JEAN SIMMONS is once again assuming the role of a prim young woman who turns the tables on those who underestimate her irresistible charm in THIS COULD BE THE NIGHT--much like the character of the Salvation Army gal who went to Havana with Marlon Brando in GUYS AND DOLLS.
But the material is strictly second rate stuff--despite a cast that includes PAUL DOUGLAS as a nightclub owner, ANTHONY FRANCIOSA as a sort of henchman, JOAN BLONDELL in another one of her brassy supporting parts and J. CARROL NAISH in another accented role as a kitchen chef. None of it was intended to break new ground as a romantic comedy, and it doesn't.
The main appeal is in watching Simmons go through the paces of the "virginal" gal who shakes things up in a seedy atmosphere because she's so good. All of it has a predictable, been there before kind of feeling. The musical numbers conducted by Ray Anthony and his orchestra at least give some color to the nightclub scenes.
It should come as no surprise that Simmons turns out to be super efficient, Douglas--as her boss--is super gruff, coarse and lovable, and Franciosa, who has a "hate at first sight" relationship with Simmons, is bound to be her romantic interest before the final reel is over. The clichéd script occasionally has some snap, but it's not Robert Wise's finest hour as a director.
Pleasant enough, but very inconsequential with Simmons looking very lovely but going through her familiar paces, that's all.
But the material is strictly second rate stuff--despite a cast that includes PAUL DOUGLAS as a nightclub owner, ANTHONY FRANCIOSA as a sort of henchman, JOAN BLONDELL in another one of her brassy supporting parts and J. CARROL NAISH in another accented role as a kitchen chef. None of it was intended to break new ground as a romantic comedy, and it doesn't.
The main appeal is in watching Simmons go through the paces of the "virginal" gal who shakes things up in a seedy atmosphere because she's so good. All of it has a predictable, been there before kind of feeling. The musical numbers conducted by Ray Anthony and his orchestra at least give some color to the nightclub scenes.
It should come as no surprise that Simmons turns out to be super efficient, Douglas--as her boss--is super gruff, coarse and lovable, and Franciosa, who has a "hate at first sight" relationship with Simmons, is bound to be her romantic interest before the final reel is over. The clichéd script occasionally has some snap, but it's not Robert Wise's finest hour as a director.
Pleasant enough, but very inconsequential with Simmons looking very lovely but going through her familiar paces, that's all.