This is the first title in Universal’s ‘Directed by Douglas Sirk’ box-set. After an unhappy time at Columbia, Sirk signed a seven-year contract at Universal and settled down to make a couple of pictures a year for the studio. He was generally happy at Universal but he understood that it was the smallest of the major studios (smaller than Columbia – Universal and Columbia were the ‘mini-majors’ during the studio period since they didn’t own any cinemas). Consequently, most of Sirk’s productions would be superior ‘B’ productions, going against trend in the early 1950s. This meant that the stars to attract an ‘A’ budget were not available to Sirk and the use of colour was dependent on genre.
Has Anybody Seen My Gal? was Sirk’s fifth Universal picture, a family comedy with several musical numbers making it eligible for Technicolor under Universal’s policy. The film is significant because it teamed Sirk with a young Rock Hudson for the first time (it also features a brief appearance by James Dean). Hudson gets top billing in retrospect and the film also appears in a Rock Hudson box-set – but he has only a supporting role. The central focus is on the veteran actor Charles Coburn (already in his 70s) with whom Sirk had already worked (on Lured in 1947). Coburn plays an eccentric millionaire in the early 1920s who decides to bequeath his wealth to the family of the girl he loved, but didn’t marry fifty years earlier. He inveigles his way into the Blaisdell family home under an assumed name and literally ‘checks out’ the family. Satisfied that they have the makings of acceptable beneficiaries he attempts to test them by arranging for them to come into a large sum of money. This will reveal that there is a weak link in the family group leading to a crisis. Universal’s rules meant that there had to be a happy ending, but Sirk did manage to expose some of the flaws in American bourgeois society even if the ‘feelgood’ aura round the film militated against the satire.
I enjoyed this film very much. Sirk whisks us through 89 minutes with hardly a pause for breath. Small-town New York state is presented in bright colours and the costumes of the women in the ‘flapper’ era add to the visual punch. Most of the ‘creatives’ on the crew were Universal regulars whose usual commissions ranged across Westerns and Abbott and Costello movies, but they all put in good shifts for Sirk. Musical director Joseph Gershenson had a similar background but also more chances to work on bigger budget films. He would become part of Sirk’s team over several films. Henry Mancini is listed by IMDB as a ‘uncredited composer’.
The film’s title comes from the song and there are other well-known songs sung by the cast including ‘The Red, Red Robin Comes Bob, Bob Bobbing Along’. Piper Laurie at the start of her career is very good as Millicent, the Blaisdell’s older daughter and the grand-daughter of the woman the millionaire loved as a young man. Truly vivacious, Piper Laurie immediately recalls the impact of seeing Debbie Reynolds in Singin’ in the Rain for the first time. (Laurie followed Reynolds into cinemas just a few weeks later). Her younger sister in the family, played by 9 year-old Gigi Perreau, is the other standout player. She was an established child star of the period and gives a lively performance – taking Coburn’s character at face value. Sirk told Jon Halliday that he couldn’t remember much about the film – apart from meeting Rock Hudson. I think he should have been pleased to make such a fresh version of a rather formulaic story. He was helped by a sharp script by Joseph Hoffman from a story by Eleanor H. Porter (best known for the 1913 children’s novel, Pollyanna). If you want some heartwarming entertainment, this fits the bill.