Cathardincu Surprisingly incoherent and boring
NekoHomey Purely Joyful Movie!
Listonixio Fresh and Exciting
Dorathen Better Late Then Never
atlasmb "Three Guys Named Mike" is a story about a fledgling airline hostess from a small town who gets to fly the friendly skies and expand her horizons. Marcy Lewis (Jane Wyman) embraces her new way of life, experiences the joys of interacting with the public (people from different lands with their varied views) and meets three bachelors who happen to have the same first name. Marcy knows that married women cannot be hostesses, but she's not really trying to find a husband--she's too busy revolutionizing the ad world and the flight industry. But that doesn't stop men from throwing themselves at her. Particularly Howard Keel (a pilot), Van Johnson (a graduate student in scientific studies), and Barry Sullivan (a successful adman).All four major players play their roles well, but the script is a trifling that is more interesting as a documentation of the flight procedures and customs of the time. While watching Wyman in this role, I kept thinking of June Allyson and, according to notes in the trivia section, the role was written for her. Ms. Wyman's voice also reminded me of Doris Day's at times.Even with its paternalistic and sometimes sexist approach to the training and employment of stewardesses, the airlines industry (especially American Airlines) get a commercial from Hollywood in this film.
Cristi_Ciopron Noticeable cast—Mrs. Wyman is the stewardess, Howard Keel is the 1st Mike, Van Johnson is the 2nd Mike, a certain Barry Sullivan, who resembles a fellow who played vampires in the '70s, Langella, is the 3rd Mike ;a bright stewardess meets three guys—one's an airline pilot who takes a rather noble view of his job, 'the whole world to fly around', dazzlingly tourism—bent (that's the future husband of Miss Ellie from DALLAS—Keel—perhaps even less likable as a dynamic youngster, without that contemplative bonhomie given by age); one's a scientist who studies Bioluminescence and looks like a poster—boy (Johnson, you've already guessed); one's a businessman who works in the advertising and might be the creepiest of the trio.This Jane Wyman comedy is not so much unfunny (because there are occasionally things which could make one laugh if in a movie theater), as it is uninspired and unlikable, a bit stale, if you take my meaning; and another thing—the settings bizarrely leave the impression of a rarefied world, as if the action takes place in a depopulated society, as if they barely gathered a few people for the stage. Other than that now, Mrs. Wyman plays a self—confident stewardess taking the first steps in the job, the movie would of required that conventional '50s hedonism of the sex comedies. Maybe more Mikes would of fueled the script up? The male stars, Van Johnson and Keel, are perhaps a bit better as comedians than Mrs. Wyman; but then again, the script is so lifeless
.It occurred to me that our Spader resembles Johnson—well, if added a bit of perfidiousness and malice to that missionary blandness
.It takes long to establish the basic comical situation, that a girl meets three men named Mike—Van Johnson enters after a ½ an hour; the too short scene, of a quiet and mild poetry, where he shows the stars (Ursa Major, Casiopeea) to the girl and the stewardess is touching—as are generally the people taking an interest in the stars.
moonspinner55 Perky, freshly-scrubbed, impertinent Jane Wyman trains to be a airline stewardess with American Airlines; once in the air, she clashes lightly with pilot Howard Keel and passenger Van Johnson, while on the ground she has a slight run-in with Barry Sullivan. All three men--all named Mike--quickly come around with romantic notions (this is the kind of '50's comedy where men can't wait to get hitched), but Wyman is so busy hatching ideas and shooting from the hip that she barely notices all the male attention. What begins as a smartly-written and executed glimpse at a stewardess's life in the sky is soon hustled right into romantic comedy territory. The question is obvious (whom will she choose?), yet I didn't find any of these potential suitors capable of handling Wyman, who is continually mouthing off in a wide-eyed, nonchalantly feminine way. This puff-piece, directed with snap but no flair by Charles Walters, is nearly impossible to critique seriously; if pressed, I would have to say the fist-fight in the photographer's apartment wouldn't really be worthy of the front page of the newspaper (did the fight last long enough for reporters and shutterbugs to show up?). Walters captures first-day-on-the-job jitters exceptionally well, but Sidney Sheldon's screenplay goes soft too fast. The final line between the men is amusing, but what we don't get see at the fade-out is a career girl who feels alive up in the air quickly tied down in suburbia with kids tugging at her apron. **1/2 from ****
Jade-16 Honestly, there was no way I couldn't like this movie. As soon as I started watching it, I was hooked. Naturally, it was cheesy and unrealistic (IF YOU HAVEN'T SEEN THE MOVIE AND YOU DON'T WANT TO KNOW WHICH MIKE SHE PICKS, DON'T READ ON!). Look, I wasn't expecting a surprise ending. Van Johnson was the first of the "Mikes" in the credits, so naturally my money was on him. I was just hoping for a better explanation of why he got the girl. He didn't do anything the other two Mikes didn't do. Through out the entire movie, Jane Wyman never even showed any favoritism toward him. I hate to say it, but this was an obvious case of "the biggest star" gets the girl. But don't get me wrong. I just think that with a little bit of better writing, they could have pulled it off better. But don't think this movie wasn't worth watching. I loved it!Personally, I would have picked Howard Keel =P
