| It's a Great Feeling | |
|---|---|
 1949 Theatrical Poster | |
| Directed by | David Butler |
| Screenplay by | |
| Story by | I. A. L. Diamond |
| Produced by | Alex Gottlieb |
| Starring | |
| Cinematography | Wilfred M. Cline |
| Edited by | Irene Morra |
| Music by | Jule Styne |
| Color process | Technicolor |
| Distributed by | Warner Bros. |
Release date |
|
Running time | 85 minutes |
| Country | United States |
| Language | English |
| Budget | $1,452,000[2] |
| Box office | $2,713,000[2] |
It's a Great Feeling is a 1949 AmericanTechnicolormusicalcomedy film starringDoris Day,Jack Carson andDennis Morgan in aparody of what goes on behind the scenes inHollywood movie making. Thescreenplay byJack Rose andMel Shavelson was based upon a story byI. A. L. Diamond. The film was directed byDavid Butler, produced by Alex Gottlieb and distributed byWarner Bros.
It's a Great Feeling was Day's third film (and her third and last pairing with Carson, followingRomance on the High Seas andMy Dream Is Yours) and the first to bring her widespread notice.It's a Great Feeling is a "Who's Who?" of Hollywood in its heyday and glorified thestudio system at the peak of itsgolden age.
The film begins with a succession of real-lifefilm directors, includingMichael Curtiz,King Vidor,Raoul Walsh, andDavid Butler – refusing to helm a new Warner's film,Mademoiselle Fifi, becauseJack Carson has been signed to star in it. Frustrated,fictional studio head Arthur Trent finally decides to let Carson direct it. Seeking the perfect co-star for himself and fellow leadDennis Morgan, Carson finds her in the person of studio commissarywaitress Judy Adams, who has been in Hollywood for three months without even one audition and sneaks her way into Carson's office, where she forces him to give her a chance. A self-proclaimed liar, Carson advises her to pose as his secret bride to Morgan. Fooled at first, Morgan eventually catches on to the ruse. Following an angry outburst, Judy leaves the studio and feels used by the two actors for their entertainment.
Moving on, Carson continues his search for his romantic interest in the film, but nobody seems to be willing to work with him. WhenJane Wyman is offered the role, she even faints. Dennis suggests to Carson that he should cast an unknown, because only outsiders are unaware of his image and would be willing to work with him. Judy is the first person that comes to their mind, though they do not know that – because of them – Judy has become disillusioned by Hollywood and is set to return to her home town,Goerke's Corners, Wisconsin.[3] Both Carson and Morgan want to be the one who has discovered Judy officially, and go their separate ways to convince Judy to return to Warner Brothers and assume the role. Arriving at the station at the same time to stop Judy from leaving, and after running intoDanny Kaye, both men succeed in making Judy believe that they will help her get her big break in the movies.
Carson and Morgan start by dressing Judy as a film star in order to impress Trent. At a fancy dress shop,Joan Crawford suspects that Judy is being taken advantage of, and condemns both men for it. Carson remembers that Trent likes to discover his own talent, so he dresses Judy in a number of different guises – such as an elevator operator, a cab driver and an oculist's assistant – in the hope Trent will see her, appreciate her potential, and insist Carson cast the unknown. Unfortunately, all Trent keeps seeing is a pretty blonde with a goofy smile and blinking eyes. Morgan, having lost all hope, discourages Judy from becoming an actress, but she is now determined to have her big break, explaining the hard work she has done to afford acting and singing lessons, as well as moving to Hollywood. By this time, both men are now not only fighting over discovering Judy, but also for her romantic attention.
Carson and Morgan attempt to arrange ascreen test for Judy and continue their schemes to impress her. They are stopped at the studio, butEdward G. Robinson helps them sneak in. In the studio, they arrange for Judy to perform the song "That Was a Big Fat Lie" on camera directed by a reluctantRay Heindorf. The screen test undergoes technical difficulties, which startles Trent when seeing it, and, coming on top of his "visions" of the same face everywhere (when Carson and Morgan planted Judy all around him), results in a nervous breakdown and a cancellation of production ofMademoiselle Fifi. As a final attempt, Carson and Morgan conspire to disguise Judy as a famousFrench film star with dark hair named Yvonne Amour – and an inaccurate accent – but Trent still manages to recognize her despite the great amount of attention that "Yvonne" is receiving, including a meeting withEleanor Parker andPatricia Neal and a performance of the song "At the Cafe Rendezvous".
Upset with all the backstage shenanigans she's been forced to endure, Judy considers returning home to Goerke's Corners to marry long-time sweetheart Jeffrey Bushdinkle. Carson and Morgan consider stopping her, but Judy's friend Grace makes them realize that she will be much happier with her fiancé in a small town than an uncertain career in Hollywood, and they step back. Judy overhears them promising another girl a career in the pictures, confirming her doubt of having been used by the actors. She leaves in tears and coincidentally shares the train with Trent. Now realizing her talent, Trent offers Judy a career in pictures, but she thinks he is lying as well and rejects him. Nonetheless, Trent announces that the film is back in production with Judy Adams as the only contender for the lead role. Carson and Morgan rush to Goerke's Corners to share the news with Judy, but realize that they have to interfere with her wedding, and decide to leave to let Judy lead a small-town life. Their curiosity as to what her fiancé has to attract her so strongly is satisfied when his face is revealed to be that ofErrol Flynn.
Many of the studio's most popular stars and directors makecameo appearances throughout the movie. Among them are:
Reagan and Wyman's daughterMaureen also makes an appearance in a scene with her mother.
The film's working title wasTwo Guys and a Gal.[4] The film resembled Day's early career as a waitress struggling to get into the pictures and nearly landing her big break when prepared to leave Hollywood.[5]It's a Great Feeling was Day's third film and third-to-last collaboration with Carson.[5] On working with him, Day wrote in her autobiography:
He helped me enormously with my technical indoctrination into movie acting. He taught me dozens of tricks about how to move to precise camera marks without actually looking for them, how to handle myself in close-ups so that my face or profile rather than the back of my head would be in a shot, how to sustain the evenness of a performed scene. ... Since we were also going together, we'd often discuss some of these things in the evening, and there's no doubt that my relationship with Jack helped me considerably in my early going.[5]
In June 1948, Day's participation in the film was confirmed. By that time, Carson and Morgan were already cast.[6] The film also went under the titleTwo Guys of the Nineties and, due to insistence of Carson and Morgan asTwo Guys from Hollywood (though Morgan had previously stated in an interview that he would never star in another film with "Two Guys" in the title).[7]
Variety commented: "Joan Crawford (as herself) does a pip of a bit in a swank gown shop with the three principals, rating plenty of howls."[8] In his book on Doris Day's career, author Tom Santopietro writes that the Crawford's self-parody of her "notoriously dramatic" screen image is the funniest bit in the film.[9] Crawford supposedly overhears Jack Carson and Dennis Morgan discussing Doris Day and thinks they are taking advantage of her. She automatically launches into aclichéd, melodramatic speech typical of her screen persona (in this case, fromMildred Pierce) and furiously slaps both Jack Carson and Dennis Morgan. Carson asks "What's that for?" and Crawford smiles, shrugs and says: "I do that inall my pictures!"
According to Warner Bros. records, the film earned $2,059,000 domestically and $654,000 in overseas markets.[2]
The title tune "It's a Great Feeling" (written byJule Styne andSammy Cahn), received anAcademy Award nomination forBest Song.
in [It's a Great Feeling], Day's 'Judy Adams' has come to Hollywood from a small town, to which she eventually returns: Goerkes Corner, Wisconsin
