Bells Are Ringing

Ella (Judy Holliday) is an answering service operator (this was way before answering machines existed). She unwisely gets involved in the personal lives of her clients. She gets most involved with playwright Jeffrey Moss (Dean Martin) and ends up meeting him. However she tells him her name is Millicent Scott and they fall in love with each other...but she feels guilty for lying to him. Will their love survive? Well--it's an MGM musical. What do you think?:)

It's too long, there's some terrible overacting (especially by Frank Gorshin), it moves too slowly and the awareness that this was Holliday's last film (she died of cancer 5 years later) casts sort of a pall over this film but it's worth seeing. The songs are good, it's wonderfully directed by Vincente Minnelli and is in bright vivid color. However the main attraction here is Holliday. She played this role on stage and won a Tony for it and they (wisely) kept her in the film. She was sick when she did this but you would never know it. She was beautiful, bright and full of energy. In her music numbers she gives all she's got and comes roaring off the screen. Also it's her only color film. Worth seeing just for her.

"Bells are Ringing" is a must for Judy Holliday's fans. The bubbly star of some of the best comedies of the fifties, is the main reason for watching this musical, directed by Vincente Minnelli. Betty Comden and Adolph Green were the creators of the book and lyrics with music by Jule Styne.

The film was an excuse for showcasing Ms. Holliday and Dean Martin, who took over Sydney Chaplin's role. The two stars show an easy chemistry in their scenes together, even though the transfer to the screen seems somehow clumsy coming from an experienced director of musicals like Mr. Minnelli.

"Bells are Ringing" is a nostalgic look at the New York of the 1950s. It was quite a status symbol to have an answering service in those days before the automatic devices of today. There is a hilarious second plot involving illegal gambling by linking classical music works to the different races in several horse race tracks that are channeled through Susanswerphone service, which makes the police Ella is involved in the scheme.

Judy Holliday gave a tremendous performance in the film as the kind, but somehow naive Ella. Dean Martin is fine also as the blocked writer. In supporting roles Eddie Foy Jr., Jean Stapleton, and Dean Clark, are seen among others.

I found Bells Are Ringing accidentally when I was researching another film project and it has become a favorite. While Holliday is sparkling in her role, it is Martin's low-key reactions (which are, of course, what made him such a great straight man) that send me back to watch the film again and again. It's a "don't-miss" for fans of Holliday, Martin and the musical comedy - heavy on the comedy - genre.

In contrast to the guy who wrote the comment on the main page in this board, I saw this movie and I really enjoyed it. I had never seen a Judy Holliday movie before and I was totally taken in by her charm and good acting. Dean Martin (a favorite of mine) showed his usual suave personality and I thought he was perfect for the role. The songs and the choreography are excellent. I just love the mood of this movie and its message of healthy humanism, whether or not it's something I really believe in. I like the scene where Judy and Dean say hello and introduce themselves to the man on the street. Also of note is Minnelli's smart direction. One of the best musicals of the 60s, sadly one of the last.

Judy Holliday originated the role of Ella Petersen, the Susanwersphone switchboard operator, in Vincente Minnelli's adaptation of the Broadway musical, with music by Jules Styne and book and lyrics by Betty Comden and Adolph Green. Although filmed in 1960, this musical belongs to the conventions of the 1950's with a brassy orchestration, superfluous supporting cast for comic relief, and a Brando impersonator. That Holliday remains as the best thing about it, in spite of Minnelli's less flattering treatment of her than George Cukor, is a tribute to her gifts as an actress, in particular a Broadway performer with the subtlety to adapt for film acting.

Holliday's two solo numbers - It's a Perfect Relationship and I'm Going Back - are triumphs of personal charm, in spite of the director. Minnelli has trouble de-staging the switchboard environment and the film only comes to life after Holliday leaves it to meet Dean Martin, as her favourite client, in person. In the Better than a Dream number, where both Holliday and Martin sing oblivious to the other's reality, this is Minnelli finally presenting a musical sequence cinematically. This pattern continues with Martin's funny I Met a Girl, sung as he battles street crowds. Minnelli treats Holliday's plaintive ballad The Party's Over simply, if disappointedly in long and medium shot presumably since he thinks Holliday's voice doesn't deserve a closeup, in contrast to the botched Just in Time, the score's most lovely song, wretchedly staged. The Drop That Name number is probably more about Minnelli than Holliday, since he scores points off her, comparing her perceived frumpiness to the vacuous stereotypical 1950's society vamp.

Holliday and Martin play off each other well, overcoming the oddness of their union. Martin actually looks not at his best, which undermines the romantic appeal, and his solo reveals he shouldn't be given one. It's hard not to consider his character's fear of success without his partner and not have thoughts of Jerry Lewis, though believing Martin as a playwright is trouble enough. Thankfully there's Holliday. Far more likeable and individual than say a Doris Day, Minnelli's having her lower her head for pathos is the lowest appreciation of her potential. This wasn't considered a great musical to begin with, and the film is pretty hard to take whenever the supporting players take over, with excruciating bits featuring Eddie Foy and The Titanic record company, vice squad surveillance, and the mafia, however the songwriting dentist gave me a few chuckles.