With its catchy title, an exotic location, some peppy tunes, and a good cast, THOSE REDHEADS FROM SEATTLE could have been a passably good musical had screenwriters Lewis R. Foster (who also directed it) and Daniel Mainwaring paid more attention to the plot instead of letting the intended 3-D effects carry the burden. As it is, we have an uninspired programmer masquerading as a musical whose only real merit is the introduction of then-current radio chart-busters Teresa Brewer and Guy Mitchell to the movie going public.

All proceedings are undermined by a confused plot which takes place during the late 1800s in a Klondike where the journey from Skagway to Dawson is as easy as a Sunday afternoon constitutional with no White Horse Pass to pose any peril, where the weather is so balmy that the characters need not wear ear muffs or mitts for protection from frostbite or even see their own breath, and where snowstorms are non-existent. There is not even a hint of a single gold strike nor of fortunes won and lost overnight.

The movie just can't make up its mind whether its plot is one of revenge for the murder of the eponymous redheads' father or to showcase the young women's determination to adapt to the "harsh" life in the remote northern reaches of Canada on their own. The requisite villain, a one-dimensional cipher, appears only twice: the first time at the beginning to kill the father and the second time at the end to be dispatched by the hero (Gene Barry) so that the latter can win the admiration and eternal gratitude of the heroine, lovely Rhonda Fleming.

Still, the musical numbers, "Chick-A-Boom," "Baby, Baby, Baby," and the beautiful ballad "I Guess It was You all the Time," performed with verve and gusto by Mr. Mitchell and Miss Brewer, are entertaining in their own right, even if they don't fit the situations or advance the plot in any way.

But there is one good reason for watching this movie and that reason is Teresa Brewer. "Tessie," as she was known to her fellow musicians, simply illuminates the screen with her bubbly effervescence every time she enters a scene. She grabs your attention and holds it. This is no mean feat given that she often has to share the screen with gorgeous Rhonda Fleming but she does just that. Watch her face as she eagerly anticipates greetings from her estranged family as they approach her from church, only to be snubbed by them as a show of disapproval of her chosen vocation as a dance hall singer. Tessie was a natural on-screen performer and it's a shame she didn't pursue a career in movies. Paramount had apparently offered her a contract but she turned it down so that she could have time to raise a family. Had she not done so, she might have gone on to rival the popularity of Warner's Doris Day. She certainly had the personality and talent.

The attractive thing about this movie is the presence of Teresa Brewer,in her only film. So if you're a fan this is a must see. Secondly, howoften do you judge a musical as a great movie in itself? The plot isusually there to support the music and the stars. That's the way I lookat it, so I'm not hard on it. I know there are fans of Rhonda Flemingtoo, and the other stars. They appear attractive in color and the musicis fine, especially when Teresa is on stage as a showgirl singing BabyBaby Baby. That was a hit for her that year. The Bell Sisters sing one,and so does Guy Mitchell. Teresa also sings Mr Banjo Man and a duetwith Guy of It Must Have Been You All The Time. This film has recentlybeen prepared for a 3-D video release that has not occurred, and therehave been a couple of limited theatrical preview showings recently.Never been on video. Can be seen online in some places or as a TVrecording.

Paramount's Dollar Bills, William Pine and William Thomas continuedputting out films in the Fifties as they did in the Forties forParamount's B picture unit. Only they were given a bit more bucks toplay with and some bigger stars in the Fifties. For Those Redheads FromSeattle they got not only color, but also 3-D making it the firstmusical released in 3-D.

With some elements of The Harvey Girls as part of the story,Pine-Thomas could have used some better songs for the score. I notedthat several different writers contributed to this one. Usually youhave only one team, maybe an interpolation from another writer for thescore. But in Those Redheads From Seattle it was all original material.It was like some various songwriting teams just opened the trunk forsome unused material and sold it to Paramount.

As one of those redheads is Rhonda Fleming who is the oldest of AgnesMoorehead's four daughters who have come to the city of Dawson in theKlondike Gold Rush you certainly have the redhead covered. Agnes is aredhead her and so are Teresa Brewer and the Bell Sisters except one ofthem is a blond and wonders how she got in this family. No exceptionswere allowed in the Day Family in Life With Father.

They got a last letter from their husband and father who ran thenewspaper in Dawson and is leading a fight to clean up the bad elementsin Dawson. Then one of those bad elements plugs Frank Wilcox, but notbefore his family has pulled up from Seattle to join him.

Another of those bad elements is the owner of the largest gamblingpalace in Dawson Gene Barry. He's thought of as the one responsible forWilcox no longer being among the living. He has the whole film to provehimself innocent and gain one of the daughters as a bride.

Taking care of the musical chores are Guy Mitchell who sings in Barry'sestablishment and Teresa Brewer who would like to. Nothing here thatstands out in the score.

3-D was also used by MGM for Kiss Me Kate. If you can see that in 3-DI'd recommend it before Those Redheads From Seattle.