Haver, Jones, and youngster Reynolds, in her second film, are the three Irish daughters of horsecar trolley driver Barton, a man with a great thirst for "the divil's own brew." He has but one definite conviction: none of his daughters will go into show business. His late wife had been drawn to the footlights and makeup and he is determined to keep the colleens out of it. So, guess what happens? Haver falls for Tony Pastor, played by Gordon MacRae, and leaves home to join him in his highly successful five-a-day review. Then we have a few of the usual complications, but it all winds up in smiles and hugs as Haver and Barton reconcile just in time for the conclusion. If that seems like a slim story, that's because it is; thirteen songs and eight dances surround the dialog, and there's barely time to become interested in plot. Warner Bros. hadn't been known for this type of musical for many years and made an attempt to get back into what had been the Twentieth Century-Fox field. This was mildly successful and the studio began to think musicals again. The dancing wasn't much except for Gene Nelson, a great barroom sand-dance by Barton, and two roughhouse comedy pieces by the Lee dancing act. Song and dance numbers include: "My Own True Love and I" (M.K. Jerome, Jack Scholl), "As We Are Today" (Ernesto Lecuona, Charles Tobias), "Ma Blushin' Rosie" (Edgar Smith, John Stromberg), "The Rose of Tralee" (Charles Glover), "A Farm off Old Broadway," "A Picture Turned to the Wall," "Winter, Winter" (A. Bryan-Gumble), "Winter Serenade," "The Daughter of Rosie O'Grady" (Monty C. Brice, Walter Donaldson).