6.2/10
696
28 user 12 critic

Too Many Girls (1940)

Passed | | Comedy, Music, Sport | 8 October 1940 (USA)
Mr Casey's daughter, Connie, wants to go to Pottawatomie College and without her knowledge he sends four football players as her bodyguards. The college is in financial trouble and her ... See full summary »

Director:

George Abbott

Writers:

John Twist (screen play), George Marion Jr. (book)
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Cast

Complete credited cast:
Lucille Ball ... Connie Casey
Richard Carlson ... Clint Kelly
Ann Miller ... Pepe
Eddie Bracken ... Jojo Jordan
Frances Langford ... Eileen Eilers
Desi Arnaz ... Manuelito
Hal Le Roy ... Al Terwilliger (as Hal LeRoy)
Libby Bennett Libby Bennett ... Tallulah Lou
Harry Shannon ... Mr. Casey
Douglas Walton ... Beverly Waverly
Chester Clute ... Lister
Tiny Person Tiny Person ... Midge Martin
Ivy Scott Ivy Scott ... Mrs. Tewksbury
Byron Shores Byron Shores ... Sheriff Andaluz
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Storyline

Mr Casey's daughter, Connie, wants to go to Pottawatomie College and without her knowledge he sends four football players as her bodyguards. The college is in financial trouble and her bodyguards use their salary to help the college. The football players join the college team, and the team becomes one of the best. One of the football players, Clint, falls in love with Connie, but when she discovers he is her bodyguard, she decides to go back East. The bodyguards follow her, leaving the team in the lurch. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Taglines:

It's knee-deep in gorgeous gals and gaiety!

Genres:

Comedy | Music | Sport

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

8 October 1940 (USA) See more »

Also Known As:

Demasiadas chicas See more »

Company Credits

Production Co:

RKO Radio Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The scene where Connie is singing "I Didn't Know What Time It Was" to Klimt and Jojo and Al were spying on them, if you watch carefully you can see Jojo drops a rock on his foot. See more »

Goofs

In different shots after the game with Texas Gentile, Van Johnson's (no character name) costume changes from coat, tie, and white shirt to a sports shirt. See more »

Quotes

Consuelo 'Connie' Casey: What's that other college for girls, the one that won't give its right name?
Harold L. Lister: Won't give its right name?
Consuelo 'Connie' Casey: Smith!
See more »

Connections

Referenced in Lucy (2003) See more »

Soundtracks

'Cause We Got Cake
(1939) (uncredited)
Written by Richard Rodgers and Lorenz Hart
Danced by chorus, including Frances Langford, Ann Miller, Hal Le Roy, Libby Bennett, Desi Arnaz and Eddie Bracken
Sung by Frances Langford with chorus
See more »

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User Reviews

Dreamlike slowness, isolation, and illogic
3 September 2007 | by rbrtptrckSee all my reviews

You can't really appreciate the pace and style of the great movie musicals until you've seen some lousy ones like this. A really awful 1930s or 1940s musical movie can induce a sort of restful trance, and take you into another world of stunned tedium. If you know only Rodgers and Hart's great songs which survived shows and became standards, you'll be astounded by how many strained and stupid ones come in between them in the course of a plotted show. The story-scenes are acted in a stiff and disinterested style. Actors seem just to be waiting for others to stop speaking so they can say their lines, rather than actually listening to each other. And why should they listen? What they say is overwritten, repetitious, and yet often indirect and incomplete as far as telling the story is concerned. The plot manages to be both contrived and clumsy, unlikely to the point of being fantastic--yet who would fantasize such dreariness? This effect is probably partly the result of prudish Hollywood trying to adapt a supposedly "spicy" script direct from supposedly "wicked" and "sophisticated" Broadway, and therefore inserting or deleting lines to keep the script "clean" but still leave the impression that it's "daring." But the prudishness seems hypocritical, and the sophistication way, way overestimated. Trying to convey both attitudes, yet neither, the actors become robotic and stressed. And the sets are so stagy that it's a shock when suddenly one scene is played on a real ball-field. Perhaps the most characteristic moment comes when Lucille Ball makes a remark about a boyfriend which is clearly the lead-in for a song, and then, as mechanically as a wind-up toy, while the other actors in the room watch helplessly, with nothing to do, crosses a whole room, goes out onto a porch, hits a position, stares into a light, and lip-syncs woodenly to a voice obviously not hers. Another: after what seems an endless discussion of the troubled finances of a college (which turn out to have nothing to do with the story at all), one boy donates the three hundred dollars (?) that's needed, and the college is opened, at which point for some reason everyone participates in a production number called, "Cakewalk, 'Cause We Got Cake," possibly left over from some other situation in the Broadway original (some of its lyrics seem to relate to Depression optimism), and performed not as a cakewalk, but a swing number. Also, as is to be expected in a "college musical" of the time, the main characters are far past college age, so their sexual coyness seems retarded. The ultimate effect is one of dreamlike slowness and isolation and illogic, making this trivial nonsense seem related to the existential sadness of De Chirico's paintings or Kafka's novels. The movie may be even more bewildering to younger viewers today because of changed social attitudes. A long scene among four boys is oblique to the point of mystery because in 1940 none of them could actually say that certain girls wearing certain "beanie" caps are virgins (there are a couple of incredibly labored attempts later at jokes about these caps). Lucille Ball, giving an old Native American man a letter to carry for her to a lover, calls the messenger, "Boy," and Latino Desi Arnaz not only has an awkward gay joke early in the film, but later performs a song called "I'm Spic and Spanish."


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