everything you have heard about this movie is true.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

.Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

When we first heard "Lullaby of Broadway" in "Gold Diggers of 1935", it told the story of Broadway Babies who said goodnight early in the morning. One of them must have been the character played here by Gladys George, "Greenwich Village Gertie" she calls herself, a torch singer in Washington Square who sings such songs as "In a Shanty in Old Shanty Town" and "Please Don't Talk About Me When I'm Gone". George's character could also be the speakeasy lady she played in "The Roaring Twenties", now a drunken shell of herself whose daughter (Day) thinks that her mother is a great star. Doris comes back from being away in Europe, moves into what she believes is her mother's Beekman Place home (right next to Mame Dennis, of course!), and proceeds to innocently cause scandal for a Hungarian beer manufacturer (S.Z. Sakall) and his imperious wife (Florence Bates). A mix-up over a mink coat causes Bates to think that something more is going on between hubby Sakall and newcomer Day. Then, Doris learns the truth about her mother, reels over the accusations of the press, and prepares to return to Europe.That storyline is more than a lullaby, it is a torch song! But thanks to a light-hearted presentation by Warner Brothers, "Lullaby of Broadway" ends up being one of their better early 50's musicals, not lavish like MGM's crop, but unpretentious and fun. There's a bit of dated comedy (Billy DeWolfe & Anne Triola's routines reek of vaudeville, particularly their song, "You're Dependable") but when Doris sings and Gene dances, the film shines. Doris is a fine dancer too, but for some reason, Gene (who did his own singing in the movie version of "Oklahoma!") is dubbed by a bass singer that doesn't fit his speaking voice. Sakall can sometimes be a bit too cutesy, but Bates is delightfully comic. Her society matron manages to win sympathy because it is obvious that she only gets domineering with Sakall to prevent him from getting involved in creating disaster and truly loves him.As for the musical numbers, Day's "Just One of Those Things" is the stand-out (she looks great in a tux!), while Nelson's athletic dancing in "Zing! Went the Strings of My Heart" is amazing. There's some special effects thrown into the dancing during "I Like the Way You Say Good Night" (slowing down of the film, like Fred Astaire did in "Easter Parade"), and the mechanical doll number is truly funny as well. The title song lacks strong choreography but has a great opening of only Day's head being seen until the lights come up on her in a beautiful gold dress. It is her personality exploding on screen that the audience can describe, like her first movie song hit, "It's Magic!"

Overlooking the slight and highly improbable storyline, LULLABY OF Broadway is a minor showcase for Doris Day during her early years at Warner Brothers.She acts, sings and dances with consummate ease, does some good routines with co-star Gene Nelson, and makes it easy to see why she was such a natural in front of the Technicolor cameras. Songs are sprinkled throughout to overcome the uninspired plot which has her searching for her long lost mother (Gladys George), unaware that her mother is on the skids singing in cheap bars for a living.A reunion of mother and daughter sponsored by friend Billy DeWolfe paves the way toward a happy show biz ending, highlighted by Day and Nelson doing a nifty tap-dancing routine up and down a staircase with dozens of extras while rendering the title tune in bright fashion.Nelson's zesty rendering of "Zing Went The Strings of My Heart" shows off his ability to sing and dance with the best of them. Too bad his career at Warners never reached full potential.S.Z. Sakall and Florence Bates are on hand for comedy relief, making this a pleasant diversion for Doris Day fans who relish her kind of sunny disposition in musicals.

If you can leave reality at the door, you're going to enjoy LULLABY OF Broadway. Doris returns from Europe hoping to surprise her mother who she thinks is a big Broadway star. She actually has fallen on bad times and is singing in a dive the the Village. When Doris arrives to her mothers supposedly grand home, the staff covers and says her mother is on tour. Instead of fretting, why doesn't she just ask what show and what city she is in? Then, of course, there would be no plot which is almost plot less anyway. Another "leave reality at the door" is when Gene Nelson at a gala says to Doris, "Hey, let's do that number we've been rehearsing" Then is seconds the full chorus and costumes and scenery appear!!! What?? Aside from that I really enjoyed this movie. Great numbers and wonderful acting by all. Too bad the story wasn't as good as the other aspects. This is part of the Doris Day collection and is certainly worth a look, implausible as it is. But then aren't all musicals?

Another of my most enjoyable movie musicals with my favorite star, Doris Day, singing and dancing with Gene Nelson. I'll never forget the tap dance they did together going up a staircase-fantastic! An excellent cast includes Gladys George, and two of the funniest men around in the 50s: cute S.Z. Sakall and that buggy-eyed looney Billy DeWolfe who will tickle your funnybone. Sakall played in most of Doris' musicals and he is a character to remember! Whatever happened to Gene Nelson? He was surely a fine dancer!