On the Town Reviews
For all three to get gorgeous girls and get their respective fantasies worth of cultural consumption only leads to barely-there practicality - cinematic inevitability is more like it - but because the film's songs, dances, and scrumptious assemblage of dialogue (adapted from stage to screen by Betty Comden and Adolph Green) are more important than any plot line could ever be, and because directors Kelly and Stanley Donen ensure that the film is knowingly light instead of merely opportunistic, "On the Town" is colorful diversion that manages to refrain from obvious manipulation.
Or, at least, the movie is adept at keeping its manipulations subtle. Gabey, Chip, and Ozzie, despite personalities and looks more goofy than romantically magnetic, pick up three girls in no time. Gabey takes interest in Ivy (Vera-Ellen), whom he notices on an ad proudly displayed on the subway (which promptly causes the gang to desperately [and somehow] find her. Chip immediately finds mutual affection with Hildy (Betty Garrett), a brassy cab driver, and Ozzie hooks up with Claire (Ann Miller), an anthropologist with a heart of gold.
"On the Town" delightfully covers their misadventures around the city, a favorite coming in the form of a late-in-the-film car chase in which Hildy hardly even breaks a sweat throughout her white knuckle madness. The soundtrack that comes along with the screwball antics, of course, is nothing less than sensational: the legendary introductory number, "New York, New York," is an instantaneously unforgettable anthem, and energetic showcases like the titular "On the Town" sequence and the Ann Miller headed, comedically tinged "Prehistoric Man" are fine exemplifications of the film's dashing relationship between comedy, song, and star power. The "A Day in New York" succession and the Vera-Ellen starring "Miss Turnstiles Ballet" are exceptionally placed dance spectaculars that boast the athleticism of the movie's leading actors.
But I can't scrutinize "On the Town" too closely - it's cheery (though sneakily artistically extraordinary) entertainment meant to be experienced, not talked about with punishing lengthiness. Seeing (and hearing) is believing, and "On the Town" looks and sounds terrific enough to solidify it as one of the movie musical's finest achievements.
Three Navy officers are dropped off in Manhattan for one day of shore leave. The men want to avoid women and see the city, but love and girls fall in their laps no matter where they go. Will the men come and go like they have so many other ports, or will New York hold a special place in their hearts?
"You can milk me dry."
Stanley Donen (Charade, Blame it on Rio, and Funny Face) and Gene Kelly (Singin in the Rain, Gigot, and On the Town) collaborate to deliver On the Town. The storyline for this picture is just okay and the musical numbers were average. The acting was first rate and the script is solid. The cast includes Frank Sinatra, Gene Kelly, Jules Munshin, Betty Garrett, Ann Miller, and Alice Pearce.
"She's a frail, flower like creature."
A large number of Frank Sinatra pictures were recently added to the online Netflix queue and I had to add of them to my wish list. This wasn't as good as other Sinatra gems, but it was entertaining and fun. Some sequences were better than others, but this is a must see for classic genre fans.
"I know you'd come back. They all come back."
In New York City, three sailors (played by Gene Kelly, Frank Sinatra, and Jules Munshin) begin their shore leave and set out to explore the town. While on a subway, one of them (Kelly) sees an ad for an aspiring actress named Ivy Smith (Vera-Ellen) and decides that he simply must meet her. As they race around the city to find Ivy, they're assisted by two women (Betty Garrett, Ann Miller) whom the other two sailors become romantically involved with. If this plot doesn't sound good to you on paper, then guess what? The story is even worse on film. Don't get me wrong, I don't doubt that there are real-life sailors out there who'd like to meet female celebrities. All I'm saying is that it's simply impractical for a sailor to go to this much trouble for such a woman, especially if it's only for one day.
Even putting aside the implausibility, the pure coincidences, and the complete lack of realism that a plot of this sort is certain to have, I still felt it was an awkward story all the way through. The main relationship between Gene Kelly and Vera-Ellen is equivalent to long fingernails on a giant blackboard in terms of its stiffness. It doesn't help that most of the love story is focused more on when they'll see each other again as opposed to them actually sharing a connection with one another. Furthermore, what was the point to having the third sailor (Munshin) around and what contributions did he make to the plot advancement? Not only is this character completely mediocre, but his girlfriend technically contributes more to the plot than he does. What's up with that?!
Okay, I should refrain from talking about the story and instead talk about the good aspects of this film. The songs, though they mostly repeat the same rhythm over and over again, are beguiling, namely "You're Awful" sung by Frank Sinatra and "On the Town" performed by the six main leads. I particularly admire how the song "You're Awful" progresses throughout. I like how Sinatra starts out with what sounds like an insult towards his love interest and then it becomes a compliment towards her (You're awful - awful nice to be with). Given that this is a musical that obviously depends on its music more than anything else, good tunes are the least that this film can provide audiences and it does exactly that.
The dance numbers aren't bad either, namely the "A Day in New York" dance sequence between Kelly and Vera-Ellen. The way they dominate the area they have to dance in is simply fun to watch. It's not like they're just simply dancing on flat ground either, they have to dance in places where they either have to watch their step or hoist up/climb down a big stair. So that scene pays off pretty well. If "On the Town" had a narrative that was at least tolerable to sit through, maybe it would have had a better chance of working. I give this musical credit for trying to tell a story other than your simple backstage musical plot and whatnot. But based on how much of a mixed bag this film is, it's clear that stories in musicals are still, in the grand scheme of things, a work-in-progress.