Gonne al vento

Esther Williams is top-billed and dripping-wet as usual (an underwater ballet with two cloying kiddies is especially hard to take), but the truly frightening presence here is that of Vivian Blaine, fast on the heels of her Broadway triumph in "Guys and Dolls." She had been a likeable but unremarkable singer at 20th in the 40s, then "G&D" gave her a new persona in the character of Adelaide, the adenoidal, Brooklynese nightclub dancer. Here she's Adelaide in all but name, and her rambunctiousness makes Betty Hutton look timid. Her overemphatic line readings and hoydenishness quickly become wearing, but you don't forget her.

Esther, who sang acceptably and had a nice comic sense in addition to her aquatic gifts, is a gracious presence and has more to act than usual. Here she's a headstrong rich girl who learns humility--not exactly a fresh idea, but it's spun out gracefully by screenwriter Isobel Lennart, and given some appealing feminist filigrees. The songs are OK, second-lead Joan Evans is dull, and the nearly two-hour running time feels padded out, especially with a couple of specialty numbers thrown in. But it's a decent Technicolor time-passer, with all that postwar Hollywood patriotism that seems to be coming back in vogue.

this movie was a disaster.the plot if there was one was pathetic. considering that many name stars were in this film it is amazing that it could be done so poorly.if boot camp were this easy we would lose all future wars. do yourself a favor don't watch this or your review might be worse than mine. to call this movie bad would be too polite.

This post-WWII film is very dated. The women recruits sing a song about how 'women are nothing without a man'. If you can put this sort of sentiment in the context that it was created, this film has a few things to recommend it. There are a few good musical numbers, and lots of camp humour. It's hilarious that none of the military personnel are ever shown doing anything remotely militant. The Navy is depicted as a social event, with shows, synchronized swimming, dating, hijinks.

The DeMarco Sisters contribute a few nice moments to this brief, shallow movie. They harmonize nicely, and perform with enthusiasm.

The movie is a mildly entertaining snapshot of the early Fifties, when America was still preoccupied with the war even while it was starting to focus its gaze on the changing relationship between the sexes.

It may not be front rank, but the production is doing what glossy MGM did best—musicals. Of course with the aquatic Esther Williams, we know some of the music will accompany her acrobatic swim skills. The first half are the three girls getting accustomed to military life with the usual plucked heartstrings, while musical numbers dominate the second half. As expected, the results are lavishly produced in candy box Technicolor. Ordinarily, a patriotically themed production like this would be WWII movie fare, but keep in mind in '52 and '53 the Korean War was still dragging on, though it's never mentioned in the screenplay.

The pacing is zippy, not letting the boy-girl interludes slow things down. Still, the musical selections are largely forgettable, while the set pieces are many and not too well blended. My favorites are The Debbie Reynolds-Bobby Van cameo, a good acrobatic contrast to the various marching numbers. Apparently MGM liked the result well enough to team them in the following year's beguiling The Affairs of Dobie Gillis (1953). Also, Williams' underwater shenanigans with the two kids is certainly eye-catching and different. (Too bad the little girl died a couple months later in a diving accident {IMDB}.)

It's an able cast from a patrician Williams to a goofy Blaine to an unpredictable Evans. But when I think musicals, I don't think Barry Sullivan. Looks like he was breaking with his sinister image by playing a no-nonsense doctor; at the same time, not looking too comfortable. And, oh yes, the brief interludes between Williams and the beguiled old guy amount to an inspired poignant touch.

All in all, it's an entertaining, if crowded, 109-minutes that probably tries to do too much for its own good. No it's not among Williams' best, still the pacing and visuals zip along in fine fashion such that if you don't like this set-up, a new one will soon follow.

One of my least favourite films/musicals featuring Esther Williams, along with 'Texas Carnival' and 'Jupiter's Darling'. All three watchable but very flawed. 'Skirts Ahoy!' is not a sinking dud, but considering the talent involved (as well as Williams, there's Vivian Blaine, Debbie Reynolds, Bobby Van and songs penned by Harry Warren and Ralph Blane) it should have been better, much better.

Williams herself is captivating, she has a graceful charm and sassiness, while her swimming talent and aquatic skills are enough to make one green with envy. She is well supported by a polished and energetic turn from Vivian Blaine, while Billy Eckstine and Emmett Lynn are suitably sincere and Debbie Reynolds and Bobby Van lighten up the screen and really liven things up.

'Skirts Ahoy!' looks nice enough, the costume and set design are not elaborate or lavish but handsome and colourful enough and the film is photographed very nicely. The songs are all pleasant, though only one is properly memorable and that is the modest hit "What Good is a Girl (Without a Guy"). The way the numbers are staged is energetic and graceful and enthusiastically performed, Williams' water ballet and "Oh By Jingo" performed with terrific gusto by Reynolds and Van.

However, there is no chemistry between Williams and Barry Sullivan. Sullivan further has the indignity of having next to nothing to do and coming over as bland. Joan Evans struggle with the singing and dancing, the inexperience really shows, and also struggles to bring any likable qualities to a character that can border on the desperately annoying.

Despite some nice light, funny and endearingly fluffy moments, too much of the script is soggier than very watery cucumber sandwiches. The story is wafer thin, flimsy doesn't cut it describing the thinness of it, with pacing that really plods in the non-song and dance sequences (where the film comes to life) and an improbable resolution. 'Skirts Ahoy!' further suffers from being overlong, due to too much of its basic narrative content being as thin as it was that was difficult to overlook, and for being over-stuffed in other parts. Direction is indifferent.

Overall, not a bad film but never fully leaves the deck. Most of the cast and some nice moments keep it afloat but the story and script threaten to sink it and almost do. 5/10 Bethany Cox