A wealthy Washington, D.C., socialite, Sally Adams, has political connections and is appointed U.S. ambassador to the tiny country of Lichtenburg, even though nothing in her background qualifies her for the job. A young journalist, Kenneth Gibson, persuades her to let him tag along as her press attaché. In the duchy of Lichtenburg, the arrival of Ambassador Adams does not sit well with some, particularly chargé d'affaires Pemberton Maxwell, who is annoyed by many things, including her insistence on being addressed by him as "Madam." A pressing issue in Lichtenburg is that Princess Maria, niece of Grand Duke Otto and Grand Duchess Sophie, is about to have an arranged marriage to a neighboring land's Prince Hugo, but lacks a sufficient dowry to make their union a fair bargain for both parties. Knowing her republic's penchant for foreign aid, Sally is approached by Prime Minister Sebastian about asking her friend President Truman for a loan of $100 million, to the consternation of Lichtenburg's foreign minister, General Constantine, who wants his country to be independent and self-reliant. Sally finds herself attracted to Constantine, while after a chance meeting in a department store, Kenneth has developed a very impractical romantic interest in Princess Maria, who finds him charming as well. In time, Sally returns home to Washington, where she belongs. At one of her social events, she is pleased to hear Constantine is among the guests, then disheartened at learning he has brought along a female companion. A happy ending for all ensues, however, when his date turns out to be Maria, who is willing to marry Kenneth and abdicate her royal title. Sally's future with Constantine seems assured, too.
Cast
Production
O'Connor later said the film contained his best dancing.
We did some beautiful numbers. The one with the castle all broken down, and around the water, was beautiful music beautifully choreographed. Working with Vera Ellen was such a joy. And there’s one they cut out on television. It had everything: a very fast two-person number, tap dancing. If you see the picture in its entirety, you’ll see it. That was, for me, my best dancing.
Reception
Contemporary reviews were mostly positive. Bosley Crowther of The New York Times called the film "an admirable duplication of the show as presented on the stage. And in it, the wonderful Miss Merman is better than ever — in spades!" Variety praised the film as a "literate musical" with Merman "at her robust best with a tune," though "in a few spots the editing could have been tighter." Harrison's Reports called it "as entertaining a musical comedy as has been seen on the screen in many seasons." John McCarten of The New Yorker was mostly favorable, writing: "There is no point at this late date in commenting on any performance of Miss Merman's. On this occasion, as usual, her voice is as big as all outdoors, her manner confidently low-down, and her sense of comedy remarkable. I'm not so sure, though, that the book of 'Call Me Madam' is varied enough to harness all her energy." Orval Hopkins of The Washington Post wrote: "This is one you ought to see. There may have been better musicals, with better dancing, better books and better songs. But they didn't have Ethel Merman." The Monthly Film Bulletin called the film "a disappointment," writing that Berlin's tunes were "not among his best" and that Merman "lacks variety. Probably she was better on the stage, for her fairly inflexible theatrical technique emphasizes, in a film, her limitations." The film is recognized by American Film Institute in these lists:
