Crawford lip-syncs to the recording Adams originally made for Cyd Charisse in a number discarded from the 1953 film, The Band Wagon.

She asks Tye to rejoin the show and finds herself becoming interested in him, causing her to rebuff the advances of her alcoholic admirer, Cliff Willard.

Tye replies he doesn't like her and that her insufferable personality will one day destroy her career because producers will realize she's more trouble than she's worth.

Overwhelmed, Jenny rushes to Tye's apartment and confronts him, accusing him of using his blindness as a defense mechanism in the same way she uses her domineering personality to protect herself.

"[4] The Chicago Tribune wrote: "Lavish sets, pleasing music, and a good many gowns, some of them garish, fail to cover up a contrived and melodramatic story, and dialog which becomes increasingly pompous and painful as the film progresses.

"[5] The New York Times commented: "Michael Wilding is restrained but fairly effective as the pianist....But it is Miss Crawford's show and she plays it to the hilt justifiably, displaying her legs in a turn or two and a respectable amount of emotion to project both her tough but beautiful exterior and the essentially soft lovesick woman beneath it.

"[6] The Philadelphia Inquirer was approving: "MGM has rolled out the red carpet, opened the purse strings and, what's more important, provided its prodigal daughter with a role that fits her like a pair of nylons.

In return, Miss Crawford has given of her best, as an actress and as one of the screen's top-flight glamour girls....by sheer skill as an actress, she creates a full-rounded characterization of a witchy musical comedy star that is considerably more than celluloid deep....There is sharpness and variety in the writing, none of which is lost in Miss Crawford's performance.