Donald O'Connor (Donald Corrigan), Ann Blyth (Glory Marlow III), Peggy Ryan (Peggy), Helen Vinson (Glory Marlow Jr), Samuel S. Hinds (Dean Manning), Helen Broderick (Glory Marlow Sr), Ernest Truex (Henry McHugh), Patric Knowles (Judd Corrigan), Minna Gombell (Milly), Joel Kupperman (himself), Mantan Moreland (porter), Irving Bacon (Professor Frost), Arthur Treacher (Quentin), J. Edward Bromberg (Blaney Wright).
Director: CHARLES LAMONT. Screenplay: Eugene Conrad, Leo Townsend. Story: Robert Arthur. Photography: Charles Van Enger. Film editor: Charles Maynard. Art directors: John B. Goodman, Ralph M. DeLacy. Set decorators: Russell A. Gausman, E. R. Robinson. Costumes: Vera West. Dance director: Louis Da Pron. Music director: Charles Previn. Songs: "Is It Good Or Is It Bad?" by Charles Tobias, "Mighty Nice To Have Met You" and "Spelling Prep" by Bill Grage and Grace Shannon, "I Gotta Give My Feet a Break" by Inez James and Sidney Miller, "Love Is Like Music" by Milton Schwarzwald, "My Song" by Lew Brown and Ray Henderson, "Sailor Song" by Eugene Conrad. Orchestrations: Larry Russell, Frank Skinner. Sound recording: Bernard B. Brown, Charles Carroll. Assistant director: Mack Wright. Associate producer: Bernard W. Burton.
Copyright 10 March 1944 by Universal Pictures Co., Inc. New York opening at the Capitol: 16 March 1944. U.S. release: 25 February 1944. Australian release: 31 August 1944. 7,222 feet. 80 minutes.
SYNOPSIS: The son of a naval officer falls for the singing daughter of a musical comedy star, much to the dislike of a dancing girl.
NOTES: Film debut of radio songstress, Ann Blyth.
COMMENT: Okay for all. "Chip Off the Old Block" offers Universal's dancing duo yet another chance to bore audiences silly with their facial mugging and repulsively bumptious and goonish personalities.
As usual, the surrounding story is a mindless yarn of vapidity and Charles Lamont's direction of it is even duller than usual.
At least the final dancing number is slightly above the usual Universal standard — in fact it is mildly attractive — and the film does offer the chance to hear Ann Blyth singing in her own bathroom soprano (which puts the lie to her claim that she actually sang the title parts in the movies' "Rose Marie" and "The Helen Morgan Story").
Nonetheless, it is sad to find such a fine support cast wasting their talents on rubbish like this. The photography is flatter than the Mojave Desert. Production values are very moderate.
Director: CHARLES LAMONT. Screenplay: Eugene Conrad, Leo Townsend. Story: Robert Arthur. Photography: Charles Van Enger. Film editor: Charles Maynard. Art directors: John B. Goodman, Ralph M. DeLacy. Set decorators: Russell A. Gausman, E. R. Robinson. Costumes: Vera West. Dance director: Louis Da Pron. Music director: Charles Previn. Songs: "Is It Good Or Is It Bad?" by Charles Tobias, "Mighty Nice To Have Met You" and "Spelling Prep" by Bill Grage and Grace Shannon, "I Gotta Give My Feet a Break" by Inez James and Sidney Miller, "Love Is Like Music" by Milton Schwarzwald, "My Song" by Lew Brown and Ray Henderson, "Sailor Song" by Eugene Conrad. Orchestrations: Larry Russell, Frank Skinner. Sound recording: Bernard B. Brown, Charles Carroll. Assistant director: Mack Wright. Associate producer: Bernard W. Burton.
Copyright 10 March 1944 by Universal Pictures Co., Inc. New York opening at the Capitol: 16 March 1944. U.S. release: 25 February 1944. Australian release: 31 August 1944. 7,222 feet. 80 minutes.
SYNOPSIS: The son of a naval officer falls for the singing daughter of a musical comedy star, much to the dislike of a dancing girl.
NOTES: Film debut of radio songstress, Ann Blyth.
COMMENT: Okay for all. "Chip Off the Old Block" offers Universal's dancing duo yet another chance to bore audiences silly with their facial mugging and repulsively bumptious and goonish personalities.
As usual, the surrounding story is a mindless yarn of vapidity and Charles Lamont's direction of it is even duller than usual.
At least the final dancing number is slightly above the usual Universal standard — in fact it is mildly attractive — and the film does offer the chance to hear Ann Blyth singing in her own bathroom soprano (which puts the lie to her claim that she actually sang the title parts in the movies' "Rose Marie" and "The Helen Morgan Story").
Nonetheless, it is sad to find such a fine support cast wasting their talents on rubbish like this. The photography is flatter than the Mojave Desert. Production values are very moderate.