| Call Me Mister | |
|---|---|
| Betty Grable and Dan Dailey on a Call Me Mister lobby card. | |
| Directed by | Lloyd Bacon |
| Written by | Albert E. Lewin Burt Styler |
| Based on | Call Me Mister 1946 musical by Harold Rome Arnold M. Auerbach |
| Produced by | Fred Kohlmar |
| Starring | Betty Grable Dan Dailey |
| Cinematography | Arthur E. Arling |
| Edited by | Louis R. Loeffler |
| Music by | Leigh Harline |
| Distributed by | Twentieth Century-Fox |
Release date |
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Running time | 96 minutes |
| Language | English |
| Box office | $2,175,000 (US rentals) [2] [3] |
Call Me Mister is a 1951 American Technicolor musical film directed by Lloyd Bacon and starring Betty Grable, Dan Dailey, Danny Thomas, Dale Robertson, Benay Venuta and Richard Boone. The film is based on the 1946 Broadway stage play by Albert E. Lewin and Burt Styler. with music by Harold Rome that featured cast members from the American armed forces. However, only three of Rome's numbers are heard in the film. [4]
In the aftermath of World War II, American soldiers stationed in occupied Japan desire entertainment. They are treated to a show organized by Sergeant Shep Dooley and his former wife, the talented entertainer Kay Hudson. The show is filled with music, dance and comedy, providing a much-needed respite from the challenges of postwar life. As the soldiers enjoy the show, Kay and Shep's on-stage chemistry begins to rekindle old feelings.
The film marks Betty Grable's final pairing with Dan Dailey, with whom she had costarred in several films. It also includes the first credited role for future film star Jeffrey Hunter. [5]
In a contemporary review for The New York Times, critic Bosley Crowther called Call Me Mister "a ragtag-and-bobtail show" and wrote: "[T]he simple fact is that 'Call Me Mister' as presented on the screen in a plush Technicolor production by Twentieth Century-Fox is but a faint reminder of .the original stage revue and is mainly a very frank reminder of the sexiness of Miss G. As an Army-employed entertainer in Japan right after the war, engaged—as it seems, incidentally—in putting on a soldier revue, she is flung in your face on most occasions in a variety of revealing costumes via a plot which has her backing and filling with rather elemental urges toward an estranged spouse. [1]