Good films always raise compelling questions, whether the format is fiction or documentary fact.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Sweethearts of the U.S.A. (1944) * (out of 4) Defense worker Patsy Wilkins (Una Merkel) gets a knock on the head and then dreams that she's in some sort of universe with her boyfriend (Harry Parke) and various musical acts. SWEETHEARTS OF THE U.S.A. is a highly recommended movie for film buffs not because it's great or even good. No, this film here is highly recommended because it's one of the worst you're ever going to see of its type. The film could certainly have enjoyed a BOMB rating if it wasn't for Merkel and the fact that the thing is so bad and so surreal that you can't help but keep watching it. I'm really not sure what the plot is supposed to be. I'm really not sure why we're in this dream. I'm not sure what's up with the musical numbers. I'm really not sure what's up with the boyfriend and his so-called detective material. This entire movie is just one really bad, really strange trip that should appeal to those who like to light up while watching strange movies. The musical numbers range from poor to bad and the dance sequences really aren't any better. Monogram was always known for making "C" grade material but even this here is rather embarrassing. As I said, it's somewhat fun but also sad seeing Merkel having to do material but fans of her should at least enjoy seeing her. The supporting cast is pretty much forgettable as is the rest of the film.

Una Merkel was one of the most popular second-leads during the 1930's in Hollywood, adding so much to many classics with her delightful comic personality. SWEETHEARTS OF THE USA (1944) offers Una - quite lovely and youthful at 40 - a rare top-billed role but not much else. Una stars as a defense plant worker who accidentally knocks herself out with a heavy wrench and while out dreams she is blackballed out of the industry by her mean boss, leading her to seek a new career, opening a nightclub for servicemen and plant workers with the aid of her boyfriend. radio comedian Parkyakarkus, a rather incompetent detective. It's not a "spoiler" to reveal it's all a dream given midway in the film it pointlessly gives us a few seconds of footage of the still unconscious Merkel on the plant floor thus ruining the "surprise" of the ending.This Monogram musical doesn't offer much for comedy other than Una's vivacious personality and Parkyakarkus' mangling of common American phrases. There are several songs and (quite modest) dance numbers and in true low-budget 40's movie fashion, a couple of the tunes are repeated. Other low-budget tell tales include limited sets, a low number of closeups, and apparent camera glare from a lighted chandelier.Una Merkel was at a career low point at the time and this was the end of her career as a "youngish" performer, when she returned to films three years later in 1947 it would be as a decidedly middle-aged character actress. This modest little movie is no great shakes; to quote The Gin Blossoms, "If you don't expect too much, you might not be let down". Not terrible but definitely not good and it was rather nice to see the always endearing Una Merkel in a starring role even if this film was far from worthy of her talents.

This is a cheapie---even by Monogram Pictures'standards. Nearly unwatchable, its only grace is Una Merkel, the charming Kentucky pixie who brought sparkle to many films as a second lead. Sweethearts of the USA is claptrap about Una Merkel as a dismissed defense plant worker who seems to enter an extended dream sequence in which she, her boyfriend (the charmless Parkyakarkus) and three bankrobbers bungle about in a plot often interrupted by dull singing and piano spots. It's difficult to choose which interruption is worse: the musical interludes or the plot. The writing is witless, the direction is slack and the editor didn't match shots, so Merkel is the only gift this bottom of the barrel movie offers. Even those involved must have realized this film was a stinker. The director, two of the three writers and several of the "actors" used pseudonyms! The only mystery in this plodding pastiche is how Merkel, a future Oscar nominee and a Tony Award winner, found herself trapped in this sluggish mess.