Lovely to Look At 1952

Broadway producers Al Marsh, Tony Naylor, and Jerry Ralby are scrambling to secure investors for their brand-new show, facing countless rejections as executives doubt their viability and their startup funds remain painfully slim. The trio keeps the dream alive through sheer optimism, chasing any lead that might keep their theatrical venture afloat.

Backstage in Bubbles Cassidy’s dressing room, Al—whose real family name is Wodzscyngkic—receives a letter from Paris announcing that his Aunt Roberta has died and left him half of her dress salon business. With little choice but to gamble, the producers jet to Paris to try and sell Al’s share, hoping a windfall might jump-start their project.

In the Paris shop, Al meets two sisters, Stephanie and Clarisse, whom Roberta adopted and who now own the other half of the business. Downstairs, Tony learns the shop is in severe debt, a grim revelation that cools the initial spark of possibility. The group leaves discouraged but a new, ambitious idea begins to take shape: expand the fashion business into a lavish nightclub featuring fashion shows. Al hesitates to propose the nightclub plan to [Stephanie], sensing she would disapprove, while Jerry returns to the shop and, drawn to [Clarisse], suggests glamorizing her designs to lure bigger crowds. Tony, too, weighs the option with [Stephanie] in her office, but she declines, fearing creditors won’t approve any risky new venture. During a creditors’ meeting, Tony unexpectedly walks in and demands that they finance the nightclub, signaling a shift from mere restoration to bold reinvention.

Shortly after, Bubbles arrives and rekindles her relationship with Tony, a development that stings [Stephanie], who has quietly fallen in love with him. At the nightclub, the three couples—along with Zsa Zsa and her friend Max Fogelsby—toast champagne and celebrate the budding idea. Tony and [Stephanie] share a dance, an moment that infuriates Bubbles. Before long, Bubbles leaves with Al, and a spark appears between them as he is drawn to her again. Meanwhile, [Stephanie] leaves with Tony in a hansom cab, their kiss lasting until she passes out from exhaustion and drink. The two are left to wake up to the reality of their feelings, while Jerry and [Clarisse] discover their own mutual attraction as they dance together, recognizing a shared chemistry that could power the new venture.

The next morning, Tony arrives to find [Stephanie] hungover and memoryfully blurred about the prior night, yet the couple reconciles when he reminds her of their kiss and admits their love. Sometime later, the men stage a comedy routine performed by Al to entice investors. The act succeeds, and [Max Fogelsby] offers to finance the Broadway show in New York, a prospect that excites Tony but leaves [Stephanie] wary. Tony wrestles with loyalty to his friends and his own ambition, and he returns to New York with a heavy conscience, briefly stepping back from the project as the show stalls.

Recognizing Tony’s inner conflict, Max understands his feelings and sends him back to Paris to help shepherd the fashion finale to its conclusion. Tony apologizes to his friends and pitches in to get the finale ready for a late-night premiere. Through hard work and a sustained push, the finale proves a success, weaving together powerful performances and bold fashion on stage. In the climactic moments, Tony and [Stephanie] dance together—a moment of reunion and promise—while [Clarisse] and Jerry find their own harmony on the floor, and [Al Marsh] and Bubbles share a renewed, affectionate spark as the show closes on a triumphant note.