Anything Goes

As far as the golden age of musicals were concerned, the back trackers were always Paramount and Warner Brothers, who never quite achieved the magic that MGM created, despite their most valiant efforts to produce MGM-esquire musicals.

One such film that could have been a great deal more magical had MGM been at the helm is Anything Goes.

Bing Crosby stars in his second big screen version of the Cole Porter Broadway smash, although this plot has been modified slightly and brought up to date 50' style..it therefore tells a completely different story to Crosby's first version twenty years earlier.

Donald O'Conner, who in my humble opinion was one of the most underrated performers Hollywood ever had, provides the dances and comic turns whilst he romances the beautiful Mitzi Gaynor.

O'Conner was a natural at almost everything he did. He was a superb comic, a gifted actor and a dancer of extraordinary talent on par I think with Fred Astaire and his 'Singing in the Rain' co-star Gene Kelly, yet his contributions to film, have on the whole been overlooked. He was therefore demoted to 'B' movie comedies like the god awful "Francis" films.

Bing sings his way through Porters songs in his usual effortless way, as he tries to discard, appease and finally woo a French Ballet star played by ZiZi Jeanmaire, billed here simply as 'Jeanmaire' Another pleasant appearance is made by 40's band leader Phil 'Balloo in Jungle Book' Harris, and he is a welcome addition although regrettably he is not given an opportunity to perform some of those comic southern songs like 'Woodman, Spare that Tree' or 'The Dark Town Poker Club' with which he made his name.

The plot is scratchy too with Crosby and O'Conner forming an effortless partnership whilst collaborating on a new Broadway show.

The clash of styles and the obvious comparisons of youth and novice against age and experience are hinted at in the beginning, leaving you wanting more of the same, but alas these differences trail off into nothing and they are not exploited to full effect. It would have made this film a lot more enjoyable to see the two male leads spar more together and therefore classic entertainment is unfortunately denied us.

One of the previous reviewers said that there was something missing from this film that they couldn't put their finger on....I think that this was it.

But despite the bad script and leaky predictable plot, the performances are great and the songs as ever are timeless. Porter, Sammy Cahn and Jimmy Van Heusen were three of the best song-smiths in the business.

Watch this one when you can, but don't cancel anything important in order to do so.

Sorry, we are watching this one on TCM Thanksgiving evening. Both of us have played in the pit orchestra of the stage play. Sadly, this is so far removed from the original that it should definitely NOT be called "Anything Goes." This "new" story with some of the original songs plugged in with other non-Porter songs added, is a pretty lame rehash of the worn out "Let's put on a show" theme. There are some entertaining moments but don't expect the Broadway Show. We say "Arf-Arf." Especially the crystal ball routine is more like the Three (two) Stooges! There are some of the original Cole Porter songs from the musical but they are taken out of their original context. The vocal performances also don't have the high level of Broadway intensity one expects from better film adaptations. Some of the dance routines are fun, but, again, this is NOT Cole Porter's "Anything Goes!"

One of the most polarizing Best Picture winners I can think of is "An American in Paris". Some adore it, some hate the very long modern dance portion that seems to go on and on. How much you like modern dance will also play a big part in whether or not you love or dislike "Anything Goes". The dancing doesn't go on as long...but there is a ton of it and it's very much unlike a musical of the 1930s or 40s.

Speaking of 1930s, I should point out that this 1956 film has very little to do with either the 1936 film or the Broadway musical...apart from the music. The plots are completely different...though Bing Crosby stars in both films.

When the film begins, you see that Bill (Bing Crosby) is a bit singing star. When he's introduced to newcomer Ted (Donald O'Connor), Bill is very taken with him and wants to partner up with him for a show. After agreeing on this, Bill is supposed to find a leading lady for their show and he finds Patsy (Mitzi Gaynor) and signs her. At about the same time, Ted discovers Gaby (Zizi Jeanmaire) and signs her as well. Ted knows this is Bill's job but KNOWS Bill will love Gaby!! Now, with two leading ladies, the partnership is in for some rocky times!

This film is well made and the dance numbers are fine. But it's all a matter of taste...and I prefer older fashioned musicals without the modern dance numbers. For me, I'd give it a 6 but perhaps your reaction will be quite different.

In 1956 Bing Crosby wound up his 25 year old contract with Paramount pictures. It remains the second longest contract for any star with any studio, only exceeded by Robert Taylor with MGM. This second version of Anything Goes was his farewell film for the studio.

Bing should have quit with White Christmas.

Again, Hollywood under the Code was to squeamish about filming any of Cole Porter's musicals. As they did in 1936 with that version of Anything Goes, it was censored heavily. Cole Porter's original score did not make it intact to the screen again. Other Porter songs were used and a few numbers written by James Van Heusen and Sammy Cahn.

As for the plot the only similarity is that it takes place on an ocean liner. In this one we have recent partners Bing Crosby and Donald O'Connor each signing a leading lady for their new Broadway show. Both of their finds, Zizi Jeanmaire and Mitzi Gaynor are on the ocean liner with them. Mix the inevitable romantic complications and if you're any kind of a movie fan you'll figure what the result will be.

Phil Harris is also on hand as Mitzi Gaynor's father. One of the little known facts of Hollywood was that Harris was one of Bing Crosby's best friends in the motion picture capital. Harris had appeared with Bing previously in Here Comes the Groom, but that was only in one musical number. He has a nice turn here as a professional gambler that the IRS is looking to nail.

Usually Bing Crosby movies are just that, Bing is normally partnered with non-musical talent. Here he has three talented performers to share the spotlight with. All have some good numbers. I particularly liked Donald O'Connor and Mitzi Gaynor singing and dancing to It's DeLovely.

This was a reunion film for Crosby and O'Connor. Donald O'Connor got his first big break as a child actor in Bing's Sing You Sinners back in 1938. But that one was a far superior film.

If you like the talented performers involved, this is a good film. But Paramount should have done better by Bing in his farewell film for them.

It's easy to understand why they took their time getting around to releasing a DVD of this one. As can be seen from other comments, the 1956 film version of "Anything Goes" will generally disappoint those who love the stage version. Other than some of Cole Porter's songs and a setting on a cruise ship there is no similarity between the two productions. The very entertaining (and still frequently performed) Cole Porter musical has been transformed into a pretty lame film, and three songs by Jimmy Van Heusen and Sammy Cahn have been inexplicably added to the production. Even worse is the loss of most of P.G. Wodehouse's clever script, which was rewritten by a Hollywood hack into this dumbed-down version.

This doesn't make "Anything Goes" unwatchable. The choreography is mostly first rate. Most of the musical numbers are entertaining and several are excellent. The performances are typical of each cast members career work (both good and bad) and the film has some interesting Hollywood cinema history aspects.

You know almost immediately that this will not be a rousing bit of entertainment, instead of a high-energy opening number the film begins with a back stage party scene that is about as lively as an abandoned railroad track.

Bing Crosby and Donald O'Connor play Broadway co-stars who go to Europe to recruit a leading lady for their upcoming show. Each brings their discovery aboard a cruise ship for a transatlantic voyage. Mitzi Gaynor and Zizi Jeanmaire play the girls. Since there is only one role the remainder of the film is about determining which one will be featured and keeping it secret that both were already promised the role. There are two romances, with the two actors falling for each other's girl during the ocean crossing. Suspense and comedy are in short supply.

Gaynor manages a pretty good performance; she gets one very hot feature number (the title song-although Porter's original four letter word lyrics are toned down) and duets with O'Connor in the film's best number "It's De-lovely". O'Connor is also featured in a very original dance routine with children and a lot of bouncing balls. In this he dances to Van Heusen's "Bounce Right Back," not much of a song but a good excuse for using him in another unique routine.

Jeanmaire was a French ballet star ("Carmen") who briefly tried her stuff in mid-50's Hollywood. She was a Leslie Caron clone complete with the same hairstyle. Her two solo numbers "I Get a Kick Out of You" and "Dream Ballet" are surprisingly good, at least the dancing portions.

Bing Crosby of course is well known to old movie buffs but others will be somewhat puzzled by his popularity. Nothing he does in "Anything Goes" sheds light on this question. He was a "popular" extremely bland singer and a horrible actor with some comic ability. In "Anything Goes" even his comedy stuff is pretty awful. Paired with Bing, O'Connor has about the same chance for success as someone trying to sneak through a balloon shop wearing a porcupine overcoat.

The Technicolor and VistaVision completely overpower the cheap production design as well as Sidney Sheldon's (the hack writer mentioned above) weak adaptation.

Then again, what do I know? I'm only a child.