good back-story, and good acting

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

How do you turn a sarong into a Paris original? It takes class, poise and a ton of conniving. This remake of the 1934 musical "Let's Fall in Love" puts Dorothy Lamour into carny clothes and after initially seen in a Carmen Miranda disguise, movie director Don Ameche plans to make her a genuine French movie star after his temperamental leading lady (Adele Jerhens) makes the scene to end all scenes. Lamour goes under strict training before making her public debut. Falling in love with Ameche, Lamour's honest slip of the tongue threatens to destroy both her future as a movie star as well as Ameche's directing career.A decent post war musical was just one of many musical remakes of the post war era which strived to remain traditional in spite of changing tastes. Still gorgeous, Lamour makes an amusing comedian and displays both feistiness and sweetness with equal zest. Janis Carter adds some sparkle as Ameche's sister while Jergens goes all out as the initial choice for Ameche's film. Jeanne Manet adds both glamour and eccentric humor. Willard Parker takes on a Ralph Bellamy role of Ameche's rather dull rival for Lamour's affections. Still, in spite of all the talent, it's another case of a Cinderella rising out of the cinders and becoming the bell of the ball. The musical numbers indicate that this should have been made in color with one number looking like it was from the set of the Rita Hayworth musical "Down to Earth". In her big dramatic scene, Lamour seems to be trying to burlesque an Irish accent that would embarrass Maureen O'Hara. She does a nice job with " Let's Fall in Love " however, so a few overlooks of her acting weaknesses can be forgiven.

"Slightly French" is a rather a leaden trifle, which today is chiefly of interest to students of Douglas Sirk's films or Dorothy Lamour or Don Ameche fans. I thought the implausible plot would have worked better in the late 1920s or early '30s, and found at IMDb that it was a remake of "Let's Fall in Love," a 1933 vehicle for Ann Sothern. By 1949, passing off a New York Irish carnival dancer as the Parisian cousin of a vocal coach, and tying her starring in a movie to bringing back a fired director, was too great a suspension of nearly anyone's disbelief. (And note that Lamour was 35 in 1949 while Sothern was 25 when she made "Let's Fall in Love." Lamour was far from old but the plot would have been more convincing if she were younger.) The breezy style needed to carry it off was just a memory, at least on the Universal studio lot.Nevertheless, everyone involved in the production was enough of a professional to keep a not-too-demanding viewer entertained with the plot twists, snappy dialogue and musical numbers. Lamour gets to sing -- in French-accented English -- a short version of Harold Arlen and Ted Koehler's "Let's Fall in Love," the only song in the picture that sticks in the memory, to excuse her calling a playwright at a press party a "plagiarist." She dances a little, too, though in the big dance number set in the streets of Paris the soloist looks younger and thinner. Ameche is a stereotypical egomaniacal director, single and living with his sister in an oceanfront Hollywood-moderne mansion. The explanation for his bachelorhood is excessive self-love, but his best friend producer is similarly single. Inquiring minds inevitably will speculate on the coincidence, though both end up symmetrically in love by the picture's end.Meant for the bottom half of a double-bill, "Slightly French" never quite gets out of its B-picture category, but for a low-budget black-and-white musical it isn't half bad.

To totally disagree with the previous reviewers, I think that this, together with all other early Sirk movies I've seen, is nothing short of staggering. Filled with one-liners worthy of a Howard Hawks/Ben Hecht movie, it's not only early evidence of Sirk's genius for space and light and shadow, but also a highly sophisticated and perverse rendition of the Pygmalion theme. It's a measure of Sirk's genius that the characters, though formulaic, spring to life as in a Greek tragedy - or a Raoul Walsh, CB de Mille etc. movie- through the sheer strength of stereotype. Here, as elsewhere, Sirk is a bit like Frank Sinatra: cool and detached on surface, but revealing underneath the filth and the fury ;> I saw it today (6APR07) at the Film Forum NYC and it blew me away. Someone release it in DVD fast, it's an (to my knowledge) unsung masterpiece.

Don Ameche was on the decline in his career and Dorothy Lamour still trying to acheive stardom outside those "Road" movies when this movie was made. It tries to borrow from Ameche's earlier hits with Alice Faye but the formula does not work here because Lamour is no Faye. And she is expected to carry it. Supporting performances from Page and Kennard is good but not enough. If it were made today, it would make a good video rental.