When I recently reviewed "I Married a Woman" I described Diana Dors as Britain's answer to Marilyn Monroe. It might have been equally appropriate- perhaps more so- to call her Britain's answer to Jayne Mansfield, because Diana and Jayne had a lot in common. Both were platinum blondes with unfeasibly voluptuous figures. (Jayne was, if anything, even more top-heavy than Diana, and certainly more so than Marilyn). Both were around the same age. Both were highly intelligent and were gifted, classically-trained actresses. Jayne studied drama at university, and Diana was a graduate of Britain's prestigious Royal Academy of Dramatic Arts. Because of their "sex symbol" looks, however, both women found themselves increasingly typecast in dumb-blonde comedy roles, and had difficulty winning parts in more serious dramas. Both had complex personal lives, and both were to die tragically young. (Two other things they had in common with Marilyn).
There was, however, one big difference between their careers. Diana, a major star in Britain, never cracked the American market; when she tried to conquer Hollywood in 1956/7 she failed spectacularly. Jayne, by contrast, was one of Hollywood's biggest names during the late fifties and early sixties. "The Girl Can't Help It" is a good example of her talents from this period.
A gangster named Marty "Fats" Murdock hires Tom Miller, a show business agent, to make his girlfriend Jerri Jordan a singing star. Jerri, however, has no desire for a showbiz career but wants to settle down as a wife and mother. She and Tom therefore come up with a scheme whereby she will pretend to a complete lack of talent, but this does not really cut much ice with Fats, who is so cloth-eared he cannot really tell whether Jerri has talent or not. There then follow two almost inevitable developments. Jerri and Tom fall for one another, and it is revealed that Jerri in fact possesses a very good singing voice. (Apart from her other accomplishments, Jayne Mansfield was very gifted musically).
The basic plot is a so-so romantic comedy. Mansfield makes a charming heroine, although we never quite believe her when she insists she is just an old-fashioned girl whose one desire in life is to be a homebody, but Tom Ewell does not make a great impact as her leading man. Edmond O'Brien is occasionally amusing as Fats, but the film's main appeal for the modern viewer is likely to be its musical content. It contains performances by rock 'n' roll stars of the period such as Little Richard, Eddie Cochran, and Gene Vincent and His Bluecaps; it is said that it was a favourite of both John Lennon and Paul McCartney, both teenagers at the time, and influenced them in their own musical careers.
Another singer who appears is Julie London, who is billed as "herself", although it might be more accurate to say that she is playing a fictionalised version of herself. Her character is a singer called "Julie London", and she sings "Cry Me a River", the real Julie London's signature tune, but she is described as a former client, and also a former girlfriend, of Tom Miller- an obviously invented detail, as Tom is a wholly fictional character. This sort of blending of fact and fiction is unusual in the cinema.
I am not a great fan of rock music, but I suspect that those who are, especially those with an interest in the early history of the genre, will find much to enjoy in this movie. 7/10
There was, however, one big difference between their careers. Diana, a major star in Britain, never cracked the American market; when she tried to conquer Hollywood in 1956/7 she failed spectacularly. Jayne, by contrast, was one of Hollywood's biggest names during the late fifties and early sixties. "The Girl Can't Help It" is a good example of her talents from this period.
A gangster named Marty "Fats" Murdock hires Tom Miller, a show business agent, to make his girlfriend Jerri Jordan a singing star. Jerri, however, has no desire for a showbiz career but wants to settle down as a wife and mother. She and Tom therefore come up with a scheme whereby she will pretend to a complete lack of talent, but this does not really cut much ice with Fats, who is so cloth-eared he cannot really tell whether Jerri has talent or not. There then follow two almost inevitable developments. Jerri and Tom fall for one another, and it is revealed that Jerri in fact possesses a very good singing voice. (Apart from her other accomplishments, Jayne Mansfield was very gifted musically).
The basic plot is a so-so romantic comedy. Mansfield makes a charming heroine, although we never quite believe her when she insists she is just an old-fashioned girl whose one desire in life is to be a homebody, but Tom Ewell does not make a great impact as her leading man. Edmond O'Brien is occasionally amusing as Fats, but the film's main appeal for the modern viewer is likely to be its musical content. It contains performances by rock 'n' roll stars of the period such as Little Richard, Eddie Cochran, and Gene Vincent and His Bluecaps; it is said that it was a favourite of both John Lennon and Paul McCartney, both teenagers at the time, and influenced them in their own musical careers.
Another singer who appears is Julie London, who is billed as "herself", although it might be more accurate to say that she is playing a fictionalised version of herself. Her character is a singer called "Julie London", and she sings "Cry Me a River", the real Julie London's signature tune, but she is described as a former client, and also a former girlfriend, of Tom Miller- an obviously invented detail, as Tom is a wholly fictional character. This sort of blending of fact and fiction is unusual in the cinema.
I am not a great fan of rock music, but I suspect that those who are, especially those with an interest in the early history of the genre, will find much to enjoy in this movie. 7/10