Un jour à New-York

On the Town bristles with energy and humor and terrific performances by a great cast.

Three sailors on a one day pass in 1949 New York City meet three girls, fall in love, and go back to sea. That's about it for plot but this great musical is filled with top songs and dancing.

Gene Kelly, Frank Sinatra, and Jules Munshin are the sailors; Vera Ellen, Ann Miller, and Betty Garrett are the girls. Vera Ellen is Miss Turnstiles whom Kelly thinks is a swanky society girl. In reality she's a dance student who works at Coney Island to pay for lesson to despotic teacher Florence Bates. When the three couples go "on the town," Vera Ellen has to leave to go dance. Garrett calls her roommate--hilarious Alice Pearce--to fill in. Kelly is despondent and the gang's attempt to cheer him up leads to one of the best numbers, "You Can Count on Me." While the Leonard Bernstein tunes are not exactly top 40 hits, they are wonderful and lively. Great dancing (of course) from Kelly, Miller, and Vera Ellen, and Sinatra gets a few songs for himself. Garrett may be the big surprise for those who only know her from "Laverne and Shirley." Film buffs will recognize Carol Haney and Jeanne Coyne as the dancers in Kelly's big dance number. Also notable are Bea Benaderet on the bus, Sid Melton as Spud, George Meader as the professor, Tom Dugan as the cop, Hans Conried as the club manager, Bern Hoffman is the singing dock worker, and Claire Carleton is the red-headed floozie.

Kudos to writers Betty Comden and Adolph Green as well as co-directors Kelly and Stanley Donen. Haney and Coyne assisted Kelly in choreographing the film. Haney and Coyne were also featured dancers in Kiss Me Kate's "From This Moment On" number.

Not to be missed.

On the Town is one great fast moving musical, one in which the dance is supreme. Not surprising because this is the first film that Gene Kelly had total creative control over.

On the Town ran for 462 performances on Broadway from December, 1944 to February, 1946 and it's score was composed by Leonard Bernstein with lyrics by Adolph Green and Betty Comden. Naturally the book included some topical war time references for 1944 which were eliminated in 1949. So was about half of Bernstein's score, but Comden and Green wrote the lyrics for the new songs also with Roger Edens. That certainly helped keep the continuity.

Of course the signature song of the Broadway score, New York, New York was kept. The rest of the score is really not all that great in terms of marketability. But Kelly was interested in giving the dance center stage in this film and he succeeded admirably.

Of course of the six principals in the cast he had both Ann Miller and Vera-Ellen, a pair of very good dancers to help.

The plot of On the Town is threadbare. Three sailors, Kelly, Frank Sinatra, and Jules Munshin get 24 hour shore leave and they are determined to experience as much New York as they can. That opening number with the men pouring out of the ship on the Brooklyn Navy Yard dock is unforgettable and then Kelly, Sinatra, and Munshin singing and dancing New York, New York.

Munshin attracts the attention of Ann Miller who finds his resemblance to a caveman recreation astounding. Her big moment on the screen is tap dancing to Primitive Man ending with Munshin destroying one of the dinosaur skeletons in the Museum of Natural History.

This was Munshin's third film after MGM signed him up for a small role in Easter Parade. He was a borscht belt comedian who got his big break on Broadway in Call Me Mister. With Sinatra and Kelly in Take Me Out to the Ballgame before On the Town, he was a pretty funny fellow. He spent his career equally between the stage, screen, and later television. Perhaps it's why he's not really remembered today by film fans that much.

Sinatra catches the eye of cabdriver Betty Garrett. One big reason for rewriting the score was in the original play there was no ballad for Sinatra's character. Besides the ensemble numbers, Sinatra and Garrett sing Come Up to My Place from the original score and You're Awful, Awful Nice to be with. Nothing terribly memorable, in fact Frank never recorded any of the material from On the Town. But to have in the film and not give him one ballad would have been ridiculous.

It's the dance numbers that make On the Town. Besides the ones previously mentioned, Kelly and Vera-Ellen do a salute to their common small town in Main Street and there is the lengthy A Day in New York ballet. The year before Kelly had shown what he was really capable of creating in the Slaughter on Tenth Avenue ballet in Words and Music. Now that he had complete creative control and he made maximum use of it. Of course this was nothing compared to what he was to create in later films.

Vera-Ellen probably is best known for being Rosemary Clooney's sister in White Christmas. But she's shown to far better advantage here. I'm surprised Kelly did not team with her more often.

On the Town is really helped a lot by the location shooting in New York. Director Stanley Donen very skillfully blended his shots of well known New York landmarks like the Brooklyn Navy Yard, the Brooklyn Bridge, Wall Street, Columbus Circle with the later interiors done on the MGM soundstage. Really great job of editing.

To see New York in 1949 you couldn't ask for three better guides than those sailors on a 24 hour pass.

Another Comden-Green triumph! Although it may not be as good as "Singin' In The Rain", it's truly a masterpiece that no home should be with out!

Jules Munshin is energetic in the role of Ozzie! Gene Kelly plays the part of the lovesick Gabey absolutely perfect! And although I am a die hard Kelly fan, I must say that the best male performance given in this film was from Ol' Blue Eyes himself, Mr. Frank Sinatra! In the role of Chip, he brings a certain innocence as well as that sailor spunk and vitality! And the three of them crooning songs such as "New York, New York", "Let's Go To My Place" and "On The Town" is absolutely wonderful (especially Kelly and Sinatra)!

Ann Miller is fantastic as the leggy anthropologist, Claire! She brings a lot of zest to her role! (It's hilarious to hear her refer to Ozzie as "Specimen"!) Vera-Ellen also is WONDERFUL in the role of Ivy, or "Miss Turnstiles"! She is a highly underrated actress... and her dancing is truly DIVINE! However, another highly underated actress is Betty Garrett, who portrays the female cabbie, Hildie! She makes the role zippy and sassy... and she and Chip singing "Let's Go To My Place" is an absolute knee-slapper that will have you laughing and singing with it every time! Alice Pearce is also rather funny as Hildie's roomate, Lucy Shmeeler.

I recommend this movie to anyone who is a fan of musicals, especially the older ones, such as "An American In Paris", "Singin' In The Rain" and "Take Me Out To The Ballgame." This carefree frolic of a film will leave you laughing and singing for days!

This film has a very simple plot. Three sailors have 24 hours shore leave in New York. They met three attractive girls, and three romances blossom. And that's about it. The characterisation is really no more advanced than the plot development. The sailors and their sweethearts are each given their own idiosyncrasies, but none of them really emerges as a rounded individual. Fortunately, however, a complex plot and well-developed characters are not always essential to the musical genre, and "On the Town" manages to succeed reasonably well without these elements.

The film's most important quality is the energy and vivacity of its song-and-dance numbers. It was shot on location in New York itself, and the city is portrayed as a vibrant, exciting place, a new world as far as the sailors, who are all country boys, are concerned. There is also plenty of humour, such as the scene where Frank Sinatra wants to go sight-seeing, unlike his new-found girlfriend, a man-hungry female cab driver, who would rather take him back to "my place", Gene Kelly's search for "Miss Turnstiles", whom he imagines to be a glamorous and famous beauty queen, and the scene where the three men manage to demolish a dinosaur skeleton in the city's Museum of Anthropology. (Jules Munshin's girlfriend is described as a lady anthropologist, although the scriptwriters seem to have blurred the difference between anthropology and palaeontology). The songs are tuneful, although with the possible exception of "New York, New York" none of them are particularly memorable. Some have criticised the more formal balletic sequence near the end, but as far as I was concerned this was one of the best parts of the movie. After all, if you are going to make a film starring a dancer as talented as Gene Kelly, you might as well use his talents to the full.

This is not really my favourite musical. It lacks, for example, the indefinable magic of "Singin' in the Rain", which also starred Kelly, or the depth and social comment of "West Side Story", Leonard Bernstein's other New York musical made twelve years later. (The contrast between these two films shows just how far the genre had progressed in just over a decade). Nevertheless, it is enjoyable enough for anyone in the mood for soft-centred escapist entertainment. 7/10

I've rewatched both these movie musicals in the space of a week, and ON THE TOWN is no SINGIN' IN THE RAIN. I mean, what is? By 1952, the sheer technical mastery of Gene Kelly had melded perfectly with an entire soundtrack of classics and a clever, satirical plotline with some of the best film characters ever created (Lina Lamont, anybody?).

Having got *that* out of the way, however, there is simply no denying that ON THE TOWN is essential viewing in the Kelly oeuvre. It tells the story of three lonely sailors who finally get shore leave in New York for 24 hours. Of course, they're on the prowl to paint the town red, preferably with girls on their arms. (Though for a brief while Sinatra does charmingly play a skinny little geek bent on seeing the sights of New York, flinging facts from his guide book and appearing unaffected by Betty Garrett's streetwise cabbie flinging herself at him.) Gabey (Gene Kelly) falls for 'Miss Turnstiles' or Ivy Smith (Vera-Ellen), and spends the day trying to track her down from information on the poster. Chip (Frank Sinatra) meets cabbie Hildy (Garrett) who teaches him how to have a little fun while they romp gaily through two great duets together ('Come Up To My Place' and 'You're Awful'). Ozzie (Jules Munshin), in the meantime, gets entangled with the Claire Huddesen (an absolutely delightful Ann Miller), who likes how much he resembles her ideal 'Prehistoric Man'. They dance and sing their way through a series of misunderstandings between Gabey and Ivy, but all comes right in the end as the girls bid their fellows farewell from the dock.

So what's so good about ON THE TOWN, you ask? Well, first of all, it's brilliant fun and very amusing--from the dancing to the singing to the snappy dialogue. It takes a while to get used to the *very* forward New York women (played with marvellous wit and charm by Garrett and Miller), but once you get over their throwing themselves at Chip and 'Specimen' respectively, you really appreciate ON THE TOWN for what it is: pure, unadulterated, and unpretentious entertainment.

Granted: The songs aren't as catchy as in SINGIN' IN THE RAIN. But there are definitely some minor classics to be heard here--'You're Awful', Frankie's serenading of Betty, and 'Count On Me' being among them. I thought it was a really nice touch to have Bern Hoffman singing a lazy-morning song, 'I'm Feeling Like I'm Not Out Of Bed' to bookend the film beginning and end, to give the sense of a full day having passed.

It should probably also be granted that there isn't quite enough dancing, especially not from Gene Kelly (who is always a delight to watch, even when mostly playing the bystander as he was in the 'Count On Me' number) and Ann Miller, who got the chance to show off her amazing tap-dancing skills and gorgeous gams in the wildly energetic 'Prehistoric Man'. (It only whetted my appetite to see *more* of her dancing and singing! I'd have liked it if Miller's role was expanded, period. She gave her character an indescribable life and vivacity in the limited screen time she had and overshadowed Vera-Ellen easily.). I'd have loved it if Kelly had danced properly with Miller too, the latter being one of the best female tap-dancers in the business. All the same, the sweet ballad 'Main Street' that Gabey sings to Ivy is accompanied by a beautiful dance routine that shades naturally and easily from dancing to walking and back again--a perfect example of Gene Kelly's ability as both dancer and choreographer to present and capture movie magic with no special effects. I actually much prefer the 'New York Ballet' in this film to the one in AN AMERICAN IN PARIS, mostly because it fits the plot beautifully, and is smaller and more intimate and more focused on Gene Kelly the dancer rather than Gene Kelly the choreographer. It gives Kelly the opportunity to shine as both dancer *and* actor: the scenes when he dances with the Miss Turnstiles poster are achingly believable in the way they could only be if Kelly were dancing in them. The shadow sequence at the ballet barre with Vera-Ellen is also something incredible to behold and perfectly-staged.

ON THE TOWN is a great night at the movies, and is time well-spent with a few characters you really get to know, an excellent cast (Alice Pearce practically steals the entire show as Lucy Schmeeler, for example--not an easy task considering who she was playing against!), and a great soundtrack. It's probably one of the best precursors you could have to Kelly's much more ambitious musical undertakings in the form of AN AMERICAN IN PARIS and SINGIN' IN THE RAIN. But on its merits, it is definitely worth watching. Perhaps again and again. 8/10.