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Rich, Young and Pretty

Rich, Young and Pretty
Rich young pretty (1951).jpg
Theatrical release poster
Directed by Norman Taurog
Produced by Joe Pasternak
Written by Dorothy Cooper (story)
Screenplay by Sidney Sheldon
Starring Jane Powell
Danielle Darrieux
Wendell Corey
Fernando Lamas
introducing Vic Damone
Music by Sammy Cahn (lyrics)
Nicholas Brodszky (music)
Cinematography Robert H. Planck
Edited by Gene Ruggiero
Production
company
Distributed by Loew's
Release date
  • July 24, 1951 (1951-07-24) (New York City)
  • August 3, 1951 (1951-08-03) (U.S.)
Running time
95 min
Country United States
Language English
Budget $1,528,000
Box office $2,999,000

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, the film starred 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).

Elizabeth (Jane Powell) accompanies her wealthy Texas rancher father (Wendell Corey) on a visit to Paris, where her mother (Danielle Darrieux) lives; while in Paris, she meets Andre (Vic Damone), an eager young Frenchman. The father tries to keep her from marrying the Frenchman and thus repeating the mistake he made when he married her mother.

MGM promotion for the film emphasized the film's "songs rather than its patter";Sammy Cahn wrote the lyrics and Nicholas Brodszky the music for several songs, including

Other original songs by Cahn and Brodszky include

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."


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