Un fou s'en va-t-en guerre

This is only the second Danny Kaye film I've had the pleasure of watching, and he certainly didn't disappoint. The scene at the beginning of the film is fantastic, and Kaye's outstanding ability to tongue-twist in a song mixed in a conversation is hilarious! It has a lovely plot and Kaye steals every scene, from his serious romantic side, to his outrageous physical comedy. There are loads of brilliant one liners in there from Kaye, and his character being a hypochondriac just adds to the enjoyment! If you haven't seen this film yet, then what are you waiting for?!

One of the funniest movies of all-time. Danny Kaye's first film. Catapulted him from a virtual unknown to an international super-star. Two songs co-authored by his wife, Sylvia Fine, did the trick for him: "The Lobby Number" and "Melody In 4-F." These two songs put Danny's virtuoso tongue-twisting genius on full display. Danny Kaye plays a hypochondriac who is drafted into the Army in World War II and ends up single-handedly capturing a platoon of Japanese soldiers in the South Pacific while winning the heart of beautiful songstress Dinah Shore. Now, 60 years later, the film remains thoroughly enjoyable, and no other entertainer has emerged who can equal Danny Kaye's extraordinary comedic talents. If I had to make a list of the 10 funniest films ever made, "Up In Arms" would surely be on that list.

This recently showed on Turner Classic Movies and I was lucky enough to catch most of it. The film is old and features some cartoonesque lampooning of racial stereotypes (especially the Japanese, but hey it was made in 1944 - do the math), but nothing as offensive as incidental references made in the modern media. Danny Kaye's antics had me in stitches and the ladies are still lovely despite the age of the material - the song-and-dance silly humor is unlike anything you'll find in Hollywood these days but was quite fitting at the time. Overall it was highly entertaining and I would not mind watching it again either alone or with company.

The first Danny Kaye vehicle, this film still has the power to make me laugh. The action revolves around a hypochondriac named Danny Weems who is hopelessly in love with a beautiful nurse named Mary (played by the lovely Constance Dowling) at the hospital he works as a doorman at, while completely unaware of the attentions of her multi-talented best friend and fellow nurse, Virginia (played by the talented Dinah Shore, a singer known to those alive in the '70s as the host of "Dinah! & Friends"). Meanwhile, Danny introduces his handsome roommate Joe to Virginia, but Joe and Mary end up hitting it off, though Danny is completely oblivious to it all.

This movie was contemporary with World War II, of course, and the real action begins when Danny is drafted by the U.S. Army despite the multiple ailments he believes he has. Joe joins up along with him, and -- of course -- the two nurses join up as well. And the movie goes along from there.

As with Kaye's other well-known movies, "Up In Arms" is a virtual showcase of his comedic talents when they were still very fresh and seemingly spontaneous. The musical numbers are particularly enjoyable.

This is a film one needs to see if one needs a good, clean laugh. I saw this movie as a kid a decade ago when I was home from school and sick, and Danny Kaye kept me laughing throughout the whole thing -- it definitely made me forget my troubles.

The only downside to this film is the stereotypical characterisation of the Japanese soldiers seen near the end, but the viewer must remember when this film was made, and that wartime propaganda like this was common. In comparison to others from that era, the comedy is fairly tame.

My rating for this movie is 10 out of 10. They truly don't make them like this any more.

I just saw this for the first time. I'm an old Danny Kaye fan -- grew up with Court Jester & other DK films; always appreciated his particular genius.

I only saw the second half of this film -- but it just blew me away. Of course, it already features the trademark Danny Kaye combination of showmanship, clowning, doe-eyed sincerity, patter-songs and absolutely beautiful vocal control that others mention here. And that is truly impressive. Also impressive in this film is the playing with gender, which is something DK could always get away with, but here comes out as particularly hyper and intense.

But what really shocked me was how ahead of its time this film was. Made during WWII, and absolutely full of patriotism and wartime idealism, all somehow mixed together with the idealism of romance and home and family, this was clearly a 1944 deal, with fake-looking classic Hollywood sound stage warships and sea scenes. But it looks much more like something out of 1955 or, God help us, 1966.

They don't really hide from that sound-set fakeness, esp. in the truly weird dream sequences, and the whole thing ends up looking more like Bob Fosse than the WWII propaganda film it's also trying to be. These sequences feature sets and costumes in co-ordinated "hot" pastels, a bartender-cum-minister-cum-scat singer, and I kid you not a bright sky blue goat. This segues into a scene with intense women in skimpy black clothing (think Robt Palmer's "Addicted to Love" video from the 1980s meets a 1890's bordello), some of whom are mounted/pinned/crucifed on trees/crosses/black wings set on poles.

In front of this, Danny Kaye in a devilish red suit does some of the most pure and outrageous absurdities I have EVER seen him do -- phasing in and out like the young Robin Williams on cocaine, switching into and out of a pastiche of popular song styles, slang, scat and African-American impersonation as if he were a black guy pretending to be a white guy pretending to be a black guy pretending to be a black guy. (In most of this, he is echoed capably -- but not brilliantly -- by Dinah Shore.) He is manic and brilliant and so very American and post-modern.

He is also incredibly young, and looks quite a bit like some manic, visionary rock star of today. (He resembles a bit the young Sting or Billy Idol.) And esp. in those fantasy scenes, the intensity combined with the costuming and showmanship made me realize that DK can be seen in that line of intense musical innovators/showmen that includes Prince and probably Jack White of the White Stripes.