Eva na Marinha

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 isn't terribly accurate as to actual Boot Camp life, they had MUCH more freedom than we did, but it was filmed at Great Lakes Naval Station about 10 years before I was stationed there in 1962-3. The barracks, the furnishings, everything in the background shots look just the way they did when I was there. We also lived in those same WWII temporary barracks. I thoroughly enjoy this movie every time I watch it just for the memories and to see those wonderful uniforms that I really liked! My favorite part of the movie each time is the Drill Team scene, they do some of the very same routines that we did when I was on the Boot Camp Drill Team at Bainbridge, Maryland in 1962.

Even though I am a fan of Esther Williams, I found this film very uneven.

Skirts Ahoy! was released in 1952 when the U.S. was involved in the Korean conflict. The roles of women in society were changed significantly during WWII, which ended only about five years before. The country was adjusting quickly and creating social phenomena (the baby boom, the suburban real estate boom, and a search for equilibrium in the roles of the sexes) that would be studied for decades. Esther Williams, Vivian Blaine and Joan Evans play three Waves in training at the Great Lakes U.S. Naval Training Center. They are rather aggressive in pursuit of men--an attitude that many men would find off-putting, especially in the early 50s.

Barry Sullivan plays the navy physician that Esther Williams pursues. I found his performance drab, making it difficult to understand her fascination with him.

Vivian Blaine practically plays Miss Adelaide from Guys and Dolls here, a role she perfected on Broadway in 1950 and, later, in the film (1955).

Esther gets her moments in the pool, of course. As usual, the aqua routines are not really a part of the overall plot. And the studio managed to throw in a number of music and dance numbers that are the same way, so that Esther is an audience member during them. It's pretty remarkable that the local dinner club features Billy Eckstine. In a show on the base, we find Keenan Wynn, Debbie Reynolds, Bobby Van and a full selection of orchestra, drill teams, and choral groups.

The dance number featuring Debbie and Bobby was fun. Both are so fresh that their roles are uncredited. Singin' in the Rain was released in the same year, so who knew Debbie would be such a hit when Skirts Ahoy! came to theaters?

I particularly enjoyed the performances of the (5) DeMarco Sisters. Great harmonies, great energy.

The film has an improbable resolution, but the entire plot is merely a device to separate the swimming and musical numbers.

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.

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.