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This is one of the all-time corny movies ever made, especially since it features Jimmy Stewart singing. How often have you seen/heard that? Actually, the "corn" is the fun of this film, and I enjoyed watching this more the second time knowing it was going to be so corny. Some of the lines in here are legitimately funny, particularly by cute Una Merkel, who could zing 'em with the best. She was fun, as was her husband in here, "Gunny Sacks," played by Sid Silvers. Those two, plus Buddy Ebsen and Eleanor Powell make for a likable cast. Both Powell and Ebsen were great dancers, too, with Powell, of course, being the more famous. This is just a nice, old- fashioned film, probably more for older folks, but who knows?

Big musicals were quite the thing in the (Tosthirties. Universal had Deanna Durbin, Warner Brothers had Busby Berkeley, RKO had Fred Astarie and Ginger Rogers, and MGM had MacDonald/Eddy, Garland/Rooney and the Broadway Melody series which featured Eleanor Powell. "Born to Dance" is basically a sequel to "Broadway Melody of 1936" which had made a star of Powell. Not only was she in this film, but other carry-overs included Una Merkel, Sid (not Phil) Silvers, Frances Langford and Buddy Ebsen. Jimmy Stewart was a young (27) newcomer, who was in eight films in 1936 including one MacDonald/Eddy and one Thin Man film. This, however, was his only singing role.

As musicals go, this is in the revue tradition, with the lightest of plots tying together a collection of song and dance numbers, comic bits and of course, a big, show-stopping finale. The plot here, mixing sailors and Broadway shows only occasionally flirts with reality. The score, written for the film, is entirely by Cole Porter and includes two of his best-known standards, "Easy To Love", and "I've Got You Under My Skin". Though fun, most of the other numbers are in service of the film and were not written to become popular without it. Composers rarely threw a whole group of top songs into a musical, though Porter himself did late in his career with "Kiss Me Kate".

The songs do all serve their purpose. The opening number, "Rolling Along", introduces all the sailors with a male chorus singing something similar to a college fight song (Porter had famously written Yale's). Powell is introduced quickly after this with an orchestra playing "Easy to Love" as she walks down the street, establishing it as the film's love theme. It will be repeated in a big number in Central Park sung by Stewart and Powell. Powell is dubbed by Marjorie Lane, but Stewart is not. His voice is a bit like Fred Astaire's: a light tenor with an almost wispy feeling at times, singing in a way that is somewhere between talking and really belting out a song.

"Rap, Tap on Wood" is a show-biz style number that gives Eleanor a chance to dance in a lobby where four sailors pop up and not only sing, but also play a flute and three ocarinas. "Hey Babe Hey" with a carousel-like melody, gives all three couples a chance to sing in the same number. This film has not just the usual second couple (Merkel and Silvers), which traditionally is comedic but even a third couple. People here fall in love immediately and for no apparent reason, hence Frances Langford and Buddy Ebsen are a couple. Ebsen was an accomplished tap dancer, but here does some swaying moves like he's made of rubber, creating an odd visual effect..

"I've Got You Under My Skin" goes to Virginia Bruce, who plays a Broadway diva whose penthouse is done up in an all-white mix of Deco and Rococo with a gigantic mirror and a terrace with its own fountain. It's on the terrace that she sings it to Stewart, hoping to win him away from Powell. It's a great setting for a great song. The gigantic finale takes place on a stage version of a battleship with everyone done up in white tails and sequins and the music of "Swingin' the Jinx Away" a razzmatazz, Irving Berlin-style number with jivey sections that mention Cab Calloway as their inspiration. This gives everyone a chance to do their specialty and ends things fittingly with only the shortest of scenes afterward to tie up the ends of the plot.

Within all this director Roy Del Ruth places three extended bits by character actors, all of which are memorable. Barnett Parker was a stuffy butler with few lines in many films, but here he does a funny turn as a model home salesman-interior designer in a pompous British manner. Another Brit, Reginald Gardiner, comes on as a cop in what would usually be a ten second walk-on to interrupt the main characters (think "Singing In the Rain") but instead ends up doing a hilarious impersonation of Leopold Stokowski ("Fantasia") conducting. This bit, his first in films, made him a regular character actor in Hollywood. He's now probably best known for "Christmas In Connecticut". Ruth Troy, popular radio comedian, does a shorter but funny bit as a secretary on the phone with a friend.

Overall the film is pleasant if awfully light. The lightness actually helps as there's no need to develop any plot complexities and doesn't overdo it with too many gargantuan numbers. Some of the lines of banter in the script are genuinely funny. Mostly it's Eleanor Powell just bursting into stardom as one of the screen's best dancers ever. She also has a winning way with her character. She's warm and friendly and much like a girl next door, but also can project sophistication and social grace. Una Merkel is her usual loveable, down to earth character as the lead's friend. Stewart was himself just breaking out and had even been given some villainous roles up to this point, but here amid all the foolishness seems genuinely in love with Powell. A good, if not great musical with two great Cole Porter classics.

If ever a person was truly "born to dance," it was Eleanor Powell--the first of MGM's great dancing stars and a performer still considered by many to be the single finest tap dancer to emerge from Hollywood. And with the 1936 film BORN TO DANCE, MGM offered Powell the single finest film of her entire career. Although extremely lightweight, the story of three sailors and their romantic complications has a very playful tone and witty script--which forms the perfect frame for a memorable score by the celebrated Cole Porter. The musical numbers are staged with a more subtle flash than one normally finds in 1930s musicals, and there are several complex ensemble numbers and the memorable "Easy to Love" and "I've Got You Under My Skin."

Not only was Powell a greatly gifted dancer, she was a clever comedian with a pleasing singing voice, and her playful performing style is particularly charming in such numbers as "Rap-Tap on Wood" and "Swinging the Jinx Away." Her leading man, somewhat surprisingly, is none other than James Stewart--and although he wasn't really a singer or a dancer he does extremely well with both, and he and Powell make a very entertaining couple. The entire cast is their equal, with Phil Silvers and Una Merkle amusing as bickering lovers, Buddy Ebsen demonstrating his remarkable talents as both eccentric dancer and clever comic, and Virginia Bruce the perfect femme fatale. Everything about the film sparkles and shines, right down from the sets to the polished performances. If you enjoy classic musicals of the 1930s, BORN TO DANCE is a must have! Strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

With Born to Dance MGM succeeded in combining two musical types, the sailor story with the Broadway opening night story. Although the plot is down right silly, that hardly makes Born to Dance unique back in its day. What you take from it is the wonderful singing and dancing and the glossy production values of an MGM musical.

And of course Cole Porter's score. It contains two of his most beloved standards, Easy to Love and I've Got You Under My Skin. The rest of the score is serviceable for the plot. I particularly like Hey Babe Hey in which all the principals of the plot participate. How they got James Stewart to dance must have been a challenge.

Of course Born to Dance is famous for Easy to Love being introduced by James Stewart. Stewart had always maintained that the proof of Easy to Love being a great song is that it survived his singing of it to become a great popular standard. His singing is adequate, but for the life of me, I'll never understand why Allan Jones who was up for the part wasn't picked. Especially since I've heard Allan Jones's contemporary recording of Easy to Love. Stewart is all right, but the part isn't exactly a stretch for his thespian talents and for cryin' out loud, Jones was one of the best movie singers ever.

The other standard is introduced by Virginia Bruce, spoiled mantrap of a Broadway musical star who takes a shine to Stewart after he saves her Pekingese from drowning while Bruce is visiting his ship at the Brooklyn Navy Yard. Bruce sings I've Got You Under My Skin directly to Stewart with a come hither glance to lure him from Eleanor Powell who is her show's understudy.

Borrowing from Hit the Deck with a plot of three sailors and three civilian women, Born to Dance pairs off Stewart with Powell, Buddy Ebsen with Frances Langford, and Sid Silvers with Una Merkel. Raymond Walburn is at his avuncular best as the ship's captain who keeps entrusting Silvers and Ebsen to deliver a message to the Admiral and they keep getting sidetracked by their women.

With Powell as the understudy to Bruce and them both vying for Stewart, you can readily guess how this story will resolve itself. Eleanor dances divinely, especially in the finale number Swinging the Jinx Away which Frances Langford sings and Buddy Ebsen also dances.

With all the talent involved and a plot which is a walking cliché, but easy to take, it's easy to love Born to Dance as I do.

Sailor James Stewart meets aspiring dancer Eleanor Powell and they fall in love. But a misunderstanding involving Broadway star Virginia Bruce comes between them. Eleanor then gets a job as understudy to Virginia. Hopefully everything will work out in time to put on the big show! What do you kids think?

Jimmy Stewart in a musical. Where's Clarence when he really needs him?!? Seriously though, Jimmy does a good job. He's not the best singer but he can carry a tune. If you like pretty movie stars, this one's the picture for you -- Eleanor Powell, Virginia Bruce, Una Merkel, Frances Langford are all beauties. Powell is the star of the show with her awesome tap dancing numbers. Keep your eyes peeled for Dennis O'Keefe in Powell's first number. He's the guy she taps on the shoulder. Una Merkel is perfection as always. Buddy Ebsen singing and dancing is a hoot. Sid Silvers and Raymond Walburn are funny comic relief. Adorable Juanita Quigley plays Una & Sid's daughter.

It's a slight but fun story with a killer cast. Outstanding Cole Porter songs include classics "Easy to Love" and "I've Got You Under My Skin." But my personal favorites are " Hey, Babe, Hey" and "Swingin' the Jinx Away." As always, Eleanor Powell's dancing is spectacular. Add some nice humor and the immense likability of Powell and Stewart and you have a real gem. Get this on DVD or catch it on TCM next time they show it.