Lucky Me (1954)

99-100 mins | Musical | 24 April 1954

Director:

Jack Donohue

Producer:

Henry Blanke

Cinematographer:

Wilfrid M. Cline

Editor:

Owen Marks

Production Designer:

John Beckman

Production Company:

Warner Bros. Pictures, Inc.
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HISTORY

The role played by Robert Cummings was listed in some reviews as "Dick," although the character is called "Brad Carson" in the film. Gordon MacRae, who had teamed with Doris Day on several previous Warner Bros. productions, was originally cast in that role, according to a Mar 1953 LAEx news item. A Feb 1953 HR news item announced that William Jacobs would produce the film, pending his recovery from illness; however, Jacobs died on 30 Sep 1953. Although their appearance in the film has not been confirmed, HR news items add Havis Davenport, Paul Haakon, Larri Thomas, Lucy McAleer and Molly McCart to the cast. Although a Nov 1953 HR news item announced that the film would be presented in 3-D, the film was shot in wide-screen only. The filming of the pie-throwing scene, for which twenty-four pies were baked, was described in a Jan 1954 LADN article. Exteriors were filmed on location in Miami, according to Dec 1953 HR news items. Lucky Me marked the feature-film debut of actress Angie Dickinson. ...

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The role played by Robert Cummings was listed in some reviews as "Dick," although the character is called "Brad Carson" in the film. Gordon MacRae, who had teamed with Doris Day on several previous Warner Bros. productions, was originally cast in that role, according to a Mar 1953 LAEx news item. A Feb 1953 HR news item announced that William Jacobs would produce the film, pending his recovery from illness; however, Jacobs died on 30 Sep 1953. Although their appearance in the film has not been confirmed, HR news items add Havis Davenport, Paul Haakon, Larri Thomas, Lucy McAleer and Molly McCart to the cast. Although a Nov 1953 HR news item announced that the film would be presented in 3-D, the film was shot in wide-screen only. The filming of the pie-throwing scene, for which twenty-four pies were baked, was described in a Jan 1954 LADN article. Exteriors were filmed on location in Miami, according to Dec 1953 HR news items. Lucky Me marked the feature-film debut of actress Angie Dickinson.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
17 Apr 1954
---
Daily Variety
9 Apr 1954
p. 3
Film Daily
12 Apr 1954
p. 6
Hollywood Reporter
27 Feb 1953
---
Hollywood Reporter
15 Sep 1953
p. 7
Hollywood Reporter
6 Nov 1953
p. 38
Hollywood Reporter
11 Nov 1953
p. 2
Hollywood Reporter
1 Dec 1953
p. 6
Hollywood Reporter
4 Jan 1954
p. 2
Hollywood Reporter
14 Jan 1954
p. 6
Hollywood Reporter
21 Jan 1954
p. 7
Hollywood Reporter
25 Jan 1954
p. 4
Hollywood Reporter
5 Feb 1954
p. 8
Hollywood Reporter
12 Feb 1954
p. 7
Hollywood Reporter
9 Apr 1954
p. 3
Los Angeles Daily News
4 Jan 1954
---
Los Angeles Examiner
31 Mar 1953
---
Los Angeles Times
22 Apr 1954
---
Motion Picture Herald Product Digest
17 Apr 1954
p. 2261
New York Times
10 Apr 1954
p. 11
Time
3 May 1954
---
Variety
14 Apr 1954
p. 6
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Warner Bros.--First National Picture
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dial dir
Asst dir
Don Page
2d asst dir
2d asst dir
PRODUCER
WRITERS
From a story by
Contr to scr
PHOTOGRAPHY
Dir of photog
2d unit cine
Cam op
Cam asst
Stu Higgs
Cam asst
Stills
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATORS
Set dec
COSTUMES
Cost
Men's ward
Women's ward
MUSIC
Mus dir
Vocal arr
DANCE
Asst dance dir
Dance asst
Rehearsal pianist
MAKEUP
Makeup artist
Makeup
Hairdresser
PRODUCTION MISC
Loc mgr
Scr supv
Best boy
STAND INS
Dance stand-in
Dance stand-in
Dance stand-in
Tex Brodus
Dance stand-in
Dance stand-in
COLOR PERSONNEL
WarnerColor col consultant
SOURCES
SONGS
"Lucky Me," "I Speak to the Stars," "Superstition Song," "Parisian Pretties," "High Hopes," "The Blue Bells of Broadway (Are Ringing Tonight)," "I Wanna Sing Like an Angel (Dance Like the Devil)," "Love You Dearly" and "Men," music by Sammy Fain, lyrics by Paul Francis Webster.
SONGWRITER/COMPOSER
DETAILS
Release Date:
24 April 1954
Premiere Information:
New York opening: 9 Apr 1954
Production Date:
early Nov 1953--mid Feb 1954
Copyright Info
Claimant
Date
Copyright Number
Warner Bros. Pictures, Inc.
22 April 1955
LP4576
Physical Properties:
Sound
RCA Sound System
Color
WarnerColor
Widescreen/ratio
CinemaScope
Duration(in mins):
99-100
Country:
United States
Language:
English
PCA No:
16754
SYNOPSIS

In Miami, superstitious, but very lucky showgirl Candy Williams narrowly misses several catastrophes as she makes her way to the theater. There, after a performance of the show Parisian Pretties for an audience of thirteen, she and the other members of her troupe, manager Hap Snyder, comedian Duke McGee and dancer Flo Neely, are thrown out. Finding his troupe broke, stranded and hungry, the resourceful Hap tricks the show's only fan, policeman Barney Mahoney, into agreeing to make a phony arrest, after the troupe has had a chance to eat a big meal at the expensive restaurant Anton's. However, Mahoney goes off duty while they are dining, and when a different policeman responds to Hap's pre-arranged signal, the troupe must work off the meal in the kitchen to avoid a real arrest. While cleaning the hall floors of the adjoining hotel, Flo overhears Brad Carson, a successful Tin Pan Alley composer, talking to his agent, Tommy Arthur, about a musical show he is writing and wants produced. Brad is hoping that oil magnate Otis Thayer, the father of Lorraine, a possessive woman he has been seeing, will back the show after Brad presents some of his songs at Thayer's upcoming birthday party. Lorraine shows up, and although Brad tries to make it clear to her that he wants her father's backing to be a purely business deal and that his personal interest in her is limited, Lorraine persists in trying to buy his love. Later, while trying to avoid black cats and sidewalk cracks, Candy causes Brad to crash his car. At the garage, the mechanic offers the loan of his car, an old clunker bearing the ...

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In Miami, superstitious, but very lucky showgirl Candy Williams narrowly misses several catastrophes as she makes her way to the theater. There, after a performance of the show Parisian Pretties for an audience of thirteen, she and the other members of her troupe, manager Hap Snyder, comedian Duke McGee and dancer Flo Neely, are thrown out. Finding his troupe broke, stranded and hungry, the resourceful Hap tricks the show's only fan, policeman Barney Mahoney, into agreeing to make a phony arrest, after the troupe has had a chance to eat a big meal at the expensive restaurant Anton's. However, Mahoney goes off duty while they are dining, and when a different policeman responds to Hap's pre-arranged signal, the troupe must work off the meal in the kitchen to avoid a real arrest. While cleaning the hall floors of the adjoining hotel, Flo overhears Brad Carson, a successful Tin Pan Alley composer, talking to his agent, Tommy Arthur, about a musical show he is writing and wants produced. Brad is hoping that oil magnate Otis Thayer, the father of Lorraine, a possessive woman he has been seeing, will back the show after Brad presents some of his songs at Thayer's upcoming birthday party. Lorraine shows up, and although Brad tries to make it clear to her that he wants her father's backing to be a purely business deal and that his personal interest in her is limited, Lorraine persists in trying to buy his love. Later, while trying to avoid black cats and sidewalk cracks, Candy causes Brad to crash his car. At the garage, the mechanic offers the loan of his car, an old clunker bearing the garage's business logo. After driving away, Brad narrowly escapes a second accident caused by Candy, but feels an instant attraction for her. He invites her on a date, and lets her believe that he is a mechanic, as the sign on the car indicates. After seeing Candy and Brad leave for their date that night, Hap follows them to a beach restaurant and introduces himself, hoping to get work for the troupe in Brad's new musical. Candy gets angry and leaves when she realizes that Brad has deceived her about his identity, but Brad agrees with Hap to secretly watch the troupe practice in Anton's dining room after hours. At the rehearsal, Brad and Candy make up, and Brad offers her and her companions roles in his show. However, later, after seeing Candy and Brad rehearsing, Lorraine jealously insists that Candy cannot be in the show if Brad wants Thayer's backing. Candy, presuming that Brad gave Lorraine reason to feel possessive of him, quarrels with Brad and distrusts his declaration of love for her. However, when Brad loses interest in his show and leaves for New York, Candy realizes he does love her and decides to help him. Disguised as genteel English persons, Candy, wearing a black wig, and Duke crash Thayer's birthday party, and are soon joined by Flo and Hap, who impersonate wealthy Texans. Together they lure Lorraine into the pool. While Lorraine is out of the way drying off, Candy takes off her wig and sings Brad's songs for the guests. Having enjoyed Candy's performance, Thayer is ready to sign a check, but Lorraine interrupts, claiming misrepresentation. Meanwhile, Brad has returned to Miami to face Thayer and tactfully tells him that he is not interested in romancing Lorraine for the money. However, Thayer is aware that Lorraine manipulates men with her wealth and is still interested in backing the show. To encourage Thayer to act immediately, Hap starts a bidding competition and almost causes Thayer to back out, but Candy announces that they will only accept Thayer's money. For the second time, Thayer prepares to sign a check, but the deal is again in jeopardy when Candy, realizing the date is Friday the thirteenth, almost stops him. However, to the relief of her friends, Candy renounces her superstitions, finally realizing how lucky she is.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.