Here's a screenplay by Harry Kurnitz and Frank Tashlin, based on a Broadway musical which was itself based on a novel. Ava Gardner, borrowed from MGM for the title role, walked out on the movie due to friction with her co-star, Robert Walker, before it was completed, so it's a little hard to judge whether some of the movie's problems were inherent or accidental. In any case, director William A. Seiter is not exactly first league. In fact, in my original review, I wrote that he was a hack and that I couldn't imagine why a savvy producer like Lester Cowan had hired him in the first place. Now that was unjust. A director can only direct what's placed in front of him. He's not a mind reader, nor is he usually a man who can improvise like say Rene Clair or George Marshall. Fortunately, Eve Arden needs no coercing. She has some very funny lines here and delivers them most expertly. The dances were staged by Billy Daniels, and he also is always no top of his game. So what we have here is a pretty good movie. I'd give it 7.5! But it could -- and should -- have been better!

A comedy starring Robert Walker, and Ava Gardner as the goddess Venus.Eddie (Robert Walker) is a window dresser. One day while tending to dressing of statue of Venus at his department store, he's taken so much by its beauty, he kisses it. The Venus comes alive and starts to change his life. Not to mention love life of others around them.Ava Gardner is at the height of her beauty in this movie. Without her, this movie wouldn't have been successful. The story is rather shallow, and doesn't have much substance, but Ava Gardner's beauty hides whatever the plot lacks.The society seems to be on the verge of automation, as Eddie's department store showroom has remote control for many of its functions, and one of the girl mentions that food can be made with a press of a button. The funny part was no matter which button Eddie presses, it always brings down the bed when Venus is around.Watch this movie to see Ava Gardner at the height of her career.

This is, arguably, the worst of the major Ava Gardner films. Yes, she is gorgeous. But that can wear thin over time, especially after the corny and predictable movie ending.In this turkey, Robert Walker has to pretend that he's Eddie Bracken (which surely embarrassed him). Olga San Juan plays the Jane Powell (golly, gee) part. Dick Haymes plays a sort of dim sidekick (!), and Eve Arden plays Helen Broderick (and a host of other wise-cracking female semi-comedians). Yes, the film contains a major popular song, "Speak Low." But check out the other, entirely forgettable, pieces. Dick Haymes sings very well, of course, and so does the uncredited vocalist dubbing for Ava.The sets are cheap, the script is filled with clichés and failed humor, and Tom Conway looks as though he has been battling with liquor (as indeed he was). In short, if you want to see Ava in her prime, buy a photo and stay well clear of this movie.

When Universal-International decided to film ONE TOUCH OF VENUS from the Broadway musical by Kurt Weill they dropped most of the songs, gave it the B&W treatment instead of Technicolor, cast AVA GARDNER in the title role (a non-singer dubbed by Eileen Wilson), and gave boyish ROBERT WALKER, then at the height of his earnest charm as a young leading man and produced it on a low-budget scale.Aside from giving viewers a generous look at AVA GARDNER's charms, it does little else but provide tepid entertainment depending on one memorable song for its sole distinction as a musical: "Speak Low".It's passable enough but the one joke theme of the plot whereby a department store mannequin turns into the real life "Venus" when an adoring employee kisses her, is about all there is to the so called book of this musical.If looking at Ava is enough, you'll have plenty of time to do exactly that--while DICK HAYMES, OLGA SAN JUAN and TOM CONWAY do little to stir things up in any other direction. Haymes is wasted on a couple of forgettable songs.Too bad the studio didn't have more faith in transferring the original to the screen including the Kurt Weill score. As it is, it definitely falls far short of the mark.