Alana Fu One vote for Durante,who did a few numbers along with the famous piano bit; one vote for Marsha Hunt, delightful as always, since she doesn't has that many movies I'm happy just to see her; one vote for June Allyson, who gave a solid sentimental performance. Not a musical as I expected, the plot is way too simple/dull for a two hour movie, and told too straightfowardly leaving no room for imagination for the audience or cinema language. Thus, the movie has these long, boring scene of conversations and you see the same ideas played out over and again. June Allyson is such a dynamic actress yet cast here as a boring character with practically no personality, she did mostly crying, which was well done, just not enough coming from Allyson. Durante's cute of course on his own, but had no chemistry with other main characters. The movie is all over the place. Supposedly the idea is to celebrate women in music during war times, however it is not addressed in the movie. And as strong and smart as these women are, in times of trouble the most they were asked to do was pray??? Also I'm not sure what role the little girl plays, she doesn't really do much except just "being there". I'm guessing she's the symbol of a religious guardian angel? Faith? She's not the Pollyanna to teach us to look on the bright side of life, she just goes to church like a sweet little girl. In all I would not recommend this movie.

bkoganbing Music that covers every genre of the time and a wonderful performance by June Allyson as the expectant war bride who works playing a bass fiddle for Jose Iturbi's orchestra are the main hallmarks of Music For Millions. Of course the big name in the cast for the time is little Margaret O'Brien who was winning hearts all over the USA during the World War II years.There were numerous films during those years that covered women doing all kinds of work in occupations for men. Why would playing in a symphony orchestra be different. Jose Iturbi is hemorrhaging male musicians in his orchestra to the draft and his ensemble was starting to look like Phil Spitalny's band.One fine evening Allyson's little sister Margaret O'Brien comes to town and interrupts a concert at Carnegie Hall. Iturbi and orchestra manager Jimmy Durante are put out, but the women in the orchestra really take to O'Brien the way America did. Even Iturbi and Durante come around and Margaret becomes a kind of mascot.A real crisis erupts when a War Department letter arrives for Allyson, but she doesn't get it courtesy of her fellow musicians. June is pregnant now and the women figure no news is good news until she has the baby. One of June Allyson's best acted scenes is with Iturbi where she confesses how frightened she is not knowing and hoping for the best for her husband out in the Pacific.Iturbi does some classical music and appropriately the film ends with Handel's Hallelujah Chorus and why appropriate you watch the film for. And Jimmy Durante is his own comic self and his rendition of Umbriago is a film highlight.Women certainly play in orchestras now. I live around the corner from the Kleinhans Symphony in Buffalo and I see many a female musician parking their cars and carrying their instruments to the hall. And we have a female conductor named Joann Falletta. This review is dedicated to her.

mccthines I know we live in a different world than we did in 1944, but its surprising to find a mainstream studio film that has a "power of prayer" theme. A beautifully told, sweet and honest story with (I'll have to admit) lots of overly sentimental scenes, this movie is about hope, and prayer, and belief in a higher power during difficult times. We have forgotten what it feels like to live in a world where most everyone was united against a clearly defined evil, and, I think we have to admit, a country that was much more united in its views of God and faith. I celebrate the diversity of today and am proud of our country because of it, but this ancient world of 1944 did exist. And it is worth celebrating too.

robert-temple-1 This is sheer magic. Margaret O'Brien, aged seven, is the perfect pixie. Unlike Shirley Temple, who could be over-sweet, Margaret O'Brien as a child star was too honest and direct ever to be saccharine, and she never catered to an audience at the expense of her character. Although she could doubtless turn tears on for the camera like a true pro, she never compromised her integrity of genuine childlike innocence, the portrayal of which on the screen borders on the supernatural. Although I met her briefly once before, just to say hello to, I knew her for a few days when she was already a young woman. At that time she was wearing an excessive amount of makeup to try to appear 'grown up' and shed the childlike image which was costing her work as an adult. I saw her once with no makeup at all, and was astounded that even when grown up, underneath her disguise, she had exactly the same child's face. She was very shy and difficult to communicate with because of her apparent introversion. It was evident, however, that her ability to portray innocent adorable waifs on the screen was because it was all true deep inside. Matched here with the childlike June Allyson, the pair are real heart-breakers, and the business of Kleenex must have doubled when this film was released towards the end of the War, especially as there is a husband away fighting in the Pacific, which is a thread throughout the story. This film was directed by Henry Koster, best known for 'My Cousin Rachel' in 1952, who on occasion could tease the very best out of actresses. Larry Adler aged 30 is in the film, in a small speaking part, and plays Debussy's 'Clair de la Lune' beautifully. This is after all a film based round music and a symphony orchestra conducted by real-life conductor and pianist Jose Iturbi, who has a prominent part in the story and does very well. It is fascinating to watch his technique of conducting from the piano, where he leaps up and down with a jack-in-the-box. There are many absolutely hilarious moments in this delightful film, some brought about by Jimmy Durante, whose thick accent however becomes less comprehensible with every passing year that takes us further away from those New York days of Damon Runyon which produced him. (Ethnicity is no longer guaranteed to be funny like it was then, either.) This is one of those films where you will either cry because you are crying or cry because you are laughing, but either way, there is no escape. This film is pure delight, an absolute joy. It is guaranteed to cure any case of depression instantly.