Un giorno a 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.

After finally seeing this film, I have to say I thoroughly enjoyed this film. There are faults though, one is the substitution of dancers for Frank Sinatra and Jules Munshin in the ballet, while it worked in Oklahoma, I for one found it distracting here. The other fault I had was the omission of "Some Other Time", that is a truly beautiful song and could've worked so well, but alas it was missed out.

Other than that, there is still much to enjoy, namely the magnificent title number, "New York, New York", as Gene Kelly, Frank Sinatra and Jules Munshin hail the delights of New York, New York. Also a delight was "Prehistoric Man", mostly because of the dancing of Ann Miller. While songs from the original score are missed out, regrettably, the score and songs here are still a treat, and the choreography is fabulous.

The performances are terrific. Gene Kelly is wonderful once again as Gabey, and Jules Munshin puts real energy into his role of Ozzie. While Frank Sinatra is exceedingly charming as Chip, possibly even the best of the three male performers. As for the ladies, Vera Ellen looks alluring and dances a dream, while Betty Garett is deliciously sassy as Brunhilde. With her impeccable dancing talents, it is Ann Miller who I would deem as my personal favourite, as I have said already her dancing in "Prehistoric Man" is simply incredible.

Other advantages are a witty script, a delightful supporting turn from Alice Pearce as Lucy Schmeeler, fast pacing and some lovely costumes and sets. Plus I loved the depiction of New York and the film's feel good nature. Overall, flawed but nonetheless exhilarating musical. 8/10 Bethany Cox

The Bronx is up and the Battery's down, and Kelly and Sinatra are back in sailor suits, in this effervescent MGM musical. The three matelots (our two heroes are joined by Jules Munshin for this caper) have a 24-hour shore leave in which to savour New York City. "What can happen to ya in one day?" asks a shipyard worker, and the guys answer the question by picking up girls, destroying a dinosaur and getting chased to Coney Island by the cops... in just one day.

Leonard Bernstein composed the tunes, and the writers of the stage show (Green & Comden) provided the lyrics, supplemented by Bernstein himself and the associate producer, Roger Edens. Of the songs, "On The Town" and "You Can Count On Me" are nerve-tingling showstoppers. "Prehistoric Man" is much weaker, but saved by crisp, playful choreography. The two expressionist ballets, "Miss Turnstiles" and "A Day In New York" bear the hallmark of Kelly's directorial style, which first reached its maturity in this picture. Kelly's slide on his knees towards the 'Miss Turnstiles' poster is a piece of cinema magic.

Kelly plays Gabey, a supposedly worldly-wise lady's man who turns out to be a Mid-Western innocent in the big city, and who falls in love with a struggling hoofer(Vera-Ellen), a girl he takes to be a celebrity. Sinatra is the serious-minded Chip, the enthusiastic sightseer who gets snapped up by Hildie Esterhazy (Betty Garrett), a knowing cabbie who has one aim - to get Chip alone in her apartment. Ann Miller sings and dances impeccably as Claire Huddesen, the bluestocking who gets turned on by Ozzie's primitive quality.

"On The Town" has a daffy story, as musicals often do, but it fizzes with flirtatious youthful energy. Each of the three couples has its own song and/or dance, and these are sensitively tailored to suit the individuals' personalities. The Empire State Building observation platform set is a knockout, and the film's sense of fun even extends to a sly Ava Gardner joke at Sinatra's expense. Notional time runs from 6am at the start of the boys' leave ('boys', or 'kids' as they are twice described, is not quite accurate - Kelly was 37 and the other two 34 at the time of filming) until 6am the following morning, as it ends. Three new sailors come charging down the gangway to start their 24 hours in the Big Apple, reminding us that love and youth are eternal, and New York's a wonderful town.

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.

Grand, sure-fire musical entertainment courtesy of MGM, "On the Town" brings euphoric life to the 'Big Apple' like no other piece of celluloid, comedy or drama, before or since. More than just a breath of fresh air, this breezy souffle of a movie is like taking a huge whiff of pure oxygen, leaving you so exhilarated you'd swear you were on some kind of substance-induced high. Drenched in old-fashioned innocence and loaded with dazzling footwork, it gave a tremendous boost to the careers of all involved and helped to create a whole new style of musical film.

Three swabbies on a 24-hour shore pass during WWII bask in the sights and delights of NYC while running into new lady loves in the interim. That's all there is to it. The first musical to actually shoot on location, the viewer has the surreal-like thrill of a first-time vacationer as the movie juxtaposes every tourist trap imaginable, plus some, while capturing the pulse and heart of the City to endless effect.

Briskly co-directed by Gene Kelly and Stanley Donen, the movie would initially appear to have everything going AGAINST it. The plot is so thin and flaky it almost evaporates into thin air. Moreover, the directors made the seemingly unwise choice of dumping nearly all of the charming Leonard Bernstein score and Betty Comden/Adolph Green libretto for newer, untried songs by Roger Edens. Well, in good reliable hands, this not only works, it dances circles around the original!

There's so much going for this movie in the name of talent that its hard to know where to begin. Gene Kelly prepped his choreographic talents here for the later landmark musicals "An American in Paris" and "Singin' in the Rain." He is sheer delight as the lovelorn sailor who pines for "Miss Turnstiles," a billboard fantasy. Jules Munshin unleashes pure Ed Wynn buffoonery as the sailor with the least animal magnetism. Even Frank Sinatra, allows himself to get caught up in all the fun.

And the girls are irresistible too. Betty Garrett shoots with both barrels as the man-chasing cabbie and proves she is quite capable of stepping up to the plate in the dance department. Lithe and lovely Vera-Ellen, who never won the attention she fully deserved, is poetry in motion as Kelly's dream come true. In particular, her adagios with Kelly are imbued with such unsullied passion that it can't help but tug at the ol' nostalgic heart-strings. Peppy Ann Miller is, as always, a revelation as the toe-tapping anthropologist, taking full advantage of the zingy score's newer songs and embellishing them with now-classic dance routines.

As a special treat, my favorite character actress, Alice Pearce, offers side-splitting comedy relief as Kelly's impromptu blind date managing to steal one song from the star ensemble while finding a touching moment of pathos in her final scene. The homely comedienne went on to play nosy neighbor Gladys Kravitz in the "Bewitched" TV series to Emmy-winning acclaim. Florence Bates also makes the most of her patented huff and scowl as a tipsy ballet mistress, and see if you can scout out an unbilled Bea Benadaret (Kate in "Petticoat Junction") as a subway tootsie.

Still the highlight, and there are many highlights, is the infectious title tune atop the Empire State Building with Kelly & Company. Nowhere in the history of filmed musicals will you find such barn-storming talent and exuberant fun packed into one simple little tune. That sequence is a natural tape-rewinder.

You know the old saying, "They don't make 'em like this anymore?" Oh, they are so right.