La fille de l'amiral

... from six years earlier: three sailors on leave in the big city, except in Hit the Deck, the metropolis is San Francisco. The sailors are played by Russ Tamblyn, Tony Martin, and Vic Damone. They cross paths with Jane Powell, Debbie Reynolds, and Ann Miller. There are some fun musical numbers, notably Keeping Myself for You, and Lady From the Bayou, fabulously performed by Ann Miller dancing up a storm against rich color backgrounds and sets. Another uplifting tune was Hallelujah!

I found the film's energy peaked whenever Ann was on screen. (Ann also appeared in On the Town.) Jane Powell's part was terribly underwritten. Jane had more chemistry with Gene Raymond, the older married man she was seeing, then with Vic Damone, who ends up winning her heart. Walter Pidgeon is also on hand, playing an Admiral and father to Jane and Russ. Hit the Deck is a second tier MGM musical, which, considering the many masterpieces the studio turned out, is still very good.

'Hit the Deck' is not one of the classic film musicals (made during somewhat of a twilight period for MGM musicals), but there are far worse film musicals around before and since. To me, 'Hit the Deck' is problematic but underrated, and it's sad that it wasn't more of a hit (it's not anywhere close to being bad enough to deserve making a loss).

It does have its problems that stop it from completely floating. While nobody really goes to see a musical for the story, more often than not being the least exceptional thing about even the classics, the story is barely existent and unevenly paced. Coming to life in the production numbers (which are full to the brim with liveliness), as well as the comedy of J. Carrol Naish and Alan King, but drags when bogged down by the often too talky scenes and in the scenes with Russ Tamblyn, Vic Damone and Tony Martin.

Of this trio of men, only Tamblyn (also the best dancer of the three) acquits himself well in the acting stakes, being lively and likable. Damone sings wondrously, then again when did he ever not, and has some charm but was never the most exciting of actors, being somewhat bland. Worse is Martin, who is very stiff and wooden throughout and generates very little warmth which does hurt the chemistry between him and Ann Miller (making one question what on earth she saw in him). Admittedly though Damone and Martin fare better as singers than Tamblyn, who actually was dubbed and while Rex Dennis does a good job the dubbing was just too obvious, the voice sounding too deep and muscular to come out of Tamblyn.

The ladies however fare much better. Ann Miller steals the show in the knockout that is the exuberantly choreographed and visually dazzling "Lady from the Bayou". Choreographically, a very close second best would be the inventive number in the fun house between Tamblyn and Debbie Reynolds, who beguiles vocally, radiates personality-wise and will make even the most cynical of people go weak at the knees at the sight of her in that blue dress. Jane Powell is cute as a button as always and sets hearts aflutter whenever she sings. Kay Armen kills it in "Ciribiribin" and "Hallelujah", while Walter Pidgeon effortlessly commands the screen whenever he appears and Naish and King are comic delights.

Visually, 'Hit the Deck' is shot in truly ravishing CinemaScope, looking especially fetching in "Lady from the Bayou" and "Hallelujah". The songs are very tuneful and while not unforgettable (generally the exuberant choreography of "Lady from the Bayou" and the fun house duet make more of an impression) they are not unmemorable or unhummable. "Sometimes I'm Happy", "I Know that You Know", and "Hallelujah" come off best, though "Why oh Why" entertains too.

On the whole, uneven and doesn't completely float but has enough great things that stop it from sinking or being a ship-wreck. 7/10 Bethany Cox

Some films aren't simply movies-they're time capsules. Hit the Deck (1955), Roy Rowland's lavish adaptation of the 1927 stage musical, shines as a heartfelt homage to the mid-century American musical. It dances through moments of joy, romance, and camaraderie with a sense of purpose: to entertain. While it may lack the narrative finesse of MGM's greatest musicals, its exuberance, star-studded cast, and showstopping numbers make it a delightful-if imperfect-experience.

Hit the Deck carries a legacy that spans decades. Originally a stage musical in 1927 and based on Hubert Osborne's play Shore Leave (1922), it was a roaring success in its day. The story-about love and mischief during sailors' shore leave-captured the carefree spirit of the Roaring Twenties. The stage version's music, penned by Vincent Youmans, became an instant hit, with songs like "Sometimes I'm Happy" and "Hallelujah!" embedding themselves in popular culture.

The transition to screen began with RKO's 1930 adaptation, but MGM's 1955 version added new gloss. By then, the studio was desperate to revive a flagging genre, competing with the rise of television. Roy Rowland's film introduced CinemaScope technology and dazzling Technicolor to reinvigorate the classic material. The film wasn't just a rehash; it aimed to give a modern spin to its predecessors, resulting in a product both nostalgic and forward-looking.

The film's casting is an ode to MGM's star system, featuring legends Jane Powell, Debbie Reynolds, Ann Miller, and Tony Martin. While Powell and Reynolds brought youthful charm and vocal prowess, Miller's fiery energy and tap-dancing skills stole every scene she was in. Russ Tamblyn, despite not being a trained dancer, demonstrated an effortless athleticism that added an endearing spontaneity to his role as the impish Danny.

Behind the camera, choreographer Hermes Pan-Fred Astaire's long-time collaborator-imbued the musical numbers with a sense of joy and improvisation. The battleship finale reprise of "Hallelujah!" is a crowning achievement, blending spectacle with intimacy as sailors and civilians unite in a rousing, free-spirited celebration. The funhouse sequence with Reynolds and Tamblyn is another standout, echoing Fred Astaire's playful "Stiff Upper Lip" number from A Damsel in Distress.

The plot, while serviceable, was less memorable than the musical numbers. It follows three sailors on shore leave, their romantic entanglements, and the inevitable hijinks that ensue. The narrative feels like a patchwork quilt-disjointed but colorful-allowing the cast's charm and musical set pieces to take precedence over storytelling.

At its release, Hit the Deck struggled to recoup its substantial production costs. With box office losses of $454,000, it marked a decline in the MGM musical's golden era. Critics were lukewarm, praising the performances but pointing out the contrived plot and uneven pacing. Audiences, however, found joy in its dazzling musical numbers and the chemistry of its ensemble cast.

Over time, the film has garnered a loyal following among musical enthusiasts. Its inclusion in That's Entertainment! (1974) brought renewed attention, particularly to the finale sequence of "Hallelujah!" This number, celebrated for its improvisational charm, has been hailed as one of MGM's most freewheeling and joyous creations. Russ Tamblyn's athletic performance and Ann Miller's sizzling solo continue to be highlights for fans of classic Hollywood choreography.

The film also represents a bittersweet farewell for many of its stars. Jane Powell, Tony Martin, and J. Carrol Naish made their final MGM appearances here, while Debbie Reynolds and Russ Tamblyn stayed on for a few more years. Their performances encapsulate an era of cinematic magic that, while fading, left a lasting impression.

Hit the Deck may not be MGM's most polished gem, but it shines with the unrestrained joy and heartfelt performances that defined a bygone era. It reminds us of the sheer pleasure of escapist cinema-a kind that only classic Hollywood could deliver. If you're in the mood for vibrant colors, timeless melodies, and a touch of nostalgia, this musical is well worth revisiting.

Having watched this recently on TCM and not being familiar with the film beforehand, I was drawn in by the quick pace and competent acting, not to mention the pretty leading gals Reynolds and Miller.. quite satisfying eye candy. But then.. came the "fun-house" musical number towards the end and that just blew me away: I mean 'psychedelic' before the word existed, perhaps surreal in contemporaneous nomenclature. That segment stood out as the perhaps the very best part, it was a thrill to watch the choreographed-to-the-second, wild and unpredictable ride of a dance routine! That film was a lot of fun to watch on a lonely night home. So reviewer whoever-you-are that hates every movie unless it has something blowing up every twelve seconds, perhaps stick to writing up Popeye cartoons where the plots and characters aren't too complex for your limited imagination. I recommend movie this as essential viewing for every musical fan.. it won't disappoint.

Three sailors can't stay out of trouble. Be it with the girls, mom, or conniving dandies. Plenty of action is provided through song and dance routines where everyone gives fine performances. While this was not a great musical, it was still a nice little story with some good funny spots supplied by J. Carroll Naish and Alan King.