An fine example of the sort of film that isn't made anymore. Studio engineered vehicle to spotlight a crop of its newest and most promising contract players.The men are more or less disposable and none had careers of much distinction, though John Gavin had a good run of leads in the late 50's/early 60's. Too bad he was such a mechanical actor he certainly had the looks of a leading man.Likewise none of the ladies ever made it to major stardom but all reached some level of renown in their native countries and all four are incredibly beautiful. The lone American, Julie Adams in particular had a very successful 60 year long career as a respected performer. Martinelli had a brief Hollywood run and a decent career in Italy as did Koch once she returned to Germany. Even the ill-fated but exquisite Gia Scala had some memorable roles before her personal problems ruined her career and life.Here they all get their moment to shine in a story that was probably old hat in silents, the plucky actresses who have to compete for a crack at the big time. It's lush, plush and pretty empty with some outdated 50's sensibilities but if you like films made with exceptional care with that old studio sheen this is one worthy checking out.

Actor Judson Pratt IS credited.Art Direction by Alexander Golitzen and "Haworth". It can be assumed this is Ted Haworth.Music Supervision by Joseph Gershenson; "Rhapsody for Four Girls" composed by Alex NorthAssistant Director: Dick Maybery (one "r")CinemaScope/Technicolor.Credits above are from the film print itself.Also, I have tried MANY times to get this credit added - to no avail: Jose Ferrer appears UNCREDITED as a movie director in this film.

Hollywood never seemed to have the knack of looking at itself with a reasonable eye,preferring to show the public what the public itself perceived as Hollywood. Still,this is an entertaining little epic with attractive stars and reasonably entertaining story.Nice color and pretty costumes with four lovely leading ladies to wear them.The drama is a bit glossed over but still makes a good movie as an example of the fifties type of movie.

This light Hollywood drama begins with a world-wide search for an actress to play the title role in an upcoming epic "The Story of Esther", since Manning Studios is having issues with their temperamental star Rita Holloway (Helene Stanton). Four are finally chosen: an Austrian(Marianne Koch), an Italian (Elsa Martinelli), a Frenchwoman (GiaScala) and an American (Julie Adams), all brunette beauties. There's some fascinating backstage, back-lot sequences, all shot on the Universal-International sets. A couple of shots of Adams in "Esther"wardrobe reveals her breathtaking beauty: Statuesque, jut-jawed with high cheekbones, lustrous dark hair, and stunning eyes. There's also an unexpected denouement at the end. The conventional plot line receives tremendous boost by being photographed in color and Cinemascope (although I haven't seen it in widescreen). The day and night beach scenes are striking and the music by Alex North is interesting. But at the end the four women don't seem complete, 1950s style, unless they get their man.