Highly Overrated But Still Good

Crappy film

Clever, believable, and super fun to watch. It totally has replay value.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Which is how the studio PR Dept described Lana in her next few movies, significantly just after the male moviegoing public digested this one. As a B-grade comedy, it is simply that. As a Turner vehicle on the upward arc of her career it is something else. You were almost a decade into the Hayes Code and if you were looking for something a little higher octane than the typical Hollywood assembly line product, this was your stop. Turner, born in 1921, was a legitimate teen herself -- this was decades before Hollywood started casting "older for younger" -- and in short skirts, short shorts, and closeups, she steals the film at a felony level.

A musical is about ready to be filmed for a fictional studio. The only problem is that the lady from the dance team to star in the film is pregnant and they need to find a replacement. Roscoe Karnes has an idea to stage a phony search in colleges across the country for the actress' replacement--though in reality, he has already chosen Lana Turner for the role. So, he enrolls Lana at a college and pretends to have an honest to goodness competition. Unfortunately, complications arise and the film becomes a nice little romantic farce.This is a rather old fashioned but fun old MGM musical that oddly stars Lana Turner. While I was surprised how well she could dance, you just normally don't think of her and dancing. Apparently it was originally to have been an Eleanor Powell film and it sure feels like one. Either could have done a fine job in this film, though seeing Turner in her more natural look of 1939 was very refreshing--with much less make-up and more natural looking hair. She was quite beautiful and more natural looking--making me wish that more co-eds had looked like this when I was in college. Uh, oh,...if my wife reads this, I am toast! By the way, while not a great film, it's a very good film and one even curmudgeons can enjoy.

A year after they appeared together in "Love Finds Andy Hardy", Lana Turner and Ann Rutherford were paired up in two 1939 films: "These Glamour Girls" and "Dancing Co-Ed". Beyond having a college setting (with Turner playing an outsider) and the same Director (S. Sylvan Simon) there was little similarity between the two films. Although not as ambitious, "Dancing Co-Ed" is a much more entertaining film. It is probably Turner's best performance and is indisputably her most timeless. She gets to show off her dancing and her surprising ability to do comedy. Plus she looks great in a charming girl-next-door way, playing a character that gets to smile a lot (she has a great smile-too bad so few of her roles utilized it). The story revolves around a nationwide hunt to find a new female dance partner for a well-known dancer, a radio program runs a contest to select this partner from aspiring college students. But it is more publicity stunt than actual contest as vaudeville dancer Patty Marlow (Turner) has been pre-selected, she has enrolled in a university just to be technically eligible. Her agent's secretary (Rutherford) enrolls with her to make sure everything runs smoothly. Complications arise when Pug (Richard Carlson), a reporter for the Porcupine (the student newspaper), begins to investigate the legitimacy of the contest. Carlson would became the king of 3D science fiction films in the 1950's. "Dancing Co-Ed" has a lot going for it. Turner and Rutherford have excellent chemistry, their scenes work very well and you really believe that they are friends. It is a slick and funny script. The supporting cast actually has something to add to the production, particularly Monty Woolley as pompous Professor Lang and Leon Errol as Patty's vaudeville father.Artie Shaw and His Orchestra are featured extensively and provide some great swing music. They are even in a parade with a college marching band featuring baton-twirling majorettes (who would have thought they had that kind of stuff way back in 1939).Then again, what do I know? I'm only a child.

I saw this movie several times, in another life (before WWII), with another title (Invitation To Dance)and in another world (Eastern Europe). Artie Shaw was already a star, but didn't fill the expectations, perhaps too bright to stay in rank with other jazzmen.I never found an opportunity to see it again, is not even available at Amazon. I caught it last week on a TCM program, although the advertised cast mentioned only the names of Lana Turner and...Thurston Hall! In my humble opinion, this movie may illustrate a duel between the two great clarinet wizards, Benny Goodman The King Of Swing and Artie Shaw the King of Clarinet.The Midwestern jazz and majorette parade imitates but hardly matches the motorcade introducing Hollywood HOTEL (S. Sylvan Simon ain't Busby Berkeley!) but the dance contest sequence is excellent, with a special mention for TRAFFIC JAM, both for the music and for the staging. That air is bathing in Count Basian atmosphere, like the LADY BE GOOD rendition of the same line-up - with Buddy Rich for added entertainment.And in his second (and last) full-length movie,SECOND CHORUS, Artie Shaw lined up his Concerto For Clarinet, a masterpiece largely shown, not for just two minutes, like SING, SING, SING, in HH. The plot was entertaining, with many good quips and dialog. Good mentions for Roscoe Kearns and Ann Rutherford.And Lana Turner is, at least this time, fresh and unsophisticated. A must for all the Artie Shaw and Swing Era fans, although the jazz sequences - except TRAFFIC JAM - are unreasonably shortened. Harry Carasso, Paris, France