Step Lively (1944) User Reviews

Musical Remake of Room Service

[bkoganbing · 7/10 · 23 September 2006]

Step Lively is simply Room Service with a musical score by Jule Styne and Sammy Cahn. It was Frank Sinatra's second feature film role and it marked the first time he worked with that team of songwriters. There would be others, especially with Cahn who has the distinction of putting more words in Frank Sinatra's mouth than any other lyricist.

The original Room Service took place in the hotel suite of Gordon Miller, fast talking producer/conman and was originated by Sam Levene on stage and Groucho Marx on screen. George Murphy is certainly a lighter, gentler version of both of them. But he's passable enough in the part because we wouldn't want too much attention taken from Frank Sinatra.

Sinatra's role as the naive singer/playwright from Oswego was built up considerably from the original play. It was because of him that this film version was taken out of the one room setting of the original. His role was first played by Eddie Albert on Broadway and Frank Albertson with the Marx Brothers.

One song stands out in the score, As Long As There's Music which Sinatra really aces. Yet while Step Lively was being filmed at RKO and while it was out the recording industry was being struck by the musicians union. Additionally shellac which was needed to make those 78 RPMS was in short supply because of World War II. Sinatra never recorded the songs from Step Lively even after the strike was over. Yet As Long AS There's Music still became a hit. I have a version by Eddie Fisher on one of my record albums. Yet it's never identified with Sinatra.

Playing the roles that Chico and Harpo did are the comedy team of Wally Brown and Alan Carney, RKO's attempted answer to Abbott and Costello. RKO also got Adolphe Menjou and Walter Slezak to play the exasperated hotel managers and Eugene Palette had a memorable bit as the representative of Murphy's secret show backer who wants discretion in all things.

The female roles are from a pair of lovely RKO starlets who had substantial careers, Gloria DeHaven and Anne Jeffreys. So you can't say they didn't do all right by Old Blue Eyes.

On the strength of this film which did very well at the box office, MGM bought half of Sinatra's contract from RKO and he went on to make some great musicals in the Forties with them. But that's coming very soon.

Step Lively is both funny and contains some great singing by The Voice.

Zany B-musical based on "Room Service"...

[Doylenf · 5/10 · 4 May 2008]

STEP LIVELY is a vast improvement over Sinatra's HIGHER AND HIGHER at RKO, but that's hardly a big compliment. Nevertheless, it's a more enjoyable romp with some good work from others in the cast, including GEORGE MURPHY and GLORIA DeHAVEN, but much of the comedy is played so broadly that it seems forced at times.

Based on "Room Service", a comedy starring the Marx Bros. and based on a stage play, it's about a nervous hyperactive producer (Murphy) who wants to put on a show and is encouraged when he finds a talented writer/singer (Sinatra). The trouble is he can't pay his hotel bill and is constantly being badgered for money by WALTER SLEZAK and ADOLPHE MENJOU who don't want him to hold rehearsals for a new show in a penthouse suite.

It's a broad farce and is played for non-stop zaniness by the entire cast, but the constant shouting by Murphy and Menjou becomes tiresome after the first half-hour. ANNE JEFFREYS has a thankless role as a young lady who is only interested in having EUGENE Palette back the show because she's got a crush on Sinatra once she hears him sing.

The songs themselves don't make much of an impression, but are handled suitably by Sinatra and GLORIA DeHAVEN. It's no more then a B-musical with some A-sets for the hotel settings and production numbers.

Sinatra is his casual self in a role that makes no great demands of him except to sing on cue, but everyone else is given to extravagant bits of overacting. His best number is "As Long As There's Music", but it's a good thing he was soon grabbed by MGM for ANCHORS AWEIGH.

Happy nonsense

[AAdaSC · 5/10 · 27 March 2010]

George Murphy (Gordon) has taken over a floor of a hotel managed by Walter Slezak (Joe). The entire cast of his show eats and sleeps there for free to the horror of Slezak's boss Adolphe Menjou (Wagner). The film follows Menjou's attempts to throw everyone out of the hotel and Murphy's attempts to get some backing for his show.

The film is easy to watch with pleasant songs and some funny moments. Gloria DeHaven (Chris) and Frank Sinatra (Glenn) are good but Murphy and Menjou are guilty of shouting too much, The story is complete nonsense and overall it's too shouty.

Sinatra can obviously sing but it is the female backing singers that leave a lasting impression. They sing in that Wonderful World of Disney style that leaves a magical note in the air.

"This Is No Time To Think!"

[stryker-5 · 8 January 2000]

Gordon Miller is a Broadway producer with not much cash and even fewer scruples. He has ensconced the young cast of his new show in a large New York hotel, and is feverishly rehearsing them for opening night. Along comes the young writer Glenn Russell, and it transpires that the kid can sing ...

A frivolous, fizzing little musical from RKO Radio, "Step Lively" doesn't even pretend to be sensible. The frenetic farce is augmented by workmanlike songs from Cahn and Styne, two numbers standing out as better-than-average - "Come Out, Come Out Wherever You Are" and "As Long As There's Music". Both are staged impressively.

"Come Out" gets the full production treatment, with Gloria De Haven heading a floorshow-style ensemble. "As Long" is the big finale, with two pieces of silver-screen magic. Gloria walks down a beam of light, and the chorus line have striking black-and-white gowns which enable them to 'disappear' impressively.

The sets are fun. Glenn walks Christine home to her brownstone, and the couple is tracked by a neat crane shot. When Glenn runs out of the hotel, we see him sprint away from the camera, down the sweeping staircase, across the lobby and out through the revolving door. Now that's what I call a set.

Frank Sinatra had made his name fronting the big bands, and now he was making the transition to independent actor-singer. He is good in the role of Glenn, the jeun-naif, but clearly lacking the poise of later years.

Gloria De Haven (Christine) began her movie career eight years before this film, appearing as Paulette Goddard's sister in Chaplin's "Modern Times". She was still showing up in TV movies two years ago. How many actors working today have resumes dating back to the silent era? She is pretty and engaging as Christine, the romantic lead.

"Step Lively" is a curiously old-fashioned musical. It is almost as if RKO was trying to hark back to its heyday of a decade earlier, and the 'come on kids, let's rehearse a show' approach. Compared with "Meet Me In St Louis", it seems a cinematic dinosaur, and yet both were made in the same year.

Verdict - A light-hearted, if light-headed, musical that was already old-fashioned in 1944.

Pure Hollywood

[AlsExGal · 6/10 · 7 December 2023]

This features an emaciated young crooner by the name of Frank Sinatra who is a playwright writing unmitigated rubbish which a producer (George Murphy) is trying not to put on stage. When he hears young Frankie sing though, he wants to put him in a musical he is rehearsing in a hotel. Unfortunately, Murphy is low on funds and an exasperated hotel manager (Walter Slezak) and the hotel auditor (Adolphe Menjou) are having kittens trying to get their hands on some folding stuff or throw this producer and his retinue out on the street.

Frankie reluctantly decides to sing in the musical - most probably because the female lead in it is Gloria DeHaven and of course in the end everything turns out well for all concerned in the tradition of MGM musicals of the period.

This film is very enjoyable - even though the general theme of it is the same as many others, Adolphe Menjou, whilst at the same time being sartorially elegant, manages to go over the top a number of times and don't we all love it when he does? Gloria and Frankie sing a number of songs and they are all nice and tuneful. Eugene Pallette walks on blustering a few times and we wonder if at any time he may suddenly explode. The script is amusing, the story tight and the direction by Robert Fellows quite capable. Good entertaining fun.

Showcasing Sinatra

[LeonardKniffel · 6/10 · 11 April 2020]

A screwball comedy, Step Lively is a remake of the Marx Brothers' Room Service, with a B-level musical score made listenable largely by the crooning voice of young Frank Sinatra. Released at the height of World War II, this farce does not pretend to make sense; it clearly was made to showcase Sinatra's talents as a singer and sex symbol. It works; you can't take your eyes off the skinny little guy from Hoboken, New Jersey. Supported by an enormously talented cast that includes Gloria DeHaven, Anne Jeffreys, Walter Slezak, Adolphe Menjou, and George Murphy. The choreography, however, could have used a hand from Busby Berkeley.

Screaming Killed It

[ArtVandelayImporterExporter · 6/10 · 4 August 2018]

This was funny as Room Service and it's charming in this variation with skinny young Sinatra. Well, up to the point Adolph Menjou arrives in the second act to scream about hotel bills not being paid. Goodness that got on my nerves fast. On top of that, everyone else started yelling - George Murphy, Eugene Pallette, Walter Slezak. Pretty soon what started as a pleasant, amusing musical comedy starring Frank Sinatra becamse an obnoxious screball comedy with a bunch of people not named Sinatra burning up screen time. I've rarely seen a movie fall so far off the cliff from Act 1 to Act 2. Cripes, you have the hottest young singer in America. You team him up with the beautiful Gloria DeHaven, write some songs, skip around a bit. Boom, you got a hit. I always hated try-hard screwball comedies - where shouting and strained, unfunny physical comedy substitutes for funny writing - but this one is right down there. My advice is to hit the skip button every time you see Menjou on the screen. Makes for a much better experience.

Rather silly musical

[HotToastyRag · 4/10 · 15 September 2017]

In this comedy of errors, a broke producer is staying in a swanky hotel without paying his bill. His excuse? He's producing a hit Broadway musical and will soon come into a lot of money. It's not enough that the hotel owner is about to evict him, the playwright he's also scammed out of a bundle of money under the pretense that he'll produce his play shows up and demands to see the show! The producer discovers that the playwright can sing, and he tries to persuade him to star in his musical, hoping he won't notice that the drama he originally wrote will never see the light of day.

The playwright is played by Frank Sinatra, in his first acting role where he doesn't play himself. The first four films he acted in, he literally played Frank Sinatra. Although he does sing several songs in this zany 1940s musical, he must have been relieved to play a character with a different name. Jule Styne and Sammy Cahn wrote the songs for Frankie and Gloria DeHaven, but unless you're a die-hard fan of silly musicals, this one will probably feel a little campy and tiresome. If you like very light-hearted stories, like On the Town or Take Me Out to the Ball Game, you find good company in Step Lively.

I can't believe no one has yet mentioned that this is a re-tread of a Marx Brothers film

[planktonrules · 4/10 · 6 February 2006]

This film is at times an exact copy of the Marx Brothers film, ROOM SERVICE. Instead of the Marxes, Frank Sinatra and his pals reprise the exact same roles. The first versions of most movies are usually the best, and this could certainly be said of this film. Think about what a tough road this movie had--no Marx Brothers and yet it was to somehow say something unique and worth watching. Well, it didn't. While it is certainly a time-passer and worth watching from a historical point of view, I see no reason for the average viewer to do so. The songs that were added to the flick weren't particularly wonderful and the movie is nothing new. Just see the original film and be done with it!

A wonderful early Sinatra musical

[rdbqpaul · 9/10 · 8 August 2018]

Yes, it's a flimsy but very funny, fast-paced script. George Murphy's brief dancing and comic delivery is excellent. Sinatra is terrific in his young, vibrant, handsome and romantic best. His ever move from his first entrance shows natural skill and timing. The songs are vastly better than most 1940s musicals. Cone Out Wherever You Are sticks with me for days whenever I hear it. DeHaven is gorgeous as us AnnJeffries. Whenever I watch a film like this I lament that there is no well known talent alive today that could duplicate this film with 1/2 the charm.

Helium weight nonsense

[vincentlynch-moonoi · 5/10 · 16 May 2015]

Frank Sinatra eventually became a fine actor. Eventually.

MGM made great musicals. This film was produced by RKO.

In sum, this is a light weight musical with a light weight plot and light weight acting. It's not just a gas, it's helium.

In all fairness to Sinatra, this was only his second film appearance, and surprisingly the film following this one was "Anchors Aweigh" in which he did very nicely. But, that latter film was an MGM production. It makes a difference.

I was not impressed at all with the songs here, although they were composed by Sammy Cahn and Jule Styne.

The cast here does "okay". Just "okay". George Murphy, who I have seen in other films and who can be quite engaging, should have protested his role here; about all he does is yell and scheme; an embarrassment. Adolphe Menjou is a bit entertaining blowing his top. Gloria DeHaven does alright musically and acting, but it's clear why she never became top shelf. Walter Slezak was not even particularly funny here as the hotel manager. Eugene Palette is always entertaining.

Frankly, to like this film one would have to be a super fan of Frank Sinatra.

lively musicalized Room Service

[blanche-2 · 29 October 2011]

"Step Lively" from 1944 is a fun, energetic musical, based on the play Room Service. It's the story of a broke producer, Gordon Miller (George Murphy) housing his actors in a hotel. The actors sign for everything to the consternation of the manager (Walter Slezak), who has to answer to the owner (Adolphe Menjou). Miller has an investor on the line but with no money yet, he has to keep making promises he can't keep.

Along comes Glenn Russell (Frank Sinatra), a serious playwright who sent Miller his script and $1500 so it could be produced. Miller hasn't produced the play, and he doesn't have the $1500. He is charmed by Miller's girlfriend and star of Miller's show, Christine (Gloria de Haven). And at dinner that evening, after watching Christine's show at the hotel, guess what, Glenn Russell sings like Sinatra! The next day, Miller stages a fake rehearsal of what is an awful play, and the man representing the potential backer (Eugene Palette) sees that rehearsal with the benefactor's girlfriend, a Miss Abbott (Anne Jeffries) and is not impressed. As a diversion, Christine has Glenn sing through a song. Abbott falls in love, and it at last looks like Miller will get his investor.

This is a charming musical with a great young cast. It's easy to see why girls were mad over Sinatra - skinny, his suits just a little too big, those huge eyes, gentle manner and romantic singing voice - he is captivating. He sings "Where Does Love Begin," "As Long as There's Music," "Some Other Time," and "Come Out, Come Out, Wherever You are," some with the pretty De Haven, who does a lovely job. Walter Slezak is a scream as the put-upon Gribble, and Menjou is appropriately grumpy as the owner of the hotel.

Anne Jeffries is stunning, as she remains today, but I'm curious if her age could possibly be correct. She was supposedly born in 1923 to De Haven's 1925; that makes De Haven 19 in this film and Jeffries 21. I doubt it. The woman defies gravity, age, and everything else and if she's even older than 87 - wow! Lots of fun and nice to see the immature, sweet version of "Frankie."

At last! A musical about squatters! (Long before "Rent")

[mark.waltz · 5/10 · 10 April 2013]

While at first though, a musical version of "Room Service" seems unnecessary, once the songs are added, it all comes together. Not all the songs are good, and a few of the production numbers (particularly one with an Arabian setting) have a sense of awkwardness even with special effects impossible on a Broadway stage. What is surprising here is the pacing of the film, a bit faster moving than its original 1938 film version with the Marx Brothers and more appropriately cast.

George Murphy is a broke Broadway producer who has been keeping his cast of 22 and production team in his brother-in-law Walter Slezak's hotel, that is until the hotel's auditor (Adolph Menjou) arrives to examine the books. A potential investor send his representative (Eugene Palette) and gal-pal (Anne Jeffreys) to check out the potential success, and a playwright (Frank Sinatra) also shows up, believing that Murphy is producing his play. To keep these squatters from being evicted, Murphy gets Sinatra plastered, since hotels apparently are not allowed to throw out a sick guest whether they've paid their bill or not. But hangovers don't last forever, investors can change their mind, and playwrights, no matter how good they sing, don't always want to perform in a show that they know they didn't write.

There's a lot to admire in this lavishly filmed musical, but their best songs are actually the ballads, not the big numbers. "As Long as There's Music" and "Some Other Time" will stick in your ear more than "Ask the Madame", "Why Must There Be an Opening Song?" and the annoying Arab production number which leads into a reprise of "Where Does Love Begin?". Grant Mitchell is very funny in a cameo as the hotel doctor whom Murphy locks out on a balcony in order to prevent him from reporting that Sinatra isn't sick. The lovely Gloria De Haven's beautiful soprano and Sinatra's smooth big band trained voice mix well together, but sadly Anne Jeffreys isn't given much good material and her character seems unnecessary other than to give the two leads a love interest for the finale fade-out.

A Flawed Comedy

[atlasmb · 5/10 · 27 April 2021]

An uneven script plagues "Step Lively", which, despite the addition of songs, cannot even live up to the entertainment value of "Room Service", the Marx Brothers comedy that came first. But manic does not equal madcap. And frenzied does not equal funny. And George Murphy is no Groucho Marx.

The best parts of the film are the Sinatra stylings and some of the onstage performances within the film. But Frank is underused. He had not yet been recognized for his filmic appeal. And those elements of the onstage song and dance numbers that are visually arresting are undermined by more numerous examples of special effects and editing decisions that fail. It's all very hit or miss.

No doubt the teen bobby-soxers of 1945 appreciated Frank's cinematic charisma and his smooth crooning, and were able to ignore the rest of the film. But as we now view it within the context of his entire film career, it can only be viewed as anemic.

The big musical must go on despite frenetic money troubles

[sedwinxl · 10/10 · 7 May 2008]

Do you like good romantic music with beautiful vocals and crisp clear images? Certainly you do. But if you're looking for "Citizen Kane" or "Gone With the Wind" then you too should be gone and not allowed to comment on this sparkling gem. The film was made in 1944 with a gorgeously tender 19-year-old Gloria DeHaven and a 29-year-old Frank Sinatra in perfect voice. The songs are perfect: Where Does Love Begin (and where does friendship end), Some Other Time (I could resist you), Ask the Madam (she knows it all), and the fantastic Come Out (wherever you are) featuring Gloria in a bathtub in the final year of her teenage glory. Good God how could anyone resist the lure of this film? Now I will admit that George Murphy and company are way over the top as far as vociferous antics are concerned and they are certainly no match for this film's progenitors, Room Service, and the Marx Brothers. And I admit that according to IMDb the film did not do well at the January 1945 box office when it was released. But then honestly if you consider the fact that the USA was fighting for its life in World War II and it was frigid throughout half of the country that is extremely forgivable. Just ask yourself how many Academy Awards are ever given to films released in January! So in summary I suggest that this movie is artistically filmed, delightfully cast and a true beauty in every way. However I do suggest that you turn down the sound until Frankie and/or the incredibly delectable Miss DeHaven (or even Mr. Murphy) begin to sing. Watch the crip clean contrasts of the film and immerse yourself in the perfect images captured and then when the greatest song phraseologist of the 20th century, Frank Sinatra, or his distaff partner, gloria DeHaven, open their mouths to sing turn up the volume and luxuriate in the fantastic melodies and harmonies from Gene Rose, Alex Stordahl and C. Bakaleinikoff. This is a film to immerse oneself in and feel the joy of life and love rather than tear apart pretending one is some sort of Ebert and Roper tyro. This movie is an emotional rejuvenation. Frankly I love this film, Gloria DeHaven, and the era in which it was made; the greatest generation as Tom Brokaw would say. If you're out of high school and capable of any sincere feelings you will love it too.

Fun time with Frankie and Gloria, instead of Mickey and Judy

[weezeralfalfa · 9/10 · 10 March 2012]

This lively forgotten musical romantic comedy will probably remind you of the style of some of the B&W Rooney-Garland films of the early '40s, with some of the musical numbers impromptu romantic songs, while others are elaborate staged productions, It may also remind you of the Marx Brother's "Room Service", upon which the background story is based. Along with some other reviewers, I think you will find it clearly the most entertaining film in the current Sinatra Early Years DVD collection. You may even find it on par with or better than the 3 later Kelly-Sinatra films. You will get a rare opportunity to hear and see Gloria DeHaven in her youthful heyday, with lots of singing opportunities. Too often, she just got to sing one song when included with other female singers and dancers. I often prefer her smooth sexy voice to that of Garland's. We also have Anne Jeffreys, who sings a couple of songs. I can't complain about her singing or acting either. And George Murphy, who probably has the most screen time of any actor, can sing , tap dance and act, with a fair dose of charisma. He had previously costarred with Garland and Kelly in "For Me and my Gal", and was featured in "Broadway Melody of 1940" and "This is the Army"

Here, I would like to describe in some detail the various musical numbers, and skip commenting on the background theatrics and comedy, which others have summarized(except to agree that there is too much shouting between the various characters). There are 8 musical numbers, featuring 6 songs. Murphy and Gloria, backed by a mixed chorus,start things off with a rousing staged "Where Does Love Begin?"(and friendship end?), which includes some tap dancing by Murphy...Next, another staged production, featuring Gloria in a bubble bath, surrounded by a female chorus, crooning the catchy "Come In, come In, Wherever You Are". A male chorus changes the lyrics to "Come Out", and she emerges(beautifully clothed). Gloria, various males and Sinatra then take their turns singing a reprise, followed by a Gloria-Sinatra romantic dance..In the next musical scene, Sinatra croons "As Long as There is Music" to Gloria. Anne Jeffreys overhears, and becomes infatuated with Sinatra. Later, she catches Sinatra in a phone booth and makes a play for him, but he resists, preferring the tamer Gloria.He escapes and she chases, while they take turns singing bits of a modified version of the opening "Where Does Love Begin?".Finally, he pushes her into an elevator , where she becomes entangled with others, while he escapes down the stairs..Later, Sinatra and Gloria resume their romance. They take turns,back and forth, sometimes as a duet,singing "Some Other Time", with dancers in the background. Ironically, Sinatra soon after gets angry with Gloria about some performance credits and supposedly quits the show for some distant destination(to later return and make up).. Now, we are ready for another floor show. Anne Jeffreys is the lead singer, with female chorus, in the rousing "Why Must there be an Opening Song?" This is soon followed by an elaborate Ottoman-themed stage production, featuring the complex song "Ask the Madame", led by turbaned Murphy, who functions as the MC, periodic singer and magician. It also features the periodic singing of fortuneteller Gloria, and choruses. One of the scenes has a row of women hidden in apparent baskets, which will later function as their dresses in a dance.To the music of a flute, their gloved hands and forearms emerge, convincingly mimicking swaying cobra heads. Quite an interesting show, including Murphy's magic tricks.

Now, we are ready for the final music number, impressively staged, if not nearly as interesting as the previous one. It features a reprise of "As Long as there is Music", which Sinatra previously crooned to Gloria. Sinatra, in a spotlight on an otherwise dark stage, starts things off, soon joined by a female chorus, all in white. Gloria then descends a long cloud-like staircase, while singing, as if a goddess descending from heaven. She and Sinatra then duet while dancing. Murphy and dance partner then sing and dance, with gleaming white columns and chandeliers in the background, against a pitch black backdrop. All file out into the audience, while singing, and the 3 stars say goodbye.

Sound like a fun time? You bet! Too often, in his other '40s films, Sinatra was portrayed as a skinny timid romantically naive halfwit, and had to suffer the ultimate romantic rejection of a Kathryn Grayson("Anchor's Away", "It Happened in Brooklyn") or Esther Williams{"Take Me Out to the Ball Game") or meekly surrendered to the sudden Anne Jeffreys-like infatuation of man-hungry Betty Garrett(last title, and "On the Town").

The Best Room Service In Town

[writers_reign · 8/10 · 3 May 2008]

As a lifelong Sinatra fan who has seen all the movies and owns all the CDs I have no hesitation in rating this the best film he made in the 40s, his best in fact until Meet Danny Wilson right at the start of the 50s. In fact it's right up there with the two great musicals he made in the 50s, Young At Heart and High Society and it's no coincidence that all three had rock-solid scripts, had in fact begun life in each case as non-musical dramas/comedies. Young At Heart was a successful novel by Fanny Hurst which became a fine drama, Four Daughters; High Society was a play, The Philadelphia Story, tailored especially for Katherine Hepburn who played it both on Broadway and the subsequent film version and Step Lively began as a farce on Broadway and became a film vehicle for the Marx Brothers. This means that Sinatra isn't asked to carry the film and we can enjoy George Murphy as a sort of pre-Bilko complete with two sidekicks, Wally Brown and Alan Carny, in a running battle with Walter Slezak, Adolph Menjou and Eugene Palette. The six great songs provided by Jule Syne and Sammy Cahn are a bonus even those in which Sinatra does not feature (Ask The Madam). Sinatra is allowed to develop his personality into something - albeit only a little - more than the gauche 'himself' he played in Higher And Higher and once he got to MGM he was back to gauche. I suspect that Anchors Aweigh would seem very dated today despite a fine score, The Kissing Bandit was always a joke with Take Me Out To The Ballgame only a notch better and I've always found On The Town vastly overrated which leaves It Happened In Brooklyn as the best of a mediocre lot. Step Lively - seen today, May, 2008, retains its freshness and failed completely to disappoint.

Bring Back Groucho ***

[edwagreen · 27 October 2011]

An obvious remake of the Marx Brothers with Lucille Ball in 1937's "Room Service."

Song and dance man George Murphy is adequate here in the role made famous of Groucho Marx. The part required to be zany and Murphy tries to even play it straight.

Sinatra is good as the crooner involved in all the mayhem, but Walter Slezak and A. Menjou as hotel honchos really steal the show.

The zany tale involving play investments, a hotel being used to stage a show, a wily Murphy concocting Sinatra to be ill at the hotel to avoid conviction,they all over-shadow the nice singing and dancing.