Radio star Kitty Moran, long married to partner Jack, finds she’s pregnant, but miscarries. For a change, the couple turn their act into a series on early TV and try to adopt a baby, finally acquiring a girl in a somewhat back alley manner. Complications follow amid a series of musical numbers.

Also Known As: Harise mou ena moro, Sinitaivas, Per noi due il paradiso, Felizes no Paraíso, Trois gosses sur les bras, La cigüeña se demora, A Cegonha Demora-se, My Blue Heaven

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  • maggie-martins
    maggie martins

    Love the costumes wore by Betty Gable. Wondering if all the furs were real? The white fur was so elegant. Was that all rabbit?Even the dark blue and black dress was awesome. Where can we get info on that dress?

  • bayan-suner-tevetoglu-duran
    bayan suner tevetoglu duran

    I’m as much a fan of the musicals of Hollywood’s Golden Age as anyone – probably more than most – but this one stumps me.Playing radio husband and wife personalities, Dan Daily and Betty Grable, who inexplicably dance on their radio show, lurch through 90 minutes+ of mediocre songs and dances, melodrama and good ol’ 1950’s sexist hilarity for no discernible reason.The movie opens with a shot of Grable in her underwear, talking to a man, who we see as the camera pans, is her doctor, who gives her the good news: she’s pregnant. She rushes from the office straight onto the stage of her radio show, where she proceeds to tell Dan, live on the air, through a series of vague hints, never uttering the word “pregnant”.Cut to a baby shower given by their show-biz cronies during which the mother is all but ignored while the husband is subjected to a series of tasteless jokes regarding his part in the proceedings. Dan of course gets crocked – it’s 1950 and everyone drinks like a fish and smokes like a chimney – and Betty has to drive them home. On the way she slams into another car and into a fire hydrant, which is played for a laugh before we discover that Betty is injured. She loses the baby, and a rather unsympathetic doctor tells her it’s unlikely that she will ever have another. This is a musical comedy? This plot twist starts the couple on their quest to adopt, but the head of the agency disapproves of show folk – too unreliable. Nevertheless, they hand Betty a baby; then almost immediately snatch it back on the grounds that they are not suitable after all. There goes baby number two.The couple distract themselves by going into television and a series of lame musical numbers that not even Grable and Daily can salvage, all broadcast in brilliant color – in 1950. There is one rather bizarre spoof of the musical “South Pacific” which had opened on Broadway the year before, complete with lines taken directly from the score, and a very bad impersonation by Daily of Ezio Pinza, the Broadway lead. The question is, “Why?” The show was not brought to the screen for 8 more years, and one has to wonder just how much of the movie audience had any idea what they were doing.There is a side distraction in the person of a very young Mitzi Gaynor in her first major role, as a predatory dancer on the show with her eye on Dan. When Betty catches them playing house in his dressing room, she takes the attitude that boys will be boys and shows Mitzi the door.Another baby comes and goes – don’t ask – and the whole mess ends with the original adoption agency deciding that they can have a baby after all, and Betty discovers that she’s pregnant again. Now they have three babies.If you haven’t given up long ago, that’s their idea of a happy ending.Add a lackluster David Wayne and Jane Wyatt as a poor man’s Comden and Green and the wonderful Louise Beavers in the thankless role of yet another maid, and you have a whole that is far less than the sum of its parts.Taken all in all, “My Blue Heaven” is a time capsule that you enter at your own risk.

  • spuranna-lumaxe
    spuranna lumaxe

    Usually I love the Fox musicals…but this one is just boring. The dancing and the songs can’t save this one. And how nice to know that they actually had color TV video cameras and color TV receiver sets in 1950!!! The special effects people couldn’t make the spliced-in TV images in B&W I guess???? Bad editing. And don’t you just envy Betty Grable’s push-down monitor. Wow, wish I had one (not). And that “baby” that the Morans illegally “adopt” (then they get her back later, still under suspicious circumstances)…and the Morans never had given “baby” a name? Unless I missed it along the boring way. Then old Miss Adoption Agency has a quick change of heart and offers them a boy. Then Betty is pregnant again after all!!!! All this makes for a very unbelievable story.

  • zukauskas-ramune
    zukauskas ramune

    This TCF production looks like an attempt to update the standard 40’s musical. Instead of romantic youngsters, there’s Grable and Dailey as a mature married couple; and in place of the usual wispy storyline is a surprisingly biting one; while banal dialog is peppered with risqué throw-away lines; and most topically, there’s that new-fangled livingroom monster, television. On the whole, however, the combination doesn’t go down well.For one, the main plot thread simply doesn’t lend itself to light-hearted entertainment. Ping-ponging adoptive babies back and forth, plus an auto accident, is the stuff of dramatics, not fluff, and leads to abrupt interruptions in mood. Sure, Grable gets to show some acting chops, which I expect was the intention, but it comes at the expense of overall results. Then too, the musical numbers are forgettable, to say the least. But at least, big-budget TCF mounts them in splashy Technicolor keeping the eye entertained even when the ear isn’t. And I agree with the reviewer who thinks the vibrant young Mitzi Gaynor steals the show. She’s clearly on her way up the Hollywood ladder.Anyway, Dailey and Grable hoof and warble well enough. But, unfortunately, the movie comes across as two Hollywood vets doing their best with difficult material, yet only partially succeeding.

  • john-massey
    john massey

    Popular radio-program duo in New York City, a chummy married couple about to make that transition to television, have troubles adopting a baby. Colorful Betty Grable vehicle weighted down with musical chaos. Granted, “My Blue Heaven” is a 20th Century-Fox musical–and anyone going into it should rightfully expect lots of singing and hoofing–but here the story is far more substantial than the song numbers, which simply get in the way. Screenwriters Claude Binyon and Lamar Trotti, working from S.K. Lauren’s story “Stork Don’t Bring Babies”, tentatively touch upon several topical issues (both satiric and dramatic) which are not explored with any depth. The sudden boom in television (and its impact on radio), the perils of a working mother who leaves her job to be with her child, and the reluctance of adoption agencies to assign babies with those “constantly divorcing” show-biz couples are all products for a satisfying comedy-drama. Grable and Dan Dailey are a lot of fun on the dance-floor, but this glossy product could actually use less pussyfooting around and more narrative heart. It’s a feel-good movie, all right, but a picture for its time and not for the ages. **1/2 from ****

  • john-jacobsen
    john jacobsen

    This film really isn’t much. The performers are all agreeable, but the real star is the score by Harold Arlen and Ralph Blane. The lost gem is “Halloween”, an Arlen waltz performed by Betty Grable, Dan Dailey, and David Wayne. Arlen did not write many waltzes. Only “When the Boys Come Home”, “Sunday in Cisero Falls”, and “Fancy Free” come to mind. This is a fine waltz with a witty lyric by Blane telling us that Irving Berlin forgot to write a song about “Halloween”. “Don’t Rock the Boat”, Arlen’s take on Calypso music, is also a winner. “Friendly Island” is a hilarious send up of Rodgers and Hammerstein’s “South Pacific”. Blane has never been so archly funny. Dailey even makes fun of Ezio Pinza’s singing in this number. Aside from these numbers, “Mother Wore Tights” and “Call Me Mister” are superior Grable-Dailey films. Wayne gives us some comedy, but it is not enough to make the film sparkle.

  • elita-zalitis
    elita zalitis

    Mediocre musical. Kitty and Jack Moran (Betty Grable and Dan Dailey) try to adopt a baby. One complication after another pops up preventing them from doing that. These complications aren’t funny–just pretty depressing (for a musical). These are all interspersed with bad music and dance numbers.This is a pretty bad 1950 musical. The dialogue is terrible and all the songs are completely unmemorable. Also Dailey has a tendency to REALLY overact. But the movie is in bright Technicolor,there is a Halloween number that I enjoyed, the plot is pretty interesting and the dancing is incredible. Also David Wayne, Jane Wyatt and a very young Mitzi Gaynor are good in supporting roles. But Grable saves the picture. She’s gorgeous, can sing and dance, has good chemistry with Dailey and holds her own in the dramatic scenes. She’s basically the only good thing worth watching here. Aside from her this is a bad musical. I give it a 4.

  • sirio-bruno
    sirio bruno

    Even sixty-five years ago this would probably have seemed like a tail- end example of the great late thirties and forties Fox musicals turned out by Fox and a ‘resident’ team including Alice Fay, Don Ameche, John Payne, Carmen Miranda, Tyrone Power and Betty Grable, who succeeded Alice Faye as Queen of the Lot and was herself succeeded by Marilyn Monroe. Watching it today the overall impression is of s popular genre running out of steam. Harold Arlen’s score is lacklustre by his standards though he would turn out A Star Is Born four years later. One of the most interesting segments is the Friendly Islands number, a parody of South Pacific (then in its second year on Broadway) in which Mitzi Gaynor – in her first feature film – actually sings the words South Pacific, and would, of course, go on to play the lead in the film version one decade later. David Wayne is probably the best thing in it and certainly gets the lion’s share of the laughs.

  • david-macdonald
    david macdonald

    Musicals wasn’t my favorite genre but there are so many that offer an sexy appeal like this, Betty Grable was well-known for your fabulous legs and in this she show us in plenty shape, as a dramatic comedy wasn’t enough funny, but the story is smart and fully interesting was musicals suggested, David Wayne had a good role and works well as supporting casting, Mitzi Gaynor in your first real debut is always unnoticed, the songs are outdated as well, so remains the great and sexy Betty Grable delivery all that can offer….what a pair of legs!!!ResumeFirst watch: 2012 / How many: 2 / Source: DVD / Rating: 7

  • alojzija-lavric
    alojzija lavric

    Can’t remember much about the movie, except my parents were a little disgusted at some of the dialogue. One that stands out: Grable and Dailey, a married couple, announced she was pregnant.At a party (or something)where they announced the news, somebody said something like, “Well, we had better go because they probably want to be alone.”To which David Wayne, in whatever role he was playing, said, “Listen, if what these two kids said is true, they’ve been alone.”That was one pretty risque line for 1950. Would that dialogue today were as tame as that.

  • maura-spuridake
    maura spuridake

    The songs and dances are wonderful! Kitty and Jack are actors so when they sing/perform there are scenery and wardrobes that go along with the songs, making it less like an ordinary “musical.” The story itself is modern and realistic even for the time (like someone else mentioned some of the things they say may have been considered “risque.”) If you like old movies or musicals, I recommend you find a way to see this! You’ll never get these songs out of your head, and you probably wont want to either. A classic! I grew up watching this movie over and over again. I wish that I could find another copy but it seems impossible. 🙁 If any decides to release it again, let me know!

  • aaron-erchenko
    aaron erchenko

    Saw this film numerous times on TV in various versions. What a delight to find it now on DVD with a good print and in glorious colour. This is the first time I noticed the search lights on the 20th logo were different colours!After a couple of flop films, the studio seemed to bring things up to the times with a plot that included television (not a popular idea in Hollywood around this time), miscarriages, adoption, possibly adultery plus few songs and dances. Betty’s comic timing has never been better, especially in the scene where she catches her husband Dan and understudy Mitzi Gaynor together. This is a worthy addition to anyone’s collection!

  • vincent-lamb
    vincent lamb

    One of 4 films Grable made with favorite male costar Dan Dailey. They made a perfect ‘A’ team with their vaudevillian broad entertainment talents. Her previous male costars, with matinée idol looks, could sometimes sing acceptably, do social dancing and a bit of comedy, but only Dailey could keep up with Betty in the dance routine department and match her comedic talents.This made less necessary the inclusion of supporting specialty dancers, such as the Nicholas Brothers, and multitalented supporting entertainers of either sex, such as Carmen Miranda, Charlotte Greenwood,Jack Oakie and Cesar Romero, which were standard in her films of the early ’40s. Nonetheless, young newcomer Mitzi Gaynor is featured several times as a dancer-singer and girl on the make for the affections of Dan. She and Dan are featured in a sexy sophisticated dance routine while singing “Live Hard, Work Hard, Love Hard”.Cleverly, Betty is watching this performance at home on her TV, and joins in, with the implication that this girl had better watch out if she makes a play for Dan(as she does). In this film, children, specifically infants, become the main focus of the melodramatic elements, rather than the on again, off again, romantic and professional relations of the stars, which was the usual source of melodrama in Betty’s other musicals. As the commentary version of the 2006 DVD says, babies were an especially appropriate topic at this time, with the post-war baby boom. The periodic topic of children being an income tax deduction related to the increased income taxes following WWII.The unusual topics, especially for a musical of that period, of miscarriage and the trials of adopting a child, are featured in the melodrama. As was often the case for the romantic and professional ups and downs in previous Grable films, the ups and downs of acquiring a baby get overblown and a bit tedious.Throughout much of the film, Betty’s desire to interact with an infant is frustrated by the hazard of stress-induced miscarriage, the excessive legal complications involved in adopting a child, and a very bossy nurse maid, who considers Betty too inexperienced to care properly for an infant.These problems are finally resolved in a madcap ending, thus justifying the title and theme song. As a counterweight to their frustrating experiences in trying to acquire a child of their own, they have a good time entertaining the kids of a friend with their Halloween skit. As in the later MGM musical “Always Fair Weather”, the emerging competing medium of TV is incorporated into the story. Again, the often inane TV commercials are parodied, with Mitzi serving as the presenter. Anachronistically, TV pictures are presented as being in color, presumably to fit in with the rest of this color production. This was several years before the earliest color TY broadcasts, and at least a decade before color TVs were common.The “Friendly Islands” musical routine clearly is a take-off of the then smash Broadway hit “South Pacific”, with Dailey parodying the operatic singing style of Ezio Pinza(duplicated by Rossano Brazzi in the later film version) and Betty sporting a wild bird-like outfit and brunette wig in the later portion, to accompany a wild dance, which Dailey joins. Reminded me more of an Aztec or African dance. Having previously played a caucasian who could dance the hula on a small South Seas island(“Song of the Islands”), Betty’s performance could also be interpreted as an extension of her performance in that film. In the last, long, musical number: “Don’t Rock the Boat, Dear”, Betty and Dan cavort on a ship in a rocky sea, symbolically reaffirming their devotion to each other. These two performances, along with the “Live Hard, Work Hard, Love Hard” number were the musical highlights for me.

  • deividas-poska
    deividas poska

    This is not the typical “Betty Grable Extravaganza” that she may have starred in 10 years prior. Instead it is comedy/soap opera/musical chronicling Grable and Dailey’s struggle to become parents. Grable has matured here and this film highlights a more confident Grable on all fronts. This might have been a great melodrama/musical. What actually wieghs down the proceedings are the musical numbers attached to their “televsion appearances”. While these numbers are by and large terrific, the songs border on “poverty row” quality. Take a listen to “It’s Deductible” and you’ll see what I mean. Thankfully Grable and Dailey make the best of the songs given to them to sing and they make it all seem much more fabulous than it would have been in less capable hands. The constant melodrama of “couple loses baby, gets baby, loses baby” gets tiresome and the inherent sexism does not hold up well today (i.e. Grable’s response to her husband’s indiscretion with Mitzi Gaynor). Aside from these detractors, “My Blue Heaven” boasts a delightful supporting cast including Mitzi Gaynor, Jane Wyatt and the wonderful Una Merkel. These actors help buoy what could have easily been a sinking ship. This is not a superb vehicle by any means, but it does serve a great piece of kitsch presenting Post-war America and the burgeoning industry of television.

  • sos-overgaard
    sos overgaard

    Wonderful Bette Grable and Dan Dailey fanfare dealing with a musical couple’s hard luck in having their own child. They are forced to resort to adoption when a traffic accident causes the loss of her unborn child. We then see unscrupulous adoption procedures and other mayhem preventing this couple from having a child of their own.The couple do a routine on television and Dailey along with Grable show they could still sing and dance at their best. In a brief role, Mitzi Gaynor, who would play Daley’s daughter 4 years later in “There’s No Business Like Showbusiness,” turns up as a fellow dancer who is ready to flirt and take Daley away from Gable.The wonderful is ending but we expected that. In such film predicaments, they usually do just that.

  • abele-hermanis
    abele hermanis

    My Blue Heaven which starred Dan Dailey and Betty Grable are a happy show business couple who started in vaudeville and now are going into that happy new medium television. This was one of the first films that dealt with the phenomenon of television. As Dailey says during the course of the film, right now only Milton Berle and Howdy Doody are in it, the field is wide open.Dailey and Grable are a happy couple, but they’d even be happier with a child, in fact Betty loses a baby almost at the beginning of the film. Friends and sponsors, David Wayne and Jane Wyatt suggest adopting because three of their six are adopted. The rest of the film is a lighter treatment of the themes from A Penny Serenade. Things go a lot happier for Dailey and Grable than they did for Cary Grant and Irene Dunne.Because they are a musical performing couple Grable and Dailey get a whole lot of numbers and there’s even a few tossed in for Mitzi Gaynor who was doing her second film. What a pity she came along as late as she did, she would have been a Grade A star in the Thirties. Gaynor plays an eager young understudy who’d just as soon Grable stay out on maternity leave.Other than the title song, there’s nothing terribly memorable in the score that Harold Arlen and Ralph Blane wrote for My Blue Heaven. Of course very few songs are as memorable. Until Bing Crosby introduced White Christmas in Holiday Inn, My Blue Heaven was the largest selling song in history with Gene Austin’s version topping the charts.My Blue Heaven is a pleasant enough diversion. Grable and Dailey work well as a team together, you’ll enjoy them.