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Ever since seeing him in Hans Christian Andersen when I was 8 or so(a film I still love) I've liked Danny Kaye a lot, and feel that like many commentators here that he is deserving of more attention. He is wonderful in The Secret of Walter Mitty, one of his best performances and quite possibly his most endearing. His antics are genuinely funny and he is charming in a way that comes naturally to him and is conveyed just as much to the audience. He has a fine supporting cast too, Virginia Mayo is astonishingly beautiful and as likable as Kaye, Ann Rutherford is charming and naïve, Boris Karloff plays cool and subtly sinister to perfection, Florence Bates is wholly convincing in overbearing mode and Thurston Hall is appropriately blustery without overdoing it. The Secret of Walter Mitty looks beautiful, the scenery is bursting with colour and vibrancy and the photography is expertly. The music fits with the action and comedy very well indeed, and the songs are catchy and a lot of fun. The best being Anatole of Paris though Symphony for Unstrung Tongues has some great lyrics/lines and is interesting for future director Robert Altman as an extra. The writing is witty and infectious, it never feels forced or mushy and it holds up well today too. The story is sweet and instantly lovable, children will be spellbound and amused by the dream sequences especially. Overall, a wonderful film with Kaye on top form. If you want to get acquainted with him or see what the fuss is about, The Secret Life of Walter Mitty is a great place to start. 10/10 Bethany Cox

Whatever the setting, and there were many, Danny Kaye always played himself -- the hypochondriacal, stuttering, cowardly, nervously fiddling neurotic. That's pretty much what he is here, and if you haven't seen a Danny Kaye movie this is a pretty funny introduction.

The plot violates James Thurber's short story, the point of which was that Walter Mitty daydreamed so much because his own life was so dull. It's probably Thurber's most popular story, although "If Grant Had Been Drinking at Appomatox" has more outright laughs. Here Kaye is involved in one richly comic episode after another.

The famous fantasies are pretty much gotten out of the way before the movie is half over. The "real" scenes are at least as amusing. He's a copy editor at a pulp magazine in New York and Boris Karloff, he of the ominous lisp, is pitching him a story about a doctor who murders people without leaving a trace by pressing on a nerve at the base of the skull. "Oh, we've already used that in 'The Revenge of the Gland Specialist'," objects Kaye.

The plot is a mystery about the planned theft of the Dutch Crown Jewels. Something to do with a murder Kaye witnesses (nobody believes him), a black book, Kaye singing silly songs, a chief conspirator nicknamed "the Boot," and a dazzling innocent blond -- Virginia Mayo -- who has a pretty sassy figure.

Watching her and Kaye talking about corsets reminded me that when I was a teen, all women seemed to be wrapped up in inexplicable buckles, plastic straps, and clips that only a deranged mechanical engineer could design. Come to think of it, I'm still out of it. I don't know whether women leave body gel on or wash it off, or what bath beads are. And when did "lipstick" turn into "lip rouge," and "rouge" turn into "blush," and "mascara" into "kohl" -- or DID it? Somebody is pulling the wool over somebody's eyes around here.

You ought to see this if only for the costume design and hair styles. Wow -- what exotica! It's impossible to believe that women ever dressed like this, or hoped to, despite Fritz Feld's glutinous paean to a hat that, although it looks like something Calder might have dreamed up during a horrible hangover, can be disassembled into three -- count 'em -- three separate parts and then be piece together into yet another arrangement. Put a tiny quail under that feathery apparatus and you're talking a two-hundred dollar entree at a four-star Parisian restaurant.

There's a likable element of running gags in here too. On three occasions Kaye's blustery boss is holding important business meetings when Kaye enters unexpectedly -- once simply late, and twice more crawling backward in through the tenth floor window pursued by pigeons.

Kaye's decline was sad. He wound up singing "Thumbelina" to a nearly empty night club in later years. But he's at his peak here, and his peak was pretty good.

Watching the Danny Kaye version after having watched the Ben Stiller remake is a fascinating experience. The modern remake has definite virtues - notably Stiller's little-boy-lost performance in a sophisticated world of New York advertising, as well as the subtext offering an elegy to LIFE magazine, now doomed to appear on the internet only. On the other hand Norman Z. Mcleod's Technicolor version of the Thurber story contains one of Danny Kaye's best performances on film. He was nothing short of a genius - a brilliant slapstick comedian, with an apparently limitless range of facial expressions, with a natural instinct for delivering comic songs full of verbal pyrotechnics. Structurally speaking, the film has a story of sorts, but is basically a star vehicle for Kaye to show off his talents, playing a distressed sea- captain, an English flying ace (complete with cut-glass RP accent), a brilliant card-sharper (complete with cheroot) and a cowboy storming into a studio-set bound western town. His wife Sylvia Fine provides the music and lyrics for two specialty tunes; in one of them he plays a mid- European professor impersonating most of the instruments of the orchestra. With all this verbal and visual wizardry going on, it's hard to concentrate on the plot; but it doesn't really matter, as Kaye is such an endearing performer that he can quite easily win his way into the audience's affections, especially when he plays direct to camera as if performing in the live theater. The film contains one or two good supporting performances, notably from Virginia Mayo as the love-interest playing several roles in Kaye/Mitty's fantastic dreams, and Boris Karloff as a crooked psychiatrist trying to push Kaye/Mitty out of the window of an upper-floor skyscraper, and then putting him under psychological influence in an attempt to extract vital information out of him. But basically the film belongs to Kaye, a superb star vehicle for a fantastically talented actor and performer, who was as much at home in front of a live audience as he was in front of a movie camera.

In New York, the clumsy Walter Mitty (Danny Kaye) is the publisher of pulp fiction at the Pierce Publishing house owned by Bruce Pierce (Thurston Hall). He lives with his overprotective and abusive mother (Fay Bainter) and neither his fiancée Gertrude Griswold (Ann Rutherford) and her mother (Florence Bates) nor his best friend Tubby Wadsworth (Gordon Jones) respects him. Walter is an escapist and daydreams into a world of fantasy many times along the day. When Walter is commuting, he stumbles in the train with the gorgeous Rosalind van Hoorn (Virginia Mayo) that uses Walter to escape from her pursuer. Walter unintentionally gets involved with a dangerous ring of spies that are seeking a black book with notes about a hidden treasure.

"The Secret Life of Walter Mitty" (1947) is a hilarious comedy about a clumsy daydreamer that gets into a dangerous ring of spies. Last Saturday I watched the annoying "The Secret Life of Walter Mitty" (2013) with Ben Stiller and I decided to seek the original 1947 movie that is better and better, with many gags. Danny Kaye is very funny performing the clumsy and coward Walter Mitty. Forget the 2013 remake and prefer to see the original 1947 comedy. My vote is seven.

Title (Brazil): Not Available

James Thurber's whimsical day dreamer Walter Mitty was a perfect character for Danny Kaye to apply his many talents with. Make note however this is not film based on Thurber's short story, The Secret Life Of Walter Mitty, but the character is used to fashion a plot whereby this day dream believer gets into a real life adventure. And gets the girl one only dreams about.

Poor henpecked Danny Kaye as Mitty works as a proofreader for publisher Thurston Hall who specializes in putting out pulp fiction works of adventure and romance. He's put upon by everyone, from his mother Fay Bainter to his girlfriend Ann Rutherford, her mother Florence Bates, his best 'friend' Gordon Jones and not the least by his boss Hall. His escape is in daydreaming and it's in these imaginary sequences that Kaye's real talents of singing and mimicry are given full range. During one of those sequences while at a fashion show Kaye does one of his most famous routines Anatole Of Paris.

While on a train Kaye meets the beautiful girl of his dreams Virginia Mayo who is carrying some documents vital to her native Dutch government. And she's being pursued by the kind of international criminals that appear in James Bond or Austin Powers. Konstantin Shayne is the master criminal known only as 'the Boot' and he's assisted in his nefarious schemes by Boris Karloff.

After he meets them poor Danny spends the rest of the film trying to help or rescue Virginia Mayo and convince the others in his life that he's in a real situation. The rest of his circle put his ravings down to an overactive imagination and he's even referred to a psychiatrist who turns out to be Boris Karloff. I'm not sure who was playing straight for who in the psychiatrist sequence, but it's funny nonetheless.

It's not James Thurber. Thurber's story would be almost impossible to create accurately for the screen since it's all in his protagonist's mind. But as a character for Danny Kaye, Walter Mitty is a natural.