tavm After so many years of reading about this Irving Berlin musical, I finally watched Call Me Madam twice. The first time was just the movie, the second time was with great commentary by Miles Kreuger who usually stays silent for the great songs that come in play. Anyway, seeing Ethel Merman recreate her Broadway role is such a treat since it very rarely happened to her when she did movies. And the people she was paired with for this version-George Sanders as her leading man and Donald O'Connor as her assistant-are perfect with her especially the latter when they sing the counterpoint-duet, "You're Just in Love". Also great is Vera-Ellen whenever she and O'Connor dance up a storm. In fact, when I read they almost reteamed in White Christmas and Donald couldn't do it because of illness, I felt a little sad even though Danny Kaye wasn't a bad replacement in that one. Of those leads, only Vera-Ellen's singing voice is dubbed by one Carol Richards who I previously knew sang with Bing Crosby on "Silver Bells" and now, due to Kreuger, know dubbed Cyd Charisse in many of her M-G-M musicals. Despite that, it wasn't too noticeably different from her actual voice so it was all right and a good compliment to the others especially Sanders who warbles here for the only time on film. Oh, and there are quite a few good comedy set pieces like when Ms. Merman goes to meet the king and queen of the country she's visiting. Okay, while Call Me Madam isn't a perfect movie, it's a highly enjoyable one and kudos to director Walter Lang for putting this all together. So yes, that's a recommendation. P.S. In acknowledging people native to my birthtown of Chicago, Ill., I was pleasantly surprised to find out Mr. O'Connor was from there.

silverscreen888 "Call Me Madam" (1953) possesses perhaps the most complete list of attributes that most other musicals made since the early 1970s have completely lacked of any film ever made. Its protagonist is past 40 and not particularly attractive, female. gruff, tough-minded and smart. Her romantic opposite number in the film is foreign, classically-trained as a singer, anti-United States, honest, unpopular in his own country and a nobleman. The second leads are a comic dancer and a short, skinny blonde playing a member of a foreign royal family. Veteran Walter Lang used this material to fashion a well-directed film set in a Graustarkian nation all of whose leaders want U.S. aid from the new ambassador--except for one man, the man the heroine, the new U.S. ambassador, falls for. Arthus Sheekman deserves the credit for making of Russel Crouse's and Howard Lindsay's book of the stage hit of the same name, with music by Irving Berlin, the best of his musicals and a filmic delight. Solid Sol Siegel produced and Leon Shamroy supplied vivid cinematography for this ambitious work that goes indoors, outdoors, presents at night and by day and does all with seemingly effortless ease, by my standards. With art direction by Lyle Wheeler and John De Cuir, set decorations by dependable Walter Scott and a range of colorful costumes by Irene Sharaff the movie had to be beautiful, and it is. Add in musical work by Ken Darby with the singers, Earle Hagen as orchestrator and Robert Alton as choreographer, and interesting results should have been expected. Songs such as "You're Not Sick You're Just in Love", "It's a Lovely Day Today" a folkloric showstopper, "The Hostess With the Mostess" and a dance number that rivals Fred Astaire and Ginger Rogers at their best for staging and the possibilities improve even more. But the film is also one that moves well, is pleasant, intriguing, and features a large number of locales, moods and scenes, tied to a running gag about the then new female ambassador's boss, Harry Truman, who appointed her and to whom she reports by phone. Something special with these elements mixed well was bound to happen. It happened I say because of Ethel merman's very professional approach and the great singing and acting of her award-level co-star, George Sanders as the honest official who woos her. Billy de Wolfe is Merman's insufferable underling, Donal O'Connor her protégé and Vera Ellen the royal with whom O'Connor falls in love. Helmut Dantine is powerful as O'Connor's rival, Walter Slezak and Steven Geray two bumbling comic ministers. Others in the large and talented cast includes Ludwig Stossel, Lilia Skala as his wife, capable Emory Parnell, Percy Helton and Charles Dingle as well as Oscar Beregi, Olan Soule and Nestor Paiva. For an adult viewer, one willing to forego Hollywood's usual musical clichés, this amiable and memorable entertainment--based loosely on the life of real-life hostess Perle Mesta--should work satisfactorily from brassy opening to intelligent conclusion. Not to be missed, if only for Sanders' musical numbers.

Richard Burin Cover your ears, here's Ethel Merman, shouting her dialogue and her songs – many of them at George Sanders. She's the American hostess becoming ambassador to a small European kingdom and falling in love with the foreign minister, in this colourful adaptation of a stage musical. Merman's performance is enormous: far too big for the film, and though she raises a handful of laughs with a fitfully witty script, she's pretty grating. Thank goodness then for second leads Donald O'Connor and Vera-Ellen, who light up the screen as one of cinema's most enchanting couples. O'Connor's drunken barroom dance is the absolute highlight here, but the pair's six numbers (four of them together) are all delightful. Sanders is amiable but bland. A good supporting cast and some wonderful sets help.(3 out of 4)

Nick Zegarac (movieman-200) "Call Me Madame" is a musical that desperately wants you to love it. At times that love is genuine…at other times it seems forced. Ethel Merman stars as "the hostess with the mostest" – Ambassador to Luxemburg (name). She's bold, gregarious, irrepressible, manic, enigmatic and electrifying – in spots. But 2 hours of Ethel is like 20 minutes in a wind tunnel; it's exhausting! Yes, the Irving Berlin score will have you tapping and humming away with pleasure, and, yes, the supporting cast of Vera Ellen, Donald O'Connor and George Sanders are all welcome additions that compliment the divine Ms. Merman. But they are mere appendages to her performance and are given so little to do that without Ethel there really wouldn't be a show. That aside, Merman proves why she was such a powerhouse on the live stage. She's like the female Bert Lahr (the cowardly lion from "The Wizard of Oz" for those who might otherwise not know to whom I am referring). She bounces from one emotion to the next, manically sucking up the atmosphere and expelling all things Merman in its place. Is she intoxicating?Suffocating is a more accurate assessment, but engaging nonetheless. Just make sure you've had your morning coffee first! Okay, make it two! TRANSFER: A respectable transfer from Fox. Full frame, as originally seen, with rich, vibrant Technicolor, solid blacks and excellent contrast levels. Digital anomalies are rare, pixelization being of the greatest concern, for a picture that is overall quite smooth and satisfying, if somewhat softly focused from time to time. Age related artifacts are present throughout but they do not distract from your viewing enjoyment. The audio has been remastered to stereo but remains something of a muffled disappointment, particularly in the songs. EXTRAS: A wonderful audio commentary and precious little else. BOTTOM LINE: Tackle the exuberant Ms. Merman…but only if you dare!