User reviews

For the film Lucky Me, Doris Day was reunited with composers Sammy Fain and Paul Francis Webster who wrote the score for Calamity Jane and gave Doris one of her biggest hits, Secret Love in one of her biggest film successes. Unfortunately none of the songs from Lucky Me was ever any kind of hit for Day and the film is a very ordinary backstage story.

With some establishing shots in Miami Beach done in Cinemascope, Lucky Me is also the name of the show composer Robert Cummings is writing the score for. Doris is part of a quartet act that consists of Phil Silvers, Eddie Foy, Jr., and Nancy Walker. Through some of the usual Phil Silvers shenanigans, the group has to work to pay off a debt to restaurant owner Marcel Dalio.

Cummings is staying at the hotel that Dalio's restaurant is at and again through shenanigans, Day and Cummings meet. Day thinks he's garage mechanic and Cummings keeps up the pretense as has been done in more movies I can remember. That's because he's romancing daughter of bankroll, Bill Goodwin in the person of Martha Hyer.

If you can't tell where this is all going you haven't seen too many films let alone musicals. It would have been nice if Doris and the gang had been given some hit songs from this film, but Fain and Webster who won Academy Awards for Secret Love and Love Is A Many Splendored Thing came up short in the score for Lucky Me.

Eddie Foy, Jr. and Nancy Walker came up short in footage as well. Especially Nancy Walker who is one of the funniest people around. I believe there is some moments for her in the Warner Brothers vaults if anyone wants to do a director's cut for Lucky Me. Oddly enough Phil Silvers and Nancy Walker within the next 10 years would co-star on Broadway in Do-Re-Mi which was a big success, but never made it to Hollywood.

Doris's fans will like Lucky Me, others can take or leave it and be considered lucky either way.

The first time I saw this film I was distracted for a few minutes and missed the intro credits. Being in a lazy mood I just sat down to watch and if it hadn't been for the setting (Miami) and the star (Doris), I'd have sworn this were one of the early MGM CinemaScope films, since someone was obviously emulating a certain kind of Arthur Freed approach. But while elaborate visually at times, no, it was Warner Bros., but for what it was, not bad. In fact, the only real debit I can make against LUCKY ME remains its very conventional and predictable plot conventions. That, and the one-note roles of Phil Silvers (a ham) and Robert Cummings (handsome but bland nice guy). Songs? Okay, nothing special, perhaps, but serviceable. So for anyone who simply wants an old, spiffy if brainless musical, they still can't go wrong here, even if someone like Howard Keel might have brought more to the Cummings role (for better and worse).

As for the film process itself, did this film really need such elaboration? Probably not, but Scope does continue to lend it a certain novelty.

"Lucky Me" was the first musical to be shot in the then, new process, CinemaScope. It was also a picture that Doris Day, Hollywood's Golden Girl, did NOT want to make.

Because of contractual obligations, she decided to do the film and to give it 110% of herself in the role of 'Candy Williams'. Her co-star was Robert Cummings, long-time Hollywood leading man and television star. In support, she had Phil Silvers, Nancy Walker, who later gained fame as Ida Morgenstern in "Rhoda", and Eddie Foy, Jr.

It was reported that Martha Hyer, a blond, was forced to dye her hair red so as not to conflict with the star, Miss Day.

This film is famous for another reason. Judy Garland was on the Warner Brothers lot filming "A Star is Born". She and Miss Day visited each other's sets and became friends.

"Lucky Me" is a fun musical which opens with Doris Day's dynamite opening number, "The Superstition Song," which she sings while bouncing down the streets of Miami! A TRUE STAR PERFORMANCE! Only Doris could have gotten away with this, and she was brilliant.

She played Candy Williams, a singer/actress who was appearing in a travelling show, "Parisian Pretties" which bombed in Miami. Standed, she meets a New York songwriter, Cummings, who is casting a new Broadway show. He pretends to be someone else to court Candy, but falls in love with her.

During the proceedings, Doris Day sings most of the numbers including her chart hit, "I Speak to the Stars". The highlight is "I Wanna Sing Like an Angel" and "Love You, Dearly," a lovely ballad which should have been a hit.

Phil Sivers was wonderful and had a great number with Day called "Men!" The other actors gave Miss Day able support and everyone seemed to work well with each other.

Angie Dickinson made her film debut in a walk-on scene at the big party, but you probably won't recognize her (she had black hair). Bill Goodwin played the same role he played in many a film at various studios.

Again, Doris Day fans will just love seeing their favorite star do ANYthing. Even though Miss Day didn't like the picture, her fans seem to love every minute of it. I must admit, I liked it!

Candy (Doris Day) and her friends are all talented but out of work stage performers. Because they can't find work, they all get jobs at a local hotel bussing tables and working as dish washers. However, they haven't given up on their show biz dreams and they want more than anything else to meet with a famous Broadway showman, Dick Carson (Bob Cummings), to show him their skills. But again and again their attempts are thwarted. Oddly enough, when Candy accidentally meets Dick, he doesn't tell her who she is and they fall in love. But when she realizes that he's been lying about who he is, they break up. In fact, again and again, the pair seem to have breakups only to quickly reunite...to the point where it sure felt predictable.

Despite the predictable and cliched plot, the film had some very nice song and dance numbers. It was catchy and enjoyable....and also a bit brainless. In other words, if you think too much about the plot, you cannot enjoy the film. My recommendation is that you turn off your brain and just enjoy.

Doris Day is always great even if the movie isn't. This one is let down by a mediocre score, the only really decent song being 'The Blue Bells of Broadway'. I've always liked Robert Cummings, although he doesn't show up until well into the movie, he should have been given more comedy to do, his great talents weren't really utilized, but as always, he did well with what he had. Phil Silvers can be a little over the top at times, but was pretty good, pity Eddie Foy Jnr. didn't have more to do musically, the plot was a bit thin, but the scenery was nice, but as say, always pleasant to see Doris and Robert, so not a total loss!

If you have already seen Doris Day in her best musicals ("Calamity Jane," for example), you will find this bit of fluff rather unsatisfying, with its trivial plot and absence of memorable songs. The lack of chemistry between Day as aspiring star Candy Williams and Robert Cummings as her smitten pursuer is painfully evident, and I am not buying Cummings deception that he is auto mechanic Eddie Szczepanski. Take a look at his hands! Yet watching Day bounce through the opening number, "The Superstition Song" in the cutest 1950s dress you can imagine, plus the knowledge that this was the first musical filmed in cinemascope, make it worth watching. Doris Day does angry and hurt better than any actress ever has, and Nancy Walker is a stand-out in her way-too-limited role as part of Day's down-and-out dance troupe working as housekeepers in a Miami hotel. Best and silliest line: "Men who pick up rusty pins marry girls with double chins."

This musical comedy stars Doris Day as a superstitious chanteuse who is part of a troupe performing a variety act. Due to financial difficulties, they become stranded in Miami, where they cross paths with a successful writer of Broadway shows, played by Robert Cummings. He sees it as an opportunity for romance; they see it as an opportunity for work.

The other members of the act are Phil Silvers, Nancy Walker and Eddie Foy, Jr. They are a talented foursome, but only Day and Silvers are really given a chance to shine.

The beginning of the film is the best, primarily due to its focus on Day---and the songs she sings. But, overall the featured songs are not memorable.

Unfortunately, there is no chemistry between Day and Cummings. His vocals are dubbed, so one wonders why he was cast in this role.

The film also suffers from some contrived moments and a lackluster fantasy song sequence that adds little. There are much better vehicles for Day. And Silvers.

"Lucky Me" is a very good film with a fine mix of comedy and music, and a touch of romance. It's a colorful film, and the first musical made in CinemaScope. The setting is Miami, but the plot is quite an old one - entertainers who are down on their luck, looking for a break. They cross paths with a successful Broadway musical writer and composer, and voilá! Of course, it doesn't happen just like that. But this is the type of plot one would have to be a toddler or younger to not be able to guess the outcome.

So, as with many other musical revue types of films of the mid-20th century, the music and comedy are what make the film. Although the plot has a somewhat different and enjoyable twist of the entertainers having to work off a very expensive dinner in a ritzy hotel. That is the place of much of the comedy, and also where and how they run across Dick Carson, the recent musical maestro of Broadway hits. All of the cast are very good in their roles.

Phil Silvers especially shines as Hap Schneider, mainly for how well he impersonates a couple of characters in putting them over. Nancy Walker has a somewhat unusual snappy role as Flo Neely, part of Hap's four-member song and dance troupe. Eddie Foy Jr. Is the fourth member of the troupe, as Duke McGee. Of course, Doris Day is the troupe's star, as Candy Williams. This foursome has a couple of numbers with routines that are very good. Candy Williams is an exceptionally peppy role, even for Doris Day, but that helps overcome the one flaw of the plot - her superstitions. After a while, that aspect becomes irksome in the plot. It could easily have been done away with after the opening scene and Day's clever song about superstitions.

Robert Cummings is Dick Carson, and part of the enjoyment here is hearing him sing. Carson was one of several Hollywood stars with musical talent, mostly singing, but who didn't play many musical roles. All of the supporting cast are good. One who should be mentioned is Marcel Dalio who played Anton, the owner and/or maître d'hôtel of the swanky hotel that is the setting for much of the film.

Here are some favorite lines from this comedy musical.

Candy Williams, "I thought you said we'd murder 'em." Hap Schneider, "They're dead ain't they?"

Hap Schneider, "I can't understand Max doing a thing like this. And after all the money I borrowed from him."

Dick Carson, "It, uh, must be a new service the hotel has. Instead of television sets, they're sending the act around to the rooms."

Dick Carson, "Her father is Otis Thayer." Tommy Arthur, "Not the Otis Thayer with the 42 oil wells?" Lorraine Thayer, "Forty-four. Two more came in this morning." Carson, "Welllll. I knew he was expecting, but we hardly hoped for twins."

Dick Carson, "I'm just the kind of a guy that likes to put his cards on the table." Lorraine Thayer, "Sure, darling. But that doesn't mean you have to play solitaire."

Candy Williams, "You're very kind." Dick Carson, "Oh, kind nothing. I just feel safer with you in the car."

Dick Carson, "I was wondering if you'd like to go out with me tonight. We could eat and dance, have some fun and go to The Quarter Deck." Candy Williams, "No, no, I don't think I could really. After all, I hardy know you. You're practically a stranger."

Candy Williams, remembering a fortune teller from the penny arcade, "You are a stranger. A mysterious stranger." Dick Carson, "I, I am?" Candy, "It's amazing." Dick, "Well, of course, I think everyone starts out that way, and they just sort of work their way up from there, don't you? You couldn't possibly consider tonight?" Candy, "Ah, ordinarily I wouldn't, no. But, but since you're a stranger, I'd love to." Dick, "Yeah. Yeah, well, the way you've got it worked out's better."

Dick Carson, "Well, she's a jealous, possessive woman" Candy Williams, "Isn't that just too bad."

Candy Williams, "I know nothing about men, but I know an awful lot about women." Dick Carson, "Candy, please..." Candy, "And they don't become jealous and possessive unless some, some worm of a man gives them every good reason to be."

Candy Williams, "There isn't going to be any show." Hap Schneider, "No show? Why?" Candy, "Miss Oil Wells won't have me, that's why."

In sunny Miami, superstitions showgirl Doris Day (as Candy Williams) and her musical troupe find themselves destitute after their show "Parisian Pretties" closes. This is strange, because Ms. Day and performing manager Phil Silvers (as Hap Schneider) appear captivating on stage. The troupe is forced to take menial jobs. While working as a maid, tap-dancing Nancy Walker (as Flo Neely) meets famous songwriter Bob Cummings (as Dick Carson) and learns he is producing a new Broadway show...

Day hopes Mr. Cummings could provide her with a lucky break. Perhaps romance will follow. "Lucky Me" was meant to be a follow-up to the crowd-pleasing "Calamity Jane" (1953), but fell short. The earlier film featured Day's million-selling #1 "Secret Love" single. This film's song highlight is "I Speak to the Stars", a sleepy #16 hit. The closing party is mildly interesting, beginning with Day in a convincing disguise. This is where you can spot black-haired Angie Dickinson, in her big screen debut.

**** Lucky Me (4/9/54) Jack Donohue ~ Doris Day, Robert Cummings, Phil Silvers, Nancy Walker

"Lucky Me" gives you everything you want in a musical and more. All the songs are catchy; the banter is quick and witty; there are some big dance productions; and of course, the one and only Doris Day.

Most films from Doris Day leave me wishing there were more musical numbers, but "Lucky Me" has just the right amount. The plot is thin and the romance does not start until about halfway through, but who cares? This film is a whole lot of fun.

If you are a Doris Day fan, this is a must. If not, then this is a good a place as any to find out about one of the greatest entertainers of all time. She can sing. She can dance. She can be really funny.

If you like upbeat, colorful musicals, then check out "Lucky Me."

Apparently Doris Day was reluctant to do this film and its subsequent lack of commercial success seems to justify her hesitation...but you wouldn't know it by her performance. Doris is bubbly and breezy in this musical where she plays a struggling but superstitious actor along with her down on their luck troupe of actors.

The best parts of this film revolve around Doris Day's singing and being superstitious...like avoiding walking under a ladder, avoiding a black cat...and then intentionally breaking several mirrors. She is delightful and her wardrobe was fantastic! I especially liked the white number with red stripes and the blue lace poking out the top of another.

I will say I loved the subterfuge to get rid of the oil man's daughter...especially the tossing her of the pot!

The reason to see this film is strictly Doris Day. If you are a fan I think you will get a kick out of her singing " The Superstition Song" and "I wanna sing like an Angel".

LUCKY ME is a prettily Technicolored musical outing from Warner Bros., one that DORIS DAY was obligated to make because of arrangements made by her producer hubby. She should have stuck to her guns and refused to do the film, which doesn't do much for anyone--including its talented supporting cast--ROBERT CUMMINGS, PHIL SILVERS, NANCY WALKER, MARTHA HYER and EDDIE FOY, JR.

Day is the singer in a team of stranded players working in the kitchen of a fancy Miami hotel because of a prank played by the obnoxious PHIL SILVERS, whose strident comedy technique is overworked here.

When ROBERT CUMMINGS needs a singer for his upcoming Broadway show, he discovers Doris can sing and from then on he and his girlfriend (MARTHA HYER) squabble over her dad's backing for the show and his interest in Doris. That's all there is to the plot.

Songs by Sammy Fain and Paul Webster have been tacked onto this slight story with less than impressive results. Only one ballad--done as a dream sequence--has any real worth and it's a beauty called "I Speak to the Stars" which is the only genuine first class song in the movie. A catchy first number, "The Superstition Song," at least gets some interest for the way Doris Day manages to sing it through a lengthy opening sequence.

If you're a Doris Day completist and must see all her films--well, that's the only reason for catching up with this one. It's a dud--a real dud. Trite and unfunny as can be.

I found this movie on DVD at my local public library. I wanted to watch it for two stars of yesteryear, Doris Day and Martha Hyer.

The simple story involves four small time entertainers barely drawing audiences in Miami and wanting to hit it somewhat bigger. They find out famous songwriter Dick Carson is in town and make attempts to meet him. Quite by accident, a car accident that is, Candy (Doris Day) meets Carson (Robert Cummings) but assumes he is a mechanic for the loaner car he is driving from a prior accident. This goes on long enough that when she finds out who he really is, she vows that she will never talk to him again. But he is smitten with her and also wants her to play the lead in the show he is writing.

To complicate things Carson needs funding for his planned Broadway show and needs help from Ms Thayer's wealthy Texas oilman father. Ms Thayer (Martha Hyer) has a deep crush on Carson and threatens to sabotage the whole thing if he keeps pursuing Candy for the lead role.

It is a rather simple and silly rom-com but all the actors are in good form. Especially Cummings, the impact of the whole story depends on the way he plays Carson and he nails it. Phil Silvers has a role as Hap Schneider, very similar in style to the Sgt. Bilko character he started playing on TV shortly after this movie came out.

All in all a worthwhile 100 minutes to see some of the stars of yesteryear. Day and Hyer were about 30 and lovely. Day was quite a good singer, even better than I thought I remembered.

Fairly expensive Warners musical, the then-novelties of which are a) CinemaScope and b) location filming in Miami, which does look '50s-luscious. These are tied to a very tired screenplay about superstitious Doris Day and her pals Phil Silvers, Nancy Walker, and Eddie Foy Jr. going from revue work to kitchen work to Broadway, courtesy of songwriter Robert Cummings, whose songs all sound like second-rate Sammy Fain and Paul Francis Webster. Much talent that had just turned out "Calamity Jane"--Day, Webster, Fain, choreographer (and here director) Jack Donohue, screenwriter James O'Hanlon--worked on this one, but it's nobody's best work, though Doris is as spirited and golden-voiced as ever, and you don't really want to see her end up romantically with someone as uninteresting as Robert Cummings. Silvers and Walker certainly deserved better material, and Donohue doesn't know how to pace a plot, even one as fragile as this. Martha Hyer is another casualty, overplaying Cummings' shrew of a girlfriend, and the other supporting players are no-name. It's worth sitting through once for a couple of nicely staged numbers (especially the opening) and some alluring glimpses of Florida, but it's the Warners musical at its most labored and uninspired.

I thought LUCKY ME from Warner Bros in 1954 was not the first Cinemascope musical as some comment says.. possibly the 1953 FOX musical ? HOW TO MARRY A MILLIONAIRE. Fox patented Cinemascope and hired the process to other studios. The first WBs musical was A STAR IS BORN. But I might be wrong... anyone?

On my Australian market DVD this really silly Doris Day musical has opening credits in cinemascope and the rest of he film in ..horror of horrors! pan and scan TV presentation. On the box it says hooray for Cinemascope but the film itself is not in Cinemascope if anyone from WB DVD office bothers to check. The color and art design is terrific, the musical numbers well staged (as I could tell, as I only saw half of the image), the 50s style and modernity snazzy and Doris Day was beautiful. Its trite script is embarrassing ... a bit like any of the Columbia musicals with Jack Lemmon or Betty Grable of the same year. I was keen to enjoy but the badly presented cropping, down to TV from cinemascope ruined the experience... so I took the DVD back to the store, complained to the bemused 19 year old goth chick behind the counter and got a refund. She seemed to spark to life when I pretended to be interested in a box set of BUFFY Vampire Slayer, but I tricked her and took the money instead.

I knew very little about this movie and only recently saw it for the first time (thankstcm) and thoroughly enjoyed most of it. Whether chirping, going for laffs, or getting into heavy drama, Dodo Day is always a joy to watch.

She sure was in this film, portraying a put-upon cutie pie. Her songs, all the Fain-Webster songs in this flick was first rate, but none of them even came close to becoming a hit. The ballads were pretty, and the upbeat tunes were fun.

Adding to the delight of this movie was Bob Cummings, underrated as a comic actor. He did some serious stuff for Hitchcock who, reportedly, was not too fond of him).

Nancy Walker and Eddie Foy Jr. (one of the 7 littles) were great fun but, for me, the most fun was every time Phil Silvers was on screen. On television his 'Bilko' was funnier than most of today's junk. Every breath, expression and utterance are classic comedy. Incidentally, the second funniest TV show of that blessed decade was "Car 54, Where Are You?" Where will you be when this delightful movie shows up again? In front of your teevee - lucky you.

With regard to the earlier contributor to this thread, "LUCKY ME" most certainly WAS the FIRST MUSICAL in CinemaScope to be released.

Of the two examples he quotes, firstly: "How to Marry a Millionaire" was NOT a musical. Can he name any songs from it, or tell me who sang them? I think not!

Secondly: "A Star is Born" was not released in the States until September, 1954. "Lucky Me" was released in April, 1954.

Twentieth Century Fox's own musical entry in the CinemaScope stakes - "There's No Business Like Show Business" was not released until December, 1954.

Therefore, "LUCKY ME" was most definitely the first musical in CinemaScope.

What a pity this one didn't go into production before "Calamity Jane", then we might have had a much worthier movie as the first!

Warner Bros. certainly skimped when it came down to choosing the latest leading man for a Doris Day movie. Didn't they have any handsome, charismatic actors on the payroll besides Robert Cummings? There are no sparks between Day and Cummings in what amounts to nothing more than a staid and stale musical romance with corny comedic asides. A superstitious chorine down Miami way gets stuck washing dishes while waiting for her big break; she happens to meet a popular songwriter while dodging black cats and sidewalk cracks, but he's courting her under an alias as a car mechanic (!). Comic deceptions are always good material for a Day picture--and when she finds out the truth, her slow-burn is something to behold--but Cummings really has no reason to be deceiving this girl, and the plot starts coming apart before the picture even gets going. Doris is supported by a vaudeville-styled trio who travel together (Phil Silvers, Nancy Walker and Eddie Foy, Jr.), and they seem just a bit mature and stodgy for her, which weakens the musical numbers. Sammy Fain and Paul Francis Webster are responsible for the lackluster song score (they must have used up all their natural resources on "Calamity Jane" the year before--there's not a "Secret Love" in the bunch). Some color and frivolity, much of it forced. *1/2 from ****

LUCKY ME is part of a Doris Day collection so I'm glad it's included, but this not her best film. She does what she can with the lame material, as does the rest of the cast, but to no avail. Could have been a cute story, but somehow things go screwed up. Very messy screenplay or maybe too many cuts. Doris is sure bouncy and breezy as usual, and she "saves the day" so to speak. Now working in a Hotel as kitchen workers, where does she get those elegant cloths? Must be working the streets as a side job!! Same for the her three other friends, played by Eddie Foy, Jr, Nancy Walker and the nauseating Phil Silvers. It's a shame all of Doris Day's early films at Warner's are all studio bound. This one calls for location in Miami itself, as did ROMANCE ON THE HIGH SEAS which should have had location work in Rio. Another help to APRIL IN Paris would have if they had actually gone to Paris.

LUCKY ME is one of those class "C" musicals of interest to those who need to compile either Doris Day credits or simply want to view the benign concerns spinning in the era's forgettable musicals. Bob Cummings just does not fill the bill in this one for reasons that are unclear and one wonders why he was cast in the production at all. He looks as if the project was done as an intermission from DIALING M FOR MURDER, probably the best thing Cummings ever did. Bill Goodwin and the ensemble are pleasant enough, but really no one including Doris can redeem this second-rate, predictable caper.

If only we had a nickel for every musical that was about producing a musical! Among musicals, LUCKY ME is one.

Dennis Caracciolo

Firstly, "Toyboy" is a "HACK" and he evidently thinks that he some sort of "quasi critic" NOT SO and only an idiom would even read his trivia; look at each of his reviews, like some "Sven Gali" of art and entertainment, more like a "clown" of Penzance. Anyone who even attempts to detract from the stardom of Doris Day has no reality of what "stardom" actually is, or was. I suspect that this "Truncanite" of movie morbity will continue to trivialize great art so ci suggest you don't even read any of it. On top of everything else this Obsionion Wonder states, to say, or insinuate that Miss Days' only redeeming feature is a "love of animals" is the most trivial of insults I have even hears.

After you watch Lucky Me, you'll realize that Doris Day didn't only make silly movies in the 1960s. Luckily for us-pun intended-the silly movies of the 1950s aren't that bad. This one has one cute song in it, "The Blue Bells of Broadway". The other ones are pretty mediocre, and you'll join good company-yours truly-if you get this one confused with Starlift and The West Point Story, two other Doris Day movies with similar play-within-a-play plots.

The story is pretty similar to the delightful comedy Happy Go Lovely, starring Vera-Ellen and David Niven. A wannabe actress in a struggling, small-time theater group meets a rich playboy and doesn't know who he is. As the pair falls in love, her theater friends try to milk him for all he's worth. Happy Go Lovely is a much more endearing movie, but if you liked it, you'll probably be drawn to watching a similar flick.

Co-starring Phil Silvers, Robert Cummings, Eddie Foy, Jr., Nancy Walker, and Martha Hyer, you'll have plenty of entertaining moments to carry you through. However, I doubt Lucky Me will reach the top of anyone's favorite movie list.

Marks for colour, costumes and casting. Miss Day (who obviously has her instincts working if she didn't want to do this)is larger than life, as are the rest of the troupe, including the incredible Nancy Walker, whom I've seen in other musicals. I think she really came into her own as Rhoda's mother, but there's no doubt she is very talented as a singer/dancer too. I found that the leading man was colourless, and the songs lacklustre, if not boring. Phil Silvers threw some much needed levity into the whole thing which could have died quietly. I am just amazed that given the assets this film does have that they didn't do a better job - what were they thinking? And no, it's NOT in cinemascope after the initial scenes. What's going on there? Had I been the backer, I would have walked away.