User reviews

With the gift of a DVD by a good friend, I have now viewed BBB for the first time in over 20 years. And the comments here astound me: so many people coming to a message board to complain on a film that isn't a stage show. Or a book. Or an editorial. Different media sometimes (not always, to be sure) necessitate a change or alteration in a story adaptation. Yes, Rosie's ethnicity is down pedaled in the film (mainly because Chita Riviera wasn't in it), but they don't eliminate it entirely by the inclusion of a hideous black wig on Janet Leigh. I didn't miss Albert not being an English teacher as opposed to a chemist at all; it doesn't change the essence of his still-henpecked-by-his-mother character. On a different matter, I'm a little surprised to learn that Dick Van Dyke apparently had a bruised ego because of the strong emergence of co-star Ann-Margret in the film (his name still comes before hers, f'heaven's sakes!), but what can you do? The film is a fun, bright, pseudo-satire of the generation gap, teens, Elvis, and most of all, Ed Sullivan!! The finer numbers include the A-M introduction in "How Lovely to be a Woman" followed by the insane ensemble piece "Sincere-" which contains one of the funniest closing camera pans ever used in a film. "Kids" is also fine, but "Put on a Happy Face" is hampered by the limited dancing ability of Janet Leigh- through no fault of her own, mind you, but an obvious hole in what should have been a boy-girl dance duet (which they try to hide with excessive trick camera effects). The film's standout number, IMO, is "A Lot of Livin' to Do-" a nightclub extravaganza sung by THREE different leads advancing two different plots of the story at once. With stellar direction by George Sidney and inventive choreography by Onna White, it first appears as a conventional girl-swooning solo for the title character, but quickly shifts to the cat-and-mouse antics of torn lovers A-M and Bobby Rydell, who lead the entire club in a kind of challenge dance. And while it isn't her first film, this is the scene (for me, anyway) which shows A-M's breakout performance, dancing in a bare midriff and pair of hot-pink capris- and she blows the roof off the place. No surprise that the next year she was cast opposite Elvis himself. Check it out, and try not to break into dance yourself, I dare you!!

Bye Bye Birdie which ran a most respectable 607 performances on Broadway was the second musical by the team of Charles Strouse and Lee Adams. And though they've been responsible for such additional Broadway hits as Applause, Golden Boy, All American, not one other of their shows has ever been adapted to the screen.

Though Bye Bye Birdie contains a number of hit songs still performed frequently today, it's never been revived. Interesting in that Grease which was a satire of that pre-Beatles era of rock and roll is performed all the time. You'd think the real article would occasionally be revived.

The only ones who make the transition from Broadway to Hollywood from the cast are Dick Van Dyke and Paul Lynde. Probably because respectively they are so identified with the songs Put On A Happy Face and Kids that no one would see the film if they weren't in it.

Based on the great pop culture uproar when Elvis Presley got drafted, Bye Bye Birdie is about a contest thought up by production assistant Janet Leigh to the Ed Sullivan Show to help her struggling songwriter boyfriend Dick Van Dyke. He writes a song One Last Kiss and Janet puts the idea to Sullivan to have Conrad Birdie {Jesse Pearson) sing it on the show to a special Conrad Birdie fan selected at random and bestow one last kiss before Uncle Sam takes him.

The lucky girl is Ann-Margret of Sweet Apple, Ohio and wouldn't you know that she'd come from a town like that. The teen virgin roles Sandra Dee didn't get are the ones Ann-Margret got and unlike Dee, that girl could sing and dance. Her boyfriend is Bobby Rydell who was at the height of his teen idol popularity as well and they do make an attractive and charming couple.

The dynamic of the triangle of Birdie, boyfriend, and fan is a very big change from the Broadway show. Realize that Bobby Rydell's part was played on Broadway by Michael J. Pollard and you KNOW it has to be different. Rydell, Pearson, and Ann-Margret sing and dance A Lot of Living To Do.

Janet Leigh is not thought of as a musical performer, but she did acquit herself well, though she would never have classified herself in Chita Rivera's echelon as a dancer. Leigh was in Howard Hughes's earlier attempt at RKO for a big musical in Two Tickets to Broadway and she did well there as she does here.

To say Bye Bye Birdie is from a more innocent time is to belabor the obvious. But if Grease can be continually revived, why can't Bye Bye Birdie?

This musical, for those of us who were of the age then, represents a time and a place we thought would not end. Entering our early teens in suburbia, begat of young war veterans, the biggest issues in our lives were those reflected in this film; who pinned who and the adulation of our musical icons. The whole world was Sweet Apple and "someday we would find out this was what life was all about" as Kim sings to a befuddled Hugo. Even nerds could fall in love. And an equal force in our weekly lives was the Sunday ritual of The Ed Sullivan Show. This is a beautiful homage to that world that would end seven months later in Dallas and bring with it the counter culture, riots and Viet Nam. Hard to put on a happy face... But you will with this score. More fifties and Bosa Nova then the hip sixties it is toe tapping and gets under your skin. Worth repeat viewings. And as always "I gotta be sincere..if you feel it in here.." and I still do.

When Ann-Margret opens the film singing 'Bye bye Birdie' against a brightly colored backdrop you immediately feel yourself sucked back to a time when rock idols made their fans faint from excitement - literally! Although musical theater connoisseurs might argue about the cuts and changes made from the original play, what they can't argue is that this movie is what rock'n'roll movies are all about - lots of delirious FUN!!! Certainly, a widescreen classic like this is worthy of a wider re-release to theaters around the country, if only to see the extravagant production numbers in all their big screen glory. Of special note is Jesse Pearson's hip-swinging 'rock' idol 'Conrad Birdie', who first causes an entire town to swoon with "Honestly Sincerely," and then rocks the local juke joint with "Got a Lot of Livin' to do," which then spins off into multiple musical and dance directions. The artistic design is full of bright, primary colors that pop off the screen and make this a dazzling visual treat throughout. I do agree with naysayers that the whole 'speed-up' sequence at the end of the film is not only a disservice to the original story, but it also promotes the use of amphetamines (guess they didn't have any Nancy Reagans back then?). All in all, not perfect as movie musicals go, but a cinematic highlight if you are into rock'n'roll movies that send up the whole 'Elvis' myth in a comical way. Paul Lynde steals the show as a fertilizer salesman who must be swayed to let his daughter (Ann-Margret) kiss 'Birdie' on the Ed Sullivan show (and the REAL Ed Sullivan has a cameo too!). If you have a revival cinema or a local college with widescreen capabilities, tell them to give this new 35mm print a screening - looks FANTASTIC!!!

Adapted from the stage musical, "Bye Bye Birdie" is based on the real-life story of Elvis Presley being drafted. In the film, Conrad Birdie (Jesse Pearson)--a teenage heartthrob--is to visit a small town in Ohio and kiss a local girl as a promotional appearance that would be part of The Ed Sullivan Show's live broadcast.

The real star of the film is Ann-Margret (as "local girl: Kim McAfee). There is quite a contrast between the teenage boys, who are all feet and Adam's apples, and Ann-Margret, whose more mature sexuality makes her feel like a Las Vegas dancer. This film does, in fact, serve as a bridge in her film career between "State Fair", with the wholesome Pat Boone, and "Viva Las Vegas", with Elvis.

On the adult side, Dick Van Dyke (Albert F. Peterson) and Paul Lynde (Harry McAfee) reprise their stage roles and sing the songs they are best known for: "Put On a Happy Face" and "Kids", respectively. But for my money, it is Janet Leigh (as Rosie Deleon, Peterson's long-suffering girlfriend) who really shines.

The camera work is sometimes amateurish and the choreography liberally borrows from "West Side Story" (1961). The film's story, perhaps more than the stage version, feels very choppy and uneven. Pearson's portrayal of Conrad is more like Lonesome Rhodes ("A Face in the Crowd") than Elvis. Worst of all, Maureen Stapleton is saddled with a caricature of the smothering Jewish mother; the role is so cartoonish it would fit better in "Li'l Abner".

Decades after the film's original release, Ann-Margret's performance of the title song, which was added in post production, is the most memorable part of the film.

It's not the amiable performance of Dick Van Dyke, emerging as a star.

It's not the fresh-from-the-shower Janet Leigh as Rosie.

It's not the pretty good Broadway score.

It's not the always-funny Paul Lynde, leering and lavender, an unlikely mouthpiece for the eternal frustrations of fatherhood. (Kids! I don't know what's wrong with these kids today!)

It's certainly not the hokey and unconvincing and undangerous Elvis/Conway Twitty rock'n'roller who looks like he just came from a gig at the used car lot.

And it's not the silly subplots involving Russians and amphetamines and Ed Sullivan (although nice to see the wooden, totemic variety show host reanimated again.)

It is, of course, Ann-Margaret, impossibly young and beautiful.

But let's be more specific. It is not her sinfully delicious performance generally.

It is this: Ann-Margaret, alone before a backdrop, singing the theme at the very beginning and end of the movie. It is Ann Margaret fired up with sensual energy and burning through a song that is not inherently sexy.

Oh, Lord: righteous.

I was 13. I saw the movie, but *experienced* Ann-Margaret's opening and closing.

I've never recovered.

Although George Sidney directed some classic MGM musicals, his adaptation of the Tony-winning Broadway hit, "Bye Bye Birdie" for Columbia is not often mentioned. The oversight is unfair, because "Birdie" is a lively, tuneful, and often inventive film musical. Where "Grease" strove to create nostalgia by invoking the 1950's and 60's, "Birdie" was filmed in 1963 and is the real thing. Although the music is generally more Broadway than late-50's rock, the film includes a genuine 1950's teen heartthrob in Bobby Rydell, and an authentic icon of the period in Ed Sullivan. Both Rydell and Sullivan were still popular when the film was made and, unlike the bygone stars in "Grease," were not dragged from the attic for walk-ons.

Conrad Birdie, a thinly disguised Elvis, has been drafted. Aspiring songwriter, Dick Van Dyke, and his secretary, Janet Leigh in an awful black wig, concoct a plan to have Birdie bestow a goodbye kiss on one lucky girl and sing a song to be written by Van Dyke. All of this to take place on the "Ed Sullivan Show." Ann -Margret from Sweetwater, Ohio, is the lucky girl.

Although Ann-Margret is a bit hot to be the steady of Bobby Rydell, she is dynamite on the dance floor and smolders during her numbers. Obviously, the director and producer fell in love with her, and she upstages everyone, including two members of the original Broadway cast, Van Dyke and Paul Lynde. However, Lynde does hold his own as Ann-Margret's father, and he has an amusing musical number in "Kids." Also funny is Maureen Stapleton, who stomps around in sensible shoes and a fur coat as Van Dyke's mother. To Leigh's frustration, Stapleton does everything to keep her "baby" from falling into marriage and out of her control.

"Bye Bye Birdie" has a number of good songs, some lively choreography, and clever effects that distinguish it from the more traditional musicals like "Show Boat" that Sidney directed for MGM. Although Van Dyke has the central role, he is not a standout. Perhaps the part of Albert Peterson was meant to be a bland foil for the two women in his life, who spar for control. Although Leigh is miscast as Rosie DeLeon, a Latina part that belongs to Chita Rivera, she does well despite the wig. However, Ann-Margret opens the film, closes the film, and, in between, sizzles and dazzles in a star-making role.

Opinions seem to be pretty divisive on this film version of Bye Bye Birdie, and while I can definitely understand why people won't like it it is also easy to see why people do. While it is not perfect, I am one of those who did like the film and always have done. I have yet to re-watch the 1995 version, but I do remember that while it was closer to the original musical/stage show that it didn't have the same levels of energy and sense of fun that we see here, that the cast weren't as strong and that it felt too much like a made for TV movie. The re-watch might make me feel differently though. Bye Bye Birdie(1963) does have foibles in my view, the Ed Sullivan references are dated and have always gone over my head, Jesse Pearsson as Conrad does little with his here very underdeveloped character and Bobby Rydell is rather bland. However, the film is beautifully shot and the costumes and sets are very colourful. The songs are wonderful and really quite catchy, while the choreography is both lively and inventive(loved Conrad's priceless entrance). The story does come across as a little messy as a result of things being omitted, added in and rewritten, but the witty satire and the exuberance of George Sidney's direction make up for things. The performances are very strong generally, Ann-Margaret especially is perfect in the lead even if her singing in the prologue is not that great. But that is not to dispute the rest, Paul Lynde's hilarious and snarky performance- and rendition of Kids- really stood out and Maureen Stapleton is a riot as the overbearing mother figure. I've seen better from Dick Van Dyke but his handsome presence, infectious energy and personal charm still shine here and while the role needed much more of a spitfire personality Janet Leigh was still very charming and really gave her all in every respect. In conclusion, energetic, colourful and fun, not one of my favourites but I can't help liking it very much. 7/10 Bethany Cox

While much of this Broadway hit has been altered for the film version, it doesn't really matter. The theatrical film production of "Bye Bye Birdie", is leaps and bounds of fun, over its stage counterpart (and the wretched TV remake). Every cast member gives it their all, with scene stealing performances from Paul Lynde (from the Broadway cast) and Maureen Stapleton. Dick Van Dyke (from the Broadway cast) and Janet Leigh are wonderful as Albert and Rosie, Bobby Rydell, proves that he can act and dance, as well as sing; but it is Ann-Margret who caused such a sensation, when the film was released. She may not exactly look like any sixteen year old you know, but she's just plain perfect in the role. The musical numbers (choreographed by Onna White), are exceptional. Every one of them is a highlight. This is one of the best screen musicals, ever. Don't miss it!

A frenetic rendering of the Broadway smash which fails to stay the course due to a wafer-thin script which doesn't follow through on its own set-up (a kiss between a singing idol on his way to the Army--à la Elvis--and a smitten teen with a troubled love life). Ann-Margret, at the peak of her sexy/innocent charms, simply cannot be equaled when she's front and center; the fiery, orange-haired young woman attempts to be modest--but most of her sidelong glances, responses and dance-moves reveal a vixen. She's probably too old to be playing a bobbysoxer, but she lights the screen up in such a way that no one wants to mince words. Janet Leigh (in an odd brunette wig) is sweet as a secretary, but there's too much of her--we don't really need the dance sequence with the Shriners, but apparently Leigh did. Dick Van Dyke and Maureen Stapleton (as a mamma's boy and his mamma) just get in the way, but Paul Lynde makes his suburban pop something to relish and Bobby Rydell is likable enough as A-M's slightly pushy beau. The film ends with a messy sequence, its cast turned into a mob, with ideas thrown around and a situation not fully realized. It moves fast and has a pleasantly scrubbed atmosphere, but only Ann-Margret is worth swooning over, doing her best to convince us she's a good girl. *** from ****

I remember when this monstrosity was released. I was born in 1946 and was "in to" the Rock era by age 12. I remember the old "Lucky Strike Hit Parade" TV show, and how lame the music had gotten by 1955. The Hit Parade stars couldn't sing the new stuff, and their efforts to do so were pathetic. By 1958 they were washed up. The Rock Era, when it broke, was like opening the door to a breath of fresh air. All I could think then, and still think now, is that "Bye Bye Birdie" was written by a pair of old 1940's cranks who knew their jobs were about to end, and had decided to ridicule rock music as their last attempt at revenge. The music is awful and the "plot", if it can be called one, is even worse. It is, in my opinion, not a "cute" movie, but an obnoxious one. My young daughter, now fourteen years old, has seen the movie and her comment on it is "it's demeaning." The local high school is planning to perform it and she will have nothing to do with it.

I am usually in the corner of those who complain about how Hollywood generally altered many classic Broadway stage musicals into something radically different when they were made into movies. Most of the time, the changes were ridiculous and weakened the property dramatically.

"Bye Bye Birdie" though, is the rare exception where the changes made to get it to the big screen were absolutely necessary. And nothing demonstrates this more than the fact that the faithful 1995 TV version is a lumbering, slow-moving mess that manages to demonstrate perfectly how what plays great on the stage does not always translate effectively to the film medium.

By contrast, the 1963 film version decided to make itself a bright, colorful film extravaganza that played to the strengths of the film medium. And the results in my opinion, worked wonderfully.

To a stage fan like "citybuilder" who rips the changes from the play, he needs to stop and think of how the structure of the stage version, which has the Sullivan show moment and the punching of Conrad as an Act I finale, would never have worked on film. It simply makes more cinematic sense to move that to the end. And the whole big deal over Rose's ethnicity, which was really done to showcase the talent of Broadway lead Chita Rivera, would have been a distraction as well because spotlighting Albert's mother as a racist would have gone against the whole tone of the movie (and truth be told "Spanish Rose" is not that great a song). Likewise, it's better to have Albert sing "Put On A Happy Face" to Rose rather than a nameless Conrad Birdie fan we never see again.

Dick Van Dyke and Paul Lynde offer the right amount of gravitas from the Broadway cast, Janet Leigh in her black wig gets to show off her dancing talent which she seldom got a chance to do (her singing is admittedly a bit thin, but she gets by), and of course Ann-Margret totally elevates the role of Kim McAfee into a star vehicle, and who can blame them for doing this? Her rendition of the title song written for the film is enough to leave one gasping for air, yet she still manages to be convincing as the wide-eyed teenager just the same.

Ultimately, stage fans can be satisfied that they got the version they prefer done on film (though it should be noted that the 95 version is not a pure rendition of the 1960 stage script, but rather the 1991 touring revival), but movie fans got the better end of things with this version in 1963. It will never be among the great movie musicals, but it is two solid hours of colorful early 60s fun.

The story is based on the drafting of Elvis Presley into the army, here called Conrad Birdie. Songwriter Albert F. Peterson was looking forward to financial security when Conrad was going to sing one of his songs in a film.

Albert's fiancée Rosie DeLeon sell an idea to Ed Sullivan: put Birdie on The Ed Sullivan Show and have him kiss a fan as a way to say goodbye to all his fans, while he sings "One Last Kiss," to be composed by Albert.

The fan chosen is Kim McAfee of Sweet Apple, Ohio; her boyfriend, Hugo, is jealous. That's just one problem. The show is also overbooked.

Great songs, including "Kids," "A Lot of Living's To Do," and "Put on a Happy Face." I guess "The Telephone Song" would today be called "The Texting Song."

The cast is top-notch and includes Dick van Dyke as Albert, gorgeous Ann-Margret as Kim, Janet Leigh as Rosie (who is Hispanic and was played on Broadway by Chita Rivera), Maureen Stapleton as Albert's difficult mother, Paul Lynda as Kim's father, and Bobby Rydell as Hugo. Jesse Pearson is Conrad.

Highly entertaining.

This lighthearted musical parodying the mania around Elvis was harmless enough I suppose, but it had so many uninspiring components that I struggled to stay interested, especially in its first half. There's a badly miscast heartthrob (Jesse Pearson), an annoying, overbearing mother (Maureen Stapleton), a bunch of songs which really aren't that great (sorry Ann-Margret), and Janet Leigh playing a Mexican-American character (say whatever you want about it being 1963). The story is a bit of a mess as it careens around, though the silliness is part of the point.

It's not entirely bad, with one of the bright spots being Paul Lynde, whose smirk and mannerisms always seem to convey a little extra playfulness beyond the part he's playing. Dick van Dyke is charming in his rendition of the sweet "Put on a Happy Face," and the amphetamines his character cooks up and feeds to a turtle and the Russian conductor are pretty amusing. Leigh playing the "exotic" and doing a rather odd dance to bedazzle a bunch of Shriners was problematic but a highlight nonetheless, simply because of her charms. I wasn't as wowed by Ann-Margret, but obviously I'm in the minority, and if you're a fan, this is must-see. Otherwise, I'm not so sure.

I rented this movie not really knowing what to expect-maybe that's why it came as such a pleasant surprise! Only in the 50's or 60's could they have made a movie like this and that's a real shame. It's energetic, funny and the score is great. It's easy to see why Ann-Margret became a star here. She just lights up the screen, but she's matched every step of the way by the rest of the cast. Everyone down to the extras are in peak form, and it looks like they're having fun, and that sense of fun makes itself felt all the way through. If you've never seen this one or are just plain curious do yourself a favor and see it. You won't be disappointed.

Ann-Margret is everything that is right about this movie. The characters played by Dick Van Dyke and Janet Leigh try their best to add interest, largely to no avail. It's a satire on the '60s, but was made in 1963 before The Beatles and Bob Dylan (and others) would make art out of rock n' roll. And the thing in the film requiring more "suspension of disbelief" than is, frankly, humanly possible is: Paul Lynde plays the father of Ann-Margret's character. Whaaa? This 5/10 movie gets an extra point for ... uh, well ... Ann-Margret singing from the beginning AND also at the very end.

Bye Bye Birdie is so ridiculous that it's endearing. From the campy acting to the silly songs to the outlandish story, I found myself caught up in the excitement of this classic musical. This movie knows what it is, and it revels in it. It's also genuinely funny. I found myself laughing out loud a number of times. I gotta be sincere, this movie still holds up decades after it was made.

Energized and sweet movie version of Broadway musical, dealing with a teen rock and roll idol : Jesse Pearson doing Elvis Presley and coming to a town before he leaves for the Army, as his plans are being made to arrange his final going-away concert . As the rock star's approaching appearance in the small town to see one of his fans : Ann Margret , turns several lives upside down . The Most Wonderful Entertainment Ever ! Ever ! . Go! Go! See ! Bye Bye Birdie ! The all-star comedy event of the year !. Columbia Pictures Corporation invites you a new generation falling in love with an Old musical !

Pleasant musical comedy based on the succesful Broadway play , including colorful cinematography by Joseph F. Biroc and catching soundtrack by Johnny Green , this is a pretty lightweight stuff , but a sympathetic cast and impressive dances make it worthwhile . This is the enjoyable and attractive picture that made the charming Ann Margret a big star . The film benefits itself from likeable players such as Dyck Van Dyke , Janet Leigh , Paul Lynde , Mauren Stapleton , Bobby Rydell, Mary LaRoche and Jesse Pearson as an Elvis-like singer about to be inducted into the Army and causing havoc when he 's visiting fans in a small town .

There are several wonderful songs along the way , such as : Bye Bye Birdie , The Telephone Hour , How Lovely to be a Woman, Honestly Sincere , One Boy, Put on a Happy Face , Kids , One Last Kiss , A Lot of Living to Do . There's another inferior TV version 1995 directed by Gene Sacks with with Vanessa Williams , Jason Alexander , Tyne Daly , George Wendt , among others . The motion picture was competently directed by George Sidney . This was a great Hollywood filmmaker with penchant for Musicals , though also made other genres , such as : "Anchors Aweigh" , "Kiss me Kate" , "Pal Joey" , "Show Boat" , "Thousands Cheer" , "Viva Las Vegas" and "The Three Musketeers" . Rating : 7/10 . Well worth Watching . The flick will appeal to Dyck Van Dyke , Ann Margret and Janet Leigh fans . Okay for the whole family .

I loved Ann Margaret in Viva Las Vegas, but found her trying to be a teenager a bit annoying in this musical...even though there was a glimmer of Viva in her dance number towards the end.

I am also a big Dick Van Dyke fan, I think he absolutely shines in musicals like Mary Poppins...but I feel he is really underutilized in this film.

The real stars are Janet Leigh as Rosie and Paul Lynde as the father Harry McAfee.

The general story is that a big teen Elvis-like heartthrob has been drafted into the military and songwriter Albert F. Peterson, with the help of his secretary/fiancee writes a song called "last kiss" that he is going to sing and then bestow a kiss on a wholesome Ohio girl from his fan club. And the lucky winner is Kim McAfee, only she has just been pinned by her boyfriend Hugo, who isn't too thrilled with the idea.

There are some side stories around Albert's mother, but otherwise it is a pretty straightforward plot. The songs were kind of mediocre as was the dancing.

I am a big musical fan and can honestly say there are much better musicals out there, I am not sure how this one did as well as it did. Sadly, not a recommendation from me. I particularly hated the little girl voice used by Ann Margaret, to make herself seem younger. I also thought the one girl, one boy number was really derivative of the "sixteen going on seventeen" number from The Sound of Music.

I personally loved this movie. It was so great, the music, the acting, all so fun and light. It really caught teenagers' attention, a task that was earlier unsuccessful by West Side Story. I would suggest this movie to anyone, its that great. The only thing I hate is how hard it is to find on DVD! Ann-Margret was fabulous as always and just to die for as the bubbly teenager, Kim Mcaffee. Dick Van Dyke and Paul Lynde were quirky and hilarious as well. They played their characters so memorably. Of course, we cant forget Janet Leigh, looking beautiful in a black 'do. The most commendable songs, "Bye Bye Birdie," "Put on a Happy Face," and "Alot of Livin' to do" were catchy as well as charming.

When "Bye Bye Birdie" began, I cringed. The director paid out of his own pocket to add a singing sequence at the beginning and end of the film to showcase the gorgeous Ann-Margret....but the song was just terrible. While he has a lovely voice, you'd never know it with this song--it just sounds off-key and dreadful. Well, apparently folks weren't paying attention to her singing, as the film helped to launch her career into overdrive--but I almost turned the movie off because the song was THAT bad.

What follows is a film very much inspired by Elvis Presley's induction into the army. Girl across America are apparently in hysterics because the new singing sensation, Conrad Birdie, has been drafted. However, as a publicity stunt, he is to sing a song and give a symbolic last kiss to some lucky lady (Ann-Margret). A struggling songwriter (Dick Van Dyke) is hoping that this will revive his career, as they've gotten Birdie to agree to sing his new song. Much of the film is set in the small Ohio town where the girl, her family and her screwball boyfriend live.

Compared to most musicals, this one seems to have a few more songs than usual. Some later went on to be quite famous and many are quite good. However, many are pretty annoying (other than the intro and closing songs). I really think dropping a couple of the lesser songs would have made the film flow a bit better and quickened the pace. Overall, a mildly diverting and occasionally fun film.

This film adaption of the hit Broadway musical is a messy mess. Sure some of the music is good and rousing, but the film is fat and lazy & just lays there. It weighs a ton. It only comes to life when the sexy Ann-Margret is on. Although the film uses some of the original cast, Dick Van Dyke, Paul Lynde, most of the cast is badly miscast with an especially lousy Janet Leigh in the role that Chita Rivera orginated on Broadway. The movie version downplays (makes invisible) the fact that Rosie is a latino, and we are presented with a bland Leigh in a black wig. Also terrible is Maureen Stapleton as Albert's overbearing Jewish? mother, Paul Lynde as Ann-Margret's fey impossible dad, and a funny looking Bobby Rydell as the jealous boyfriend. And who could believe Jesse Pearson looking fat and unappealing as the rock n roll idol modeled after the great Presley. The scenes with the Russian Ballet & The Ed Sullivan show are dated relics of the cold war and even when the film was new, should have been left out. Loud & vulgar, the film leaves a bad after taste, and the only reason to really see this thing is the great opening and closing titles with a glorious Ann-Margret singing the title song. Poorly directed by George Sidney who was an M.G.M. contract director,and the maker of a few good musical moments in otherwise dismal musicals ie. Anchors Aweigh, Annie Get Your Gun, Showboat & later the disappointing Pal Joey and the dreadful Pepe & Half A Sixpence.