Night and Day

The only reason to watch this is:

COLE PORTER'S MUSIC COLE PORTER'S MUSIC

Hey.....I am a big fan of Cary Grant, but the only reason to watch this is:

COLE PORTER'S MUSIC COLE PORTER'S MUSIC

The musical productions are pretty, the musical arrangements are enjoyable. And the only reason to watch this is:

COLE PORTER'S MUSIC COLE PORTER'S MUSIC

Most of this story was completely fabricated because Hollywood just didn't deal with gay life then. It was verbotten...everything had to be glazed over. Hollywood made such an industry of Fictionalized Biographies that I must choose my favorite of these genre: the George Gershwin "story" called RHAPSODY IN BLUE.

So, if you haven't guessed yet what the only reason to watch this movie is...it's:

COLE PORTER'S MUSIC!!!

Have you ever liked a film you knew wasn't all that great, yet one you simply enjoyed watching? That's the way I feel about "Night and Day," a musical bio with a large dose of fantasy mixed in on that great American songwriter Cole Porter. Perhaps it's the pleasure of watching Cary Grant having a ball playing the composer, and even singing a few tunes to boot. Or maybe it's the youthful Alexis Smith as a perfect "Mrs. Porter," coping with challenges as a famous songwriter's spouse. Certainly Monty Woolley is amusing as himself, playing a role he reportedly lived with the real-life composer. Then there's that honey-coated contralto Ginny Simms looking gorgeous in Technicolor and beautifully singing some of Porter's most expressive music and lyrics. In the supporting cast is a sprighty Jane Wyman (before she became laden with heavy dramatic roles) doing several comic-singing turns, and even a surprise bit from Eve Arden as a French cabaret star, "Gabrielle," performing an early, lesser-known show number. The screen has only one bio of this outstanding American songwriter, one who is respected by both popular and "serious" composer-peers, as well as by the critics and general public alike. Surely the scripters "did a job" on Porter's factual life, yet at least we have this elaborate effort, with a gung-ho cast that's ready & willing to give it their all. They all look like they're having a great time, and I for one have fun with them. Until a better Porter bio comes along, this one will have to do.

If you want a biography of Cole Porter you better go to the library, you won't find it here. This is a highly entertaining but strictly fictional version of his life--played by no less than Cary Grant, in his usual debonair style, perhaps just a shade understated so as to appear more like Porter. Whatever, he's still Cary Grant (playing himself in a minor key) and since the music is what makes this film tick, you'll forgive whatever liberties the scriptwriters have taken. It all looks wonderful in glowing technicolor.

Alexis Smith never was able to make a warm presence on the screen despite her talent and striking good looks. She seems even more remote here as the woman Porter woos and marries. Monty Woolley has a fine time playing himself. The musical moments are handled nicely by some talented people: Ginny Simms, Eve Arden, Jane Wyman and Mary Martin doing her "My Heart Belongs to Daddy" routine. All of the Porter standards are nicely done.

Interesting tidbit: Was Oscar nominated for "Best Scoring of a Musical" but lost to "The Jolson Story".

Relaxing entertainment. Just don't expect a truthful bio.

One of Broadway's most brilliant songwriters, Cole Porter (1891-1964) worked hard to present an unflappable image to the world--but in truth he was a tremendously complex man, a homosexual who lived with wife Linda Lee Thomas in a marriage of convenience, subject fits of depression, and suffering horrific pain in the wake of a horseback riding accident which left him crippled at the peak of his career. Add to this the fact that his lyrics were often censored for film, radio, and records and it seems very odd that 1940s Hollywood would attempt a biography. What they did, of course, was fictionalize it to the max, reducing the story of his life to a mix of backstage musical and domestic drama--and transforming the tiny and waspish Porter and his icy bride Linda into handsome Cary Grant and lovely Alexis Smith. The result is pure nonsense, of course, but when you tack in a host of Porter classics--fantasy it might be, but it is entertaining enough to watch.

Grant is no singer, but he has considerable charm, and Smith is as always extremely attractive. The supporting cast is remarkably strong, featuring the likes of Jane Wyman, Eve Arden, Dorothy Malone, and Alan Hale--and rare screen appearances by Monty Woolley and Mary Martin, who deliver knockout performances of "Miss Otis Regrets" and "My Heart Belongs To Daddy" respectively. The DVD transfer is reasonable, and although the bonuses are pure fluff they are amusing. While it may be short on fact with a story little more than pure melodrama, the music and performers make NIGHT AND DAY a reasonably pleasant way to spend a rainy afternoon.

Gary F. Taylor, GFT, Amazon Reviewer

After suffering through "Delovely", I had to feel good again about Cole Porter's music. Where Delovely focuses on Porters Homosexuality, a subject that Night and day ignores, Night and day performs his music in brilliant fashion. Forget the corny fictionalized screenplay and just sit back and enjoy:

Mary Martins version of My Heart Belongs to Daddy.

Cary Grant singing "Your The Tops".

Cole Porter's stirring "Night and Day", "Begin the Beguine". A song that Delovely totally butchers.

"It was Just One of Those Things" The Haunting "In the Still of the Night"

And so many more.

This is strictly for Cole Porter's music. If your interested in how he enjoyed his spare time, Delovey is for you. For me, I just enjoy his music.