It’s a Great Feeling 1949

The project opens with a parade of real-world filmmakers—including Michael Curtiz, King Vidor, Raoul Walsh, and David Butler—refusing to take the helm of a new Warner Brothers film titled Mademoiselle Fifi, all because Jack Carson has been signed to star. Frustration mounts until a determined fictional studio boss, Arthur Trent, ultimately makes Carson the director, hoping to salvage a project that could still shine. The studio searches for the perfect partner for Carson and fellow lead Dennis Morgan. Their choice falls on a young woman who has barely scratched the surface of Hollywood: Judy Adams, a go-getting waitress in the studio commissary who has spent three months in town without a single audition. Judy’s bold entrance into Carson’s office, where she forces him to give her a chance, marks the beginning of a complicated, comic take on almost every cliché of fame and fortune in Tinseltown. Judy is a self-proclaimed liar, and Carson dares her to pretend to be his secret bride to Morgan. The ploy initially works—Morgan is fooled—until he finally catches on, and the ruse leads to a collision course of pride, ambition, and hurt feelings. The result is a growing sense of disillusionment for Judy, who walks away from the studio feeling used for the entertainment of others.

From there, Carson persists in his quest to find a legitimate breakout for himself and his movie, but disinterest from established stars makes the path seem nearly impossible. Even when Jane Wyman is offered the role, she faints, underscoring the sheer reluctance of top performers to risk their image on a project that feels muddy and unpredictable. Dennis Morgan suggests that the best bet might be to cast someone entirely unknown—someone not yet trapped by a star image and thus willing to risk everything for a chance at glory. Judy re-enters the conversation in a way she never anticipated: Carson and Morgan realize the potential of their own discovery and chase after Judy, who has begun to doubt whether Hollywood can ever truly recognize her talent without manipulation.

Interwoven with the pursuit is a backstage comic ballet in which Edward G. Robinson plays a helpful if scheming ally who aids them in slipping through the studio’s gates. In one pivotal moment, Judy performs the song That Was a Big Fat Lie on camera, a scene directed with a wary eye by Ray Heindorf, whose involvement adds a spark of musical energy to the tense screen test. Yet the test isn’t clean; technical hiccups feed Trent’s growing anxiety and visions of the same face appearing everywhere—the result of Carson and Morgan’s widespread placements of Judy around him. The combination sends Trent into a nervous breakdown and ultimately forces him to cancel production midstream. In a bold attempt to crown Judy’s potential, Carson and Morgan hatch one more scheme: disguise Judy as a glamorous French star, the threads of Yvonne Amour and an accent that’s only partly convincing. The ruse draws public attention and leads to a public meeting with Eleanor Parker and Patricia Neal, who watch Judy perform in a cafe scene and again sing a new number, At the Cafe Rendezvous.

Despite the manipulations, Judy’s inner resolve begins to grow. She confesses the hardship she has endured—saving up for acting and singing lessons, moving far from home, and sacrificing comfort for a dream she never gave up on—and explains why she won’t be easily charmed into a one-size-fits-all Hollywood narrative. The dynamic between Carson and Morgan grows more complicated as both men begin to see Judy not just as a potential star but as a person with her own agency and happiness. A crucial turn comes when Judy’s loyal friend Grace helps her recognize that a life in a small town with a steady fiancé might offer more fulfillment than a fragile, uncertain career in the unpredictable world of movies.

The plan to “discover” Judy culminates in a real train encounter with Trent himself. At first, Judy suspects another ruse, but Trent’s sincerity gradually breaks through. He offers Judy a true chance at stardom, which she hesitantly considers, while Carson and Morgan rush to deliver the good news to her back home in Goerke’s Corners, Wisconsin. The lovers’ triangle and the chance at a genuine career collide in a way that tests loyalty, ambition, and the true meaning of success in the ruthless, bright glare of Hollywood. As the final curtain nears, the truth about Judy’s future—and the people who chased it—begins to crystallize in surprising ways.

In the last, revelatory moment, the film turns on the revelation that Judy’s newfound fiancé is none other than Errol Flynn. The realization reframes the entire pursuit: the story’s true romance may lie not in manufactured stardom or strategic handshakes with studio power but in real life, in a small town, and in a connection that isn’t built on hype or expediency. Carson and Morgan, sensing the shift, choose to step back rather than push Judy toward a path she might not want. The two men depart with a quiet understanding that Judy’s future will unfold on her own terms, not as a contrived movie plot but as a genuine life she chooses for herself. The film closes on a note of warm ambiguity, offering a playful commentary on the Hollywood dream while leaving room for the possibility that true discovery might still happen—off the studio lot, in a place where real people matter more than glitter and guarantees.