Anáguas a Bordo

A wry and lighthearted look at the U.S. Navy in 1941. Cary Grant and Tony Curtis shine amongst a wonderful supporting cast in this fictional story inspired by an actual incident that occurred during WWII. So many war movies are depressing, while others are completely ridiculous. This film, while full of sexual innuendo and lighthearted humor, still manages to keep it's humanity, with one foot planted firmly in the reality of the Pacific theater.

A jaunty tale of an injured sub, a few army nurses, a group of lonely sailors, and some pink paint. The direction is above par for the time period and genre, the writing is bright and witty, even for today's standards, and the performances are thoroughly entertaining.

This is a recommended must-see for fans of Curtis and Grant. Grab the popcorn and soda and enjoy! I give this charming 1959 classic a 7 out of 10.

This movie is a wonderful example of a film that isn't particularly deep or important BUT that still works well because it's so much fun and the writing, though quirky, works. Of course I will admit that the plot from time to time gets really silly (culminating with the sub being painted pink and being forced to go that way into action). I guess it's just that this is a nice blend of acting by Cary Grant and Tony Curtis in a cute little war picture that ALMOST makes WWII look kind of fun. The end result is charming and silly and worth watching but with no real meaning or significance at all--and is that always such a bad thing?

As long as you don't expect anything substantial, "Operation Petticoat" works quite well as light entertainment, thanks to a lively script with some pretty good material, two good leading performances by Tony Curtis and Cary Grant, and a solid supporting cast. While the whole story has very limited plausibility, it has its own internal logic and consistency, rather like the better of the more manic screwball comedies of an even earlier era.

The submarine setting is used creatively, and it has just enough realistic detail to keep it from getting too silly. Grant and Curtis have rather different styles, yet they work well together in setting the right tone for everything, and in involving the rest of the cast. While it would be hard to single out any of the other cast members, since none of them have a particularly large or important role, they all do well enough, and they make the secondary characters a solid part of the story.

There are plenty of amusing highlights, such as the pink paint and Curtis's scrounging expeditions. For all that it is just fluff, it fits together well, making for an entertaining, unpretentious movie.

There's really no reason to expect that this easy-going military comedy should hold up so well after almost 50 years. While extremely popular as a Christmas release in '59, it then boasted two top box office stars to bring in the crowds, which most critics agreed were the primary attraction supporting some rather thin and predictable material. But the merits are considerably more than reviewers originally gave credit for, and the film endures as a cleverly crafted entertainment on several levels. Its uncomplicated premise accommodates humor less derived from incident than from character and situation, making it seem far less pretentious than most films of its kind. Service comedies of this period tend to follow a pattern set by MR. ROBERTS, which was based on a hugely successful stage play and quite reverent to those origins. PETTICOAT is far more spontaneous, so even if plot threads tend to be a bit familiar, its the delivery rather than the content which holds our attention. Of course it doesn't hurt to have Cary Grant at the peak of his powers, hitting all the right notes, balancing the role of naval officer with innate dedication combined with his own charismatic charm and seemingly effortless humor, a performance which is both naturalistic and funny. Curtis, too, had found his groove at this point (he had just completed his tour de force for Billy Wilder, SOME LIKE IT HOT) contributing just the right balance of ingenuousness and star-of-the-month savvy to make his `second banana' role a success. But the lion's share of the credit must go to Blake Edwards, then in the early stages of his most successful period as a master comedy craftsman, boisterous yet sophisticated, among the last of a breed of Hollywood stylists on the rise at a time when the old studio system was nearing its end.

Be warned that this film has great comic dialogue delivered with fine timing by good actors, but if you are prissy about political correctness and hung up on "gender issues", it might discomfort you. But that's your problem, not the film's. Most viewers can just come aboard and enjoy the voyage, appreciating the comic situations and energetic pace. Grant and Curtis are in top form, playing their contrasting characters with skill. Virginia Gregg's and Arthur O'Connell's characters' love/hate relationship is a clever use of classic "gender issues" to elicit laughs and sympathy. The women in this film are more than just sexy ballast. In any case, as a great French comedian noted, "Vive la difference!" Relax, enjoy, and anchors aweigh.