User reviews

This is a true sleeper of a "B" film. It is a film about Hoillywood filmmakers by Hollywood filmmakers--when there was still a "Hollywood"--comprised of studios and people who tried, on whatever level of ideas--to be professional about participating in a marketplace of a sort relating to talents, scripts, films, advertising and selling of these to ticket buyers. There are several strands of story at work in this narrative. A studio sexpot, "friend" of a producer, wants a part in a classic drama for which she unsuited; she balks at her assignment, so the studio's heads then decide to conduct a talent search, inviting four actresses to test for the part a la Gone With the Wing, to generate publicity. . A young studio functionary directs their visit and screen tests, one who want to be allowed to direct eventually. And we learn about the four hopefuls and get to see their progress and their reactions to Hollywood. George Nader plays Mike, the young director; the four girls are Julie Adams, Marianne Koch, Elsa Martinelli and Gia Scala. The men in their lives are Syndey Chaplin, Grant Williams, and John Gavin, as well as Nader. Jack Sher was both writer and director of this well- made Universal Studios' effort. Others in the large and interesting cast included Herbert Anderson, Hy Averback, Ainslie Pryor, Dave Barry, James Bell, Mabel Albertson, Maurice Marsac, Helene Stanto, Irene Corlett and Eugene Mazzola. Alexander North did the excellent music, Julia Heron the set decorations and Rosemary O'Dell the challenging costumes. The film is fascinatingly different, bright, and well-paced. The young cast is unusually-sincere and some such as Marianne Koch and Chaplin surprisingly good. The climax of course comes when the four aspirants face the studio heads' choice of a leading lady; some have already made life-choices before the announcement is made, others are paired off with the gentlemen; but the choice comes as a shock to all concerned--and life in a Hollywood of minds committing professional suicide through lack of clear definitions goes another step toward TV-hastened oblivion. This is a not a stylish nor a pretentious film; it is however intensely interesting as an "insider" film about Hollywood; and it is very entertaining as a presentation of characters and filmland types. recommended.

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From its animated opening credits to the presence of such icons as George Nader and Julie Adams, this is one of those movies which could only have come out of the 1950s. It's glossy, it's superficial, it's utterly unconvincing in its depiction of behind-the-cameras Hollywood, and yet it has the sort of entertaining, audience-pleasing quality which a number of current movies seem to have lost. Of the four women who come to Hollywood via a talent search, each gets involved in a subplot which is neatly tied up before the final fade-out. Gia Scala gets lost in the shuffle but the other three women come across well, especially Elsa Martinelli who dominates every scene she's in with a slightly over-the-top performance. She and Julie Adams and Marianne Cook all have swimsuit scenes but Gia Scala does not.

George Nader also has a swimsuit scene but the other two "hunks" whom Universal was grooming for stardom -- John Gavin and Grant Williams -- do not.

Very little is actually shown of the film-making process and what is depicted is almost laughably unconvincing. Hollywood has always had a problem in filming "Hollywood" and this curio from the 1950s is no exception.

Actor Judson Pratt IS credited.

Art Direction by Alexander Golitzen and "Haworth". It can be assumed this is Ted Haworth.

Music Supervision by Joseph Gershenson; "Rhapsody for Four Girls" composed by Alex North

Assistant Director: Dick Maybery (one "r")

CinemaScope/Technicolor.

Credits above are from the film print itself.

Also, I have tried MANY times to get this credit added - to no avail: Jose Ferrer appears UNCREDITED as a movie director in this film.

If only the life of a starlet in the 50s was this bland. No Hollywood wolves, no casting couch, etc.

The film is still boring with a plot stretched thin. There are no good lines. This film is so dull it doesn't even have camp value.

It does give jobs to Universal contract players. It got Julie Adams out of the Black Lagoon. It was a start for John Gavin who went on to become Universal's male beauty for the next seven years. Grant Williams was soon dropped after this picture.

Others along for this sleepwalk are the three European actresses and body builder turned wooden actor George Nader.

YouTube saved this film from total oblivion.

An fine example of the sort of film that isn't made anymore. Studio engineered vehicle to spotlight a crop of its newest and most promising contract players.

The men are more or less disposable and none had careers of much distinction, though John Gavin had a good run of leads in the late 50's/early 60's. Too bad he was such a mechanical actor he certainly had the looks of a leading man.

Likewise none of the ladies ever made it to major stardom but all reached some level of renown in their native countries and all four are incredibly beautiful. The lone American, Julie Adams in particular had a very successful 60 year long career as a respected performer. Martinelli had a brief Hollywood run and a decent career in Italy as did Koch once she returned to Germany. Even the ill-fated but exquisite Gia Scala had some memorable roles before her personal problems ruined her career and life.

Here they all get their moment to shine in a story that was probably old hat in silents, the plucky actresses who have to compete for a crack at the big time. It's lush, plush and pretty empty with some outdated 50's sensibilities but if you like films made with exceptional care with that old studio sheen this is one worthy checking out.

This Hollywood drama begins with a world-wide search for an actress to play the title role in an upcoming epic "The Story of Esther", since Manning Studios is having issues with their temperamental star Rita Holloway (Helene Stanton). Four are finally chosen: an Austrian (Marianne Cook (Koch)), an Italian (Elsa Martinelli), a Frenchwoman (Gia Scala) and an American (Julie Adams), all brunette beauties. There's some fascinating backstage, back-lot sequences, all shot on the Universal-International sets. Some of the women find love after some trials and tribulations. The men include George Nader, John Gavin, Sydney Chaplin, Grant Williams, Maurice Marsac. There's also an unexpected denouement at the end. The story receives tremendous boost by being photographed in color and Cinemascope (although I haven't seen it in widescreen). The day and night beach scenes are striking, the music by Alex North is fascinating, costumes by Rosemary Odell beautiful. The supporting cast is filled with familiar faces, all excellent, with Mabel Albertson in particular a standout as Adams' pushy stage mother.

Hollywood never seemed to have the knack of looking at itself with a reasonable eye,preferring to show the public what the public itself perceived as Hollywood. Still,this is an entertaining little epic with attractive stars and reasonably entertaining story.Nice color and pretty costumes with four lovely leading ladies to wear them.The drama is a bit glossed over but still makes a good movie as an example of the fifties type of movie.

Rita Holloway, the temperamental actor, always seen from behind wants a 50% cut for being the lead in a film made by a film studio. The film is being made by Universal Studios in the mid-1950's and the producers fight against her wishes and look for a woman to replace her. End of logic. The studio travels around Europe bringing Marianne Koch from Austria; Elsa Martinelli from Italy; Gia Scala from France and only Julie Adams from America. Why they go so far afield is never really explained and George Nader has to find the right actor for the part. The casting couch is hilariously not mentioned despite the fact that each woman has an ardent admirer. One of the failed choices goes off to Las Vegas for the fun of it with Grant Williams an actor in reality who was being gently pushed out of Universal Studios himself. No more spoilers. ' Four Girls in Town ' starts with a great film score composed by Alex North, and it sets off the momentum which does not let up. This is a ' lost ' film to be found on YouTube and it is not in its original Cinemascope. Despite the sad fact that few people know much about these actors in 2024 it should be restored. In its own way it is examining Hollywood practices of the time and most of the acting is very good. Sydney Chaplin and Marianne Koch are exceptionally fine in their roles, and Elsa Martinelli is a joy to watch. Even the words ' The End ' are hilariously placed, and when it comes down to it it is all about Rita Holloway. A fun film with serious aspects; not least the loss in Hollywood of most of its actors.

When the movie begins, the studio is trying to sign a temperamental actress for an upcoming Biblical epic. However, her demands are so excessive, the studio decides instead to use a publicity stunt to cast the lead actress. They'll have a contest where women from around the world will be brought to Hollywood for screentests to find the perfect Esther in the epic.

Four unknown actresses are chosen...an Italian, an Austrian, a French woman and an American. THe story consists of their efforts to secure the roles and focuses mostly on how studios operate (or want the public to think they operate) and offers a lot of interesting stories.

The acting is generally very good, though I do think Elsa Martinelli was a poor choice in the film because her accent was too heavy. I am glad I had captions though audiences of 1957 must have struggled with her. The story is clever...with dramatic, humorous and romantic potions throughout. Overall a most enjoyable film...one which is better than I expected.