. Dia »gue Director, Felix Jacoves. Technicolor Color Director, atalie Kalmus; associate, Mitchell Kovaleski. Special Effects by David Curtiz, Director; Wilfred M. Cline, A.S.C., Robert Burks, A.S.C. Set Decorations by Howard Winterbottom. Wardrobe by Milo Anderson. Makeup Artist, Pere Westmore. Music by Jule Styne and Sammy Cahn. Musical Numbers Orchestrated and Conducted by Ray Heindorf. Musical Numbers Created and Directed by Busby Berkeley. Musical Director, Leo F. Forbstein. Assistant Director, Robert Vreeland. Unit Manager, Eric Stacey. The STORY A marital mix-up, plus mistaken identity told against the lush background of a South American cruise. Doris Day, a night club torcher, wins a free trip to the tropics, in return for posing as a rich society woman (Janis Paige). Janis’ husband (Don DeFore) hires a private detective (Jack Carson) to keep tab on her during the trip. However, once Carson sees Doris, he is smitten, and the complications begin to pile up. When the boat docks at Havana, Oscar Levant, who has been courting Doris unsuccessfully, comes on board, but gets a chilly reception from the girl. The confusion mounts as the boat proceeds to Trinidad and other colorful ports. In Rio, the Casino management hires Doris as the new ‘society singing sensation’, but her debut is threatened when Janis suddenly appears. However Janis graciously introduces Doris on the opening night, and Carson is among the guests to give her a resounding hand in the great finale. (Running time: 99 minutes) Publicity Copy (Review) WARNER MUSICAL . WINS BRAVOS ON STRAND SCREEN Bravo for Warner Bros.’ dazzling Technicolor musical, ‘‘Romance On The High Seas,” a Michael Curtiz production masterpiece! This handsome film, which opened yesterday at the Strand Theatre, boasts of*an all-star cast . . . Jack Carson, Janis Paige, Don DeFore, plus the screen debut of a startling diva, Doris Day. It is a riotous excursion to South America on a brilliantly conceived oceanliner, the last word in luxury and— pretty girls. The entire picture is dressed and mounted in breathtaking colors and in very lavish style. A special word for this color treatment in “Romance On The High Seas.” For the most part, soft pastels are used deftly which project facial expressions and smart costuming more effectively. A hotel scene in Havana has ‘Technicolor white’ the dominant shade and to great effect. The finale in the Rio casino is another eye-filling sequence. A barrage of colored balloons highlights this bit of music and song and fills the screen with a flood of vivid rainbow hues. The plot! A gay assortment of comical situations, with mixed identity and romantic interludes brought in. Carson clowns in top style, with Janis Paige and the newcomer, Miss Day sharing feminine honors. The latter as a brash torcher, shifts from comedy to singing chores with the greatest of ease. Her “T’m In Love” ditty is a firstclass example cf atomic-speed diction. She simply repeats the same words throughout the entire song, which is an unusual achievement and registers most effectively on the screen. Oscar Levant supplies additional comedy, and also executes neat fingerwork at the keyboard. The particular itinerary of the liner provides logical excuse for frequent moments of samba, conga and calypso. These sequences give free reign to Anton Grot’s imaginative hand on the color end. 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