Un jour à New-York

Another Comden-Green triumph! Although it may not be as good as "Singin' In The Rain", it's truly a masterpiece that no home should be with out!

Jules Munshin is energetic in the role of Ozzie! Gene Kelly plays the part of the lovesick Gabey absolutely perfect! And although I am a die hard Kelly fan, I must say that the best male performance given in this film was from Ol' Blue Eyes himself, Mr. Frank Sinatra! In the role of Chip, he brings a certain innocence as well as that sailor spunk and vitality! And the three of them crooning songs such as "New York, New York", "Let's Go To My Place" and "On The Town" is absolutely wonderful (especially Kelly and Sinatra)!

Ann Miller is fantastic as the leggy anthropologist, Claire! She brings a lot of zest to her role! (It's hilarious to hear her refer to Ozzie as "Specimen"!) Vera-Ellen also is WONDERFUL in the role of Ivy, or "Miss Turnstiles"! She is a highly underrated actress... and her dancing is truly DIVINE! However, another highly underated actress is Betty Garrett, who portrays the female cabbie, Hildie! She makes the role zippy and sassy... and she and Chip singing "Let's Go To My Place" is an absolute knee-slapper that will have you laughing and singing with it every time! Alice Pearce is also rather funny as Hildie's roomate, Lucy Shmeeler.

I recommend this movie to anyone who is a fan of musicals, especially the older ones, such as "An American In Paris", "Singin' In The Rain" and "Take Me Out To The Ballgame." This carefree frolic of a film will leave you laughing and singing for days!

After finally seeing this film, I have to say I thoroughly enjoyed this film. There are faults though, one is the substitution of dancers for Frank Sinatra and Jules Munshin in the ballet, while it worked in Oklahoma, I for one found it distracting here. The other fault I had was the omission of "Some Other Time", that is a truly beautiful song and could've worked so well, but alas it was missed out.

Other than that, there is still much to enjoy, namely the magnificent title number, "New York, New York", as Gene Kelly, Frank Sinatra and Jules Munshin hail the delights of New York, New York. Also a delight was "Prehistoric Man", mostly because of the dancing of Ann Miller. While songs from the original score are missed out, regrettably, the score and songs here are still a treat, and the choreography is fabulous.

The performances are terrific. Gene Kelly is wonderful once again as Gabey, and Jules Munshin puts real energy into his role of Ozzie. While Frank Sinatra is exceedingly charming as Chip, possibly even the best of the three male performers. As for the ladies, Vera Ellen looks alluring and dances a dream, while Betty Garett is deliciously sassy as Brunhilde. With her impeccable dancing talents, it is Ann Miller who I would deem as my personal favourite, as I have said already her dancing in "Prehistoric Man" is simply incredible.

Other advantages are a witty script, a delightful supporting turn from Alice Pearce as Lucy Schmeeler, fast pacing and some lovely costumes and sets. Plus I loved the depiction of New York and the film's feel good nature. Overall, flawed but nonetheless exhilarating musical. 8/10 Bethany Cox

Grand, sure-fire musical entertainment courtesy of MGM, "On the Town" brings euphoric life to the 'Big Apple' like no other piece of celluloid, comedy or drama, before or since. More than just a breath of fresh air, this breezy souffle of a movie is like taking a huge whiff of pure oxygen, leaving you so exhilarated you'd swear you were on some kind of substance-induced high. Drenched in old-fashioned innocence and loaded with dazzling footwork, it gave a tremendous boost to the careers of all involved and helped to create a whole new style of musical film.

Three swabbies on a 24-hour shore pass during WWII bask in the sights and delights of NYC while running into new lady loves in the interim. That's all there is to it. The first musical to actually shoot on location, the viewer has the surreal-like thrill of a first-time vacationer as the movie juxtaposes every tourist trap imaginable, plus some, while capturing the pulse and heart of the City to endless effect.

Briskly co-directed by Gene Kelly and Stanley Donen, the movie would initially appear to have everything going AGAINST it. The plot is so thin and flaky it almost evaporates into thin air. Moreover, the directors made the seemingly unwise choice of dumping nearly all of the charming Leonard Bernstein score and Betty Comden/Adolph Green libretto for newer, untried songs by Roger Edens. Well, in good reliable hands, this not only works, it dances circles around the original!

There's so much going for this movie in the name of talent that its hard to know where to begin. Gene Kelly prepped his choreographic talents here for the later landmark musicals "An American in Paris" and "Singin' in the Rain." He is sheer delight as the lovelorn sailor who pines for "Miss Turnstiles," a billboard fantasy. Jules Munshin unleashes pure Ed Wynn buffoonery as the sailor with the least animal magnetism. Even Frank Sinatra, allows himself to get caught up in all the fun.

And the girls are irresistible too. Betty Garrett shoots with both barrels as the man-chasing cabbie and proves she is quite capable of stepping up to the plate in the dance department. Lithe and lovely Vera-Ellen, who never won the attention she fully deserved, is poetry in motion as Kelly's dream come true. In particular, her adagios with Kelly are imbued with such unsullied passion that it can't help but tug at the ol' nostalgic heart-strings. Peppy Ann Miller is, as always, a revelation as the toe-tapping anthropologist, taking full advantage of the zingy score's newer songs and embellishing them with now-classic dance routines.

As a special treat, my favorite character actress, Alice Pearce, offers side-splitting comedy relief as Kelly's impromptu blind date managing to steal one song from the star ensemble while finding a touching moment of pathos in her final scene. The homely comedienne went on to play nosy neighbor Gladys Kravitz in the "Bewitched" TV series to Emmy-winning acclaim. Florence Bates also makes the most of her patented huff and scowl as a tipsy ballet mistress, and see if you can scout out an unbilled Bea Benadaret (Kate in "Petticoat Junction") as a subway tootsie.

Still the highlight, and there are many highlights, is the infectious title tune atop the Empire State Building with Kelly & Company. Nowhere in the history of filmed musicals will you find such barn-storming talent and exuberant fun packed into one simple little tune. That sequence is a natural tape-rewinder.

You know the old saying, "They don't make 'em like this anymore?" Oh, they are so right.

The Bronx is up and the Battery's down, and Kelly and Sinatra are back in sailor suits, in this effervescent MGM musical. The three matelots (our two heroes are joined by Jules Munshin for this caper) have a 24-hour shore leave in which to savour New York City. "What can happen to ya in one day?" asks a shipyard worker, and the guys answer the question by picking up girls, destroying a dinosaur and getting chased to Coney Island by the cops... in just one day.

Leonard Bernstein composed the tunes, and the writers of the stage show (Green & Comden) provided the lyrics, supplemented by Bernstein himself and the associate producer, Roger Edens. Of the songs, "On The Town" and "You Can Count On Me" are nerve-tingling showstoppers. "Prehistoric Man" is much weaker, but saved by crisp, playful choreography. The two expressionist ballets, "Miss Turnstiles" and "A Day In New York" bear the hallmark of Kelly's directorial style, which first reached its maturity in this picture. Kelly's slide on his knees towards the 'Miss Turnstiles' poster is a piece of cinema magic.

Kelly plays Gabey, a supposedly worldly-wise lady's man who turns out to be a Mid-Western innocent in the big city, and who falls in love with a struggling hoofer(Vera-Ellen), a girl he takes to be a celebrity. Sinatra is the serious-minded Chip, the enthusiastic sightseer who gets snapped up by Hildie Esterhazy (Betty Garrett), a knowing cabbie who has one aim - to get Chip alone in her apartment. Ann Miller sings and dances impeccably as Claire Huddesen, the bluestocking who gets turned on by Ozzie's primitive quality.

"On The Town" has a daffy story, as musicals often do, but it fizzes with flirtatious youthful energy. Each of the three couples has its own song and/or dance, and these are sensitively tailored to suit the individuals' personalities. The Empire State Building observation platform set is a knockout, and the film's sense of fun even extends to a sly Ava Gardner joke at Sinatra's expense. Notional time runs from 6am at the start of the boys' leave ('boys', or 'kids' as they are twice described, is not quite accurate - Kelly was 37 and the other two 34 at the time of filming) until 6am the following morning, as it ends. Three new sailors come charging down the gangway to start their 24 hours in the Big Apple, reminding us that love and youth are eternal, and New York's a wonderful town.

It is surprising how many people don't seem to realise (or don't care) that a large fraction of Leonard Bernstein's music score, written for the original stage musical of 1944, was dropped when this film was made. Only four of the original numbers were retained. The replacement music, credited in the titles to Roger Edens, is serviceable enough but simpler and decidedly more brash, and as such it detracts somewhat from the character of the original. In particular the absence of such numbers as 'What's more I can cook' and 'Some other time' is highly regrettable. It seems odd to me that that having done the maestro such a disservice the film was still awarded a music Oscar in 1950. Nevertheless it remains a highly entertaining romp – how could it fail with a cast that includes Gene Kelly, Frank Sinatra, Betty Garrett, Ann Miller and Vera-Ellen. It's just that it could have been even better.

For anyone who wants to find out what Bernstein's original score was like, there is a live recording of a semi-staged performance of the musical made in London in 1992 with the London Symphony Orchestra under Michael Tilson Thomas and a magnificent cast of singers including Thomas Hampson and Frederica von Stade. The only thing you don't get is the dancing! It is available on CD and hopefully a few copies of the video may be knocking around. Unfortunately it seems that no DVD was ever released.