Neptune’s Daughter (1949)

(On Cable TV, December 2020) I’m not that taken by Neptune’s Daughter as a film, but it does have a few interesting elements. The plot has something to do with an aquatic dancer (Esther Williams, obviously), a South American polo player (the great Richardo Montalban), a bumbling masseur taking on another identity (Red Skelton, equal to himself) and the dancer’s lovesick sister (Betty Garrett, confusingly playing a “Betty Barrett”). With such a blend of acting sensibilities, it’s perhaps inevitable that the film splits in halves – a romantic duo between Williams and Montalban, and a comic strand headlined by Skelton and Garrett. The romance has the advantage of being more broadly appealing than the often-thick comedy, but those who are receptive to the comedy will find it much more entertaining than the more ordinary romantic couple. This is best exemplified by the duelling interpretation of “Baby It’s Cold Outside,” which somehow makes its debut here: a bit dull on the romantic side, but considerably more entertaining with the comedians. Despite Montalban getting a good role as a romantic lead, the film is still filled with stereotypes that wouldn’t pass muster today, or at least be heavily questioned – especially Mel Blanc’s rare on-screen role and voice he’d later use for Speedy Gonzales. Technicolour cinematography does improve the film. If you’re going down the list of the Williams or Skelton films, Neptune’s Daughter is clearly not top-tier material. But it still has enough to be entertaining if you’re in the right frame of mind.