Rich, Young and Pretty
Rich, Young and Pretty is a 1951 musical film produced by Joe Pasternak for Metro-Goldwyn-Mayer and directed by Norman Taurog. Written by Dorothy Cooper and adapted as a screenplay by Sidney Sheldon. It stars Jane Powell, Danielle Darrieux, Wendell Corey, and Fernando Lamas, The Four Freshmen, and introduced Vic Damone. This was Darrieux's first Hollywood film since The Rage of Paris (1938).
|Rich, Young and Pretty|
Theatrical release poster
|Directed by||Norman Taurog|
|Produced by||Joe Pasternak|
|Written by||Dorothy Cooper (story)|
|Screenplay by||Sidney Sheldon|
introducing Vic Damone
|Music by||Sammy Cahn (lyrics)|
Nicholas Brodszky (music)
|Cinematography||Robert H. Planck|
|Edited by||Gene Ruggiero|
Elizabeth (Jane Powell) accompanies her wealthy Texan rancher father (Wendell Corey) on a visit to Paris, where her mother (Danielle Darrieux) lives. In Paris, she meets Andre (Vic Damone), an eager young Frenchman. The father tries to keep her from marrying the Frenchman and avoid the mistake he made when he married her mother.
- Jane Powell as Elizabeth Rogers
- Danielle Darrieux as Marie Devarone
- Wendell Corey as Jim Stauton Rogers
- Vic Damone as Andre Milan
- Fernando Lamas as Paul Sarnac
- Marcel Dalio as Claude Duval
- Una Merkel as Glynnie
- Richard Anderson as Bob Lennart
- Jean Murat as Henri Milan
- Hans Conreid as Maître d'Hotel
- Four Freshmen Quartet as Four Musicians
Other original songs by Cahn and Brodszky include
- "We Never Talk Much (We Just Sit Around)",
- "How D'Ya Like Your Eggs in the Morning?" and
- "I Can See You", both of which received radio airplay; "I Can See You" was also a jukebox favorite.
The film also features a "studied going over" of songs such as
According to MGM records the film made $1,935,000 in the US and Canada and $1,064,000 elsewhere, making a profit of $54,000.
Time said the film was "aglow with Technicolor and plush sets" and said it treated a "light cinemusical subject with the butterscotch-caramel sentimentality of the bobby-soxers it is designed to please"; the film "tackles its situations without verve or humor, and handles its lightweight problems as ponderously as if they had been propounded by Ibsen in one of his gloomier moods." Bosley Crowther of The New York Times called it "pretty as a picture postcard and just about as exciting."