NOTES: Third and final screen version of Hagen's stage play. COMMENT: Re-makes can almost always be compared in an unfavorable light with their originals. And this maxim certainly holds true for this re-serving of The Strawberry Blonde (although that movie itself was a re-make, it is the exception that proves the rule). For a start, the players are inferior. I mean, how can you compare Dennis Morgan (whom I like) with James Cagney? Or Janis Paige (whom I also admire) with Rita Hayworth? Admittedly, Don DeFore (never my choice for the world's finest actor) makes a surprisingly deft stab at the Jack Carson spot (though still falling short). The one and only really bright star in this new cast line-up is the lovely Dorothy Malone who comes across as a warm and enchanting Amy Lind. As for the script, with typical re-make oversight, the Epstein twins are not credited, even though it's quite apparent that Mr Richards has based his screenplay firmly on the 1941 movie rather than the 1933 stage play. In fact, he's made very few additions or changes and hasn't even bothered to alter or delete such giveaway lines as "That's the kind of a hair-pin I am!" Very appropriate for Jimmy Cagney but quite out of character for Dennis Morgan. Admittedly, a few indifferent new songs as well as some more old favorites have been introduced into the pot, plus a helping of not-so-funny comic routines for Mr Blue. On the other hand, some of the incidents retain sufficient power to induce a fair amount of laughter and the plot has still enough drama to survive even the well-intentioned efforts of this second-rate roster of players. Although Walsh's direction remains competent enough, he fails to refurbish anything like the luxuriant style and inventive flair he brought to Strawberry Blonde. Fortunately, the art director has taken advantage of the producer's splurge on Technicolor. The sets are entrancingly in period and the film is beautifully photographed in very delicate colors that consistently please the eye, even though the dialogue seems less attractive to the ear.

There are a number of musicals out there that deserve more attention. Among them are, "Best Foot Forward", "Two Weeks With Love" and now I can add this version of "One Sunday Afternoon".For the record, I've seen, and love "The Strawberry Blonde". By now you should all know this is basically a remake, by the same director, but in color and music that moves the plot along a bit.We could dwell on the differences, and what could have been included in "one Sunday afternoon" (and yes I love, "And the Band Played On". But now I love the tune, "One Sunday Afternoon" which plays the same role in this film.I was very surprised perhaps most of all to learn that Don DeFore has a fine singing voice. I do wish that Janis Paige was featured a little bit more. She is really a wonderful addition.Don't try to compare James Cagney to Dennis Morgan. Don't try to compare Rita Hayworth to Janis Paige (though I would take Janis Paige). Don't even try to compare Alan Hale Sr. to Alan Hale Jr. (he even mentions a boat trip!)But I do think this is a fine, enjoyable musical of a classic story.But there is one thing better about this film than "the strawberry blonde" and that is Ben Blue as Nick. Now , don't get me wrong, I think George Tobias as Nick in , ''the strawberry blonde" was fine. But Ben Blue really added a nice, buster Keaton like, comedic relief.I purchased the DVD from Warner Archives and had some trouble viewing it on one of my DVD players, and contrary to what the packaging says, I tried it on a DVD recorder and it played fine. Is this , "Oklahoma", "The Music Man", or "Showboat"? No. But it is a movie you probably haven't seen and you may very well enjoy.But that's just the kind of hairpin I am!

Raoul Walsh returned to the same source material that he had explored seven years before when he directed Warner Brothers' One Sunday Afternoon in 1948.Previously titled The Strawberry Blonde, starring James Cagney at the peak of his career as Biff Grimes, a pugnacious dentist in turn-of-the-century New York City who fantasizes about the title character, it, in turn, had been a remake of a 1933 Paramount production with the same title as the '48 version. That version had featured a young somewhat gawky Gary Cooper playing Grimes.The '48 version, with Dennis Morgan now playing the dentist, was updated in two respects. It was turned into a partial musical to take advantage of its star's musical talents, and was filmed, impressively, in Technicolour. No matter whatever flaws this third version had, it was a handsome looking production.The musical numbers are pleasant but bland and, quite frankly, could have used the memorable song "The Band Played On," as heard repeatedly in the Cagney version.The cast of the '48 version (which includes Dorothy Malone in the role of Amy Lind, previously played by Olivia De Havilland in the '41 version, along with Janis Paige replacing Rita Hayworth as the title character, and Don DeFore in the Jack Carson role as chief protagonist) strives for adequacy but truly pales next to the memorable performances of the first Walsh version. Completely jettisoned from this version is the role of the dentist's rogue father, previously cheerfully played by Alan Hale. Almost for old time's sake, however, Hale's son, Alan Jr., has a small supporting role.Looking ill at ease in this version's earlier scenes is star Dennis Morgan. Morgan had a natural cheerful, laid back charm and watching him play a character who is impulsive and pugnacious (a natural piece of casting for Cagney) is painful, to say the least. Morgan is more comfortable when he has the opportunity to sing, which he does with his usual charm.Janis Paige makes little impression as "the strawberry blonde," the object of all men's desires, is this film, certainly nothing to compare to Hayworth seven years before. Don DeFore, while no Jack Carson, is not bad in the role of conniving Hugo Barnstead, while Dorothy Malone, as patient, loving Amy, the girl who is the real gem in the film, is reasonably touching in her role. She doesn't bring the same depth and warmth that De Havilland had but it's still a commendable performance.In retrospect, director Walsh perhaps returned once to the well once too often with this production. Aside from the '41 version of Strawberry Blonde, Walsh, who had been raised as a boy during the Gay '90s, had a special affinity for creating nostalgic films of that era. The '41 Blonde is a minor under appreciated masterpiece but Walsh had made a few other memorable excursions into that era, as well, with 1933's The Bowery, 1936's Klondike Annie, with Mae West, and, best of all, 1942's Gentleman Jim, a rollicking affair, and another minor masterpiece, marking Errol Flynn in one of the most charismatic performances of his career.This '48 version of One Sunday Afternoon can best be described as a rather bland time waster, hardly representative of Walsh at his best. Then, again, there's only so much the director can do when he has a willing but lesser league cast of players. There is no Cagney anywhere in sight of this production, and he is a talent that is sorely missed.

I guess one man's meat is another man's poison--but believe me, this film in no way compares to the original STRAWBERRY BLONDE ('41) that starred James Cagney, Olivia de Havilland and Rita Hayworth.Not even the addition of gorgeous technicolor can make up for this lackluster telling of the dentist (Dennis Morgan) who marries a nice girl (Dorothy Malone) but can't forget his ill-fated romance with the town flirt (Janis Paige) and her crooked husband (Don deFore). These are all perfectly amiable screen personalities but they just don't deliver the socko performances of Cagney, de Havilland and Hayworth.Trust me, rent the video of STRAWBERRY BLONDE and see the difference!! This should have been a real charmer but it just falls flat--and Dennis Morgan is no replacement for James Cagney as Biff Grimes.The picture is as artificial as a turn-of-the-century postcard and the music is as banal as the script. Terribly disappointing.