Des jupons à l'horizon

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.

One of my least favourite films/musicals featuring Esther Williams, along with 'Texas Carnival' and 'Jupiter's Darling'. All three watchable but very flawed. 'Skirts Ahoy!' is not a sinking dud, but considering the talent involved (as well as Williams, there's Vivian Blaine, Debbie Reynolds, Bobby Van and songs penned by Harry Warren and Ralph Blane) it should have been better, much better.

Williams herself is captivating, she has a graceful charm and sassiness, while her swimming talent and aquatic skills are enough to make one green with envy. She is well supported by a polished and energetic turn from Vivian Blaine, while Billy Eckstine and Emmett Lynn are suitably sincere and Debbie Reynolds and Bobby Van lighten up the screen and really liven things up.

'Skirts Ahoy!' looks nice enough, the costume and set design are not elaborate or lavish but handsome and colourful enough and the film is photographed very nicely. The songs are all pleasant, though only one is properly memorable and that is the modest hit "What Good is a Girl (Without a Guy"). The way the numbers are staged is energetic and graceful and enthusiastically performed, Williams' water ballet and "Oh By Jingo" performed with terrific gusto by Reynolds and Van.

However, there is no chemistry between Williams and Barry Sullivan. Sullivan further has the indignity of having next to nothing to do and coming over as bland. Joan Evans struggle with the singing and dancing, the inexperience really shows, and also struggles to bring any likable qualities to a character that can border on the desperately annoying.

Despite some nice light, funny and endearingly fluffy moments, too much of the script is soggier than very watery cucumber sandwiches. The story is wafer thin, flimsy doesn't cut it describing the thinness of it, with pacing that really plods in the non-song and dance sequences (where the film comes to life) and an improbable resolution. 'Skirts Ahoy!' further suffers from being overlong, due to too much of its basic narrative content being as thin as it was that was difficult to overlook, and for being over-stuffed in other parts. Direction is indifferent.

Overall, not a bad film but never fully leaves the deck. Most of the cast and some nice moments keep it afloat but the story and script threaten to sink it and almost do. 5/10 Bethany Cox

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.

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.

This post-WWII film is very dated. The women recruits sing a song about how 'women are nothing without a man'. If you can put this sort of sentiment in the context that it was created, this film has a few things to recommend it. There are a few good musical numbers, and lots of camp humour. It's hilarious that none of the military personnel are ever shown doing anything remotely militant. The Navy is depicted as a social event, with shows, synchronized swimming, dating, hijinks.

The DeMarco Sisters contribute a few nice moments to this brief, shallow movie. They harmonize nicely, and perform with enthusiasm.

The movie is a mildly entertaining snapshot of the early Fifties, when America was still preoccupied with the war even while it was starting to focus its gaze on the changing relationship between the sexes.