Baciami kate!

This was the last of the six movies that Kathryn Grayson made with Howard Keel, her favorite costar. And it's the last movie she would make for MGM (she'd make one more movie, for Paramount three years later, which is best left a forgotten footnote in film history). Not only are the Cole Porter songs in "Kate" great, but the dancing from one of my favorites of all time, Ann Miller, is also quite exceptional. And like always, the chemistry is there between Grayson and Keel. By this point, MGM musicals were on the downside slope of the bell curve, but this one was still well worth the effort. A solid 7/10.

Total delight from start to finish, this witty, musical version of The Taming of the Shrew. This show within a show is bright and splashy and boasts terrific performances, songs, dancing, and costumes. Howard Keel plays the egotistic Fred Graham who us mounting this new musical with ex-wife Lilli Vanessi (Kathryn Grayson) as his leading lady. The battling couple mirrors the battling couple in the play. All very clever.

As good as Grayson and Keel as however, Ann Miller totally steals the show as Lois Lane, the brassy chorus girl Fred has given a part (the younger sister) in the play. Miller is fantastic as she sings and dances her way through some great numbers: It's Too Darn Hot, From This Moment On, Always True to You, and Tom, Dick or Harry. Her opening number of Too Darn Hot is astounding as she swirls and taps around Cole Porter's living room and across his table tops. The skin tight tassled red outfit is probably the sexiest outfit Miller ever wore and she looks great. She was always denied the starring roles in MGM musicals which is a shame. MGM preferred the more demure types like Grayson or Judy Garland, Jane Powell, Debbie Reynolds for starring roles and Miller always got stuck playing the flashy friend or other woman.

Also good in this great musical are Keenan Wynn and James Whitmore as the thugs who get to sing Brush Up Your Shakespeare. Bob Fosse, Bobby Van, and Tommy Rall are the three dancers. Carol Haney and Jeanne Coyne show up for the From This Moment On number with Miller and the Boys. Ann Codee is the maid, Claud Allister is the butler, Willard Parker is Tex, Dave O'Brien is the stage manager, Kurt Kaznar is the stage father, and Ron Randell plays Cole Porter.

Originally done in 3-D, Kiss Me Kate is shock full of great songs and some of the best lyrics ever heard. For those of us growing up in the 50s, most of the songs from this musical are familiar hits, including Wunderbar, From This Moment On, Always True to You, and So In Love.

Kiss Me Kate is a textbook musical that works on all levels. Keel and Grayson were never better, Miller is outstanding, Whitmore and Wynn are fun, and Tommy Rall gets a couple of dance numbers (Why Can't You Behave) that prove him to be one of the best dancers of his generation. The short dance solo with Fosse and Haney also presages much of Fosse's later groundbreaking choreography.

Not a false step in this film, which ranks as one of the great musicals.

Cole Porter's classic musical version of "The Taming of the Shrew" done as a film with MGM's best production values. Unfortunately, this also means Kathryn Grayson, whose performance as Kate is merely passable. But Howard Keel lives up to his star billing and delivers dynamite vocals and witty characterizations, as well as bringing the film much needed believability (he's the only one up there that seems like he actually COULD be playing Shakespeare). Ann Miller steals more than her share of the thunder as the show's ingenue (she'd been playing them for 20 years now). She does a lot of tough dancing with Fosse, Van and Co., leaving the heavy vocals for the others. Keenan Wynn is one of the gangsters who end up actors for a day, and he's living it up (on stage, the gangsters are usually the audience's favorite characters) Great songs, good show. Features the interpolated Porter tune "From this Moment On" -- the film's only improvement over the stage version.

This is my favorite musical, not for the dancing alone, but it is the best. The dancers, not just Ann Miller and Rall, but Bob Fosse, Bobby Van, and Carol Haney!! What more could any dance fan want? There is always something new to see, no matter how many times you have watched it. The lyrics are magnificent, tricky and intriguing. When Howard Keel, dressed in those gorgeous tights, sings about all the women he has known, he's a knockout. Grayson is not my favorite actress, but she can sing, and she and Keel make a wonderful pair. I will admit that the music is great, but folks, catch the dancing!! The final dance number with the six dancers is superb, but how can you watch all six at once? You have to watch it several times, particularly the pair of Carol Haney and Bob Fosse.

And it's apparent in the number of items thrown at the screen in this Technicolor musical based on the stage hit, from MGM and director George Sidney. Formerly married stage stars Fred Graham (Howard Keel) and Lilli Vanessi (Kathryn Grayson) agree to star in the new musical from Cole Porter (Ron Randell), a variation on Shakespeare's The Taming of the Shrew. Fred hopes to win back Lilli, while Fred's "protege", showgirl Lois Lane (Ann Miller), who also has a part in the show, drives Lilli to distraction. This complicated romantic dynamic plays on multiple levels as they struggle to get through the opening night show and its various obstacles.

I liked this rather complex production, with fun performances and excellent dance scenes. Ann Miller has the best dance sequences, although I also liked the amateurish number with Keenan Wynn and James Whitmore as two hoods singing and dancing. I enjoyed seeing Bob Fosse in an acting role. The movie was Oscar nominated for Best Score (Andre Previn & Saul Chaplin).