dougdoepke
No need to echo consensus points or recap the plot. To me, the movie's not so much a musical as it is a post-war explosion of sheer energy. So who needs a power company to light up a city. Just plug in the first 20-minutes of the 3-sailors romping through NY, and there's enough energy to electrify a dozen metropolises. I was on the floor wiping sweat just watching them. No, this is not a musical in the conventional sense—the songs are mostly forgettable, big production numbers are limited, and there's even less plot than usual. Instead, it's a celebration of life, love, and community. In short, it's the good life that dances before audiences, and good-riddance to a war and a Depression that are at last truly over. It's that affirmation, I think, that connects movie generations.For a non-New Yorker, it's fun seeing the high-spot realities behind those well-known names. In fact, the many landmark shots are expertly blended with the flying feet. Plus, I'm still marveling at that nighttime cityscape from the skyscraper top. It's a memorable background, unlike any other I've seen. Production-wise, I don't know what they paid our 6-stalwart performers, but MGM should be re-initialed as KSM with our 3-highstepping ladies as talent scouts. Anyway, it's taken me 50-years to finally share the movie experience. So at last I see what all the fuss has been about. No doubt about it— Better late than never.
Robert D. Ruplenas
Regardless of the estimable performances of the leads here, and irrespective of the virtues of the film on its own merits, I have to pan this movie as a total misrepresentation of the musical of the same name written by Adolph Green and Betty Comden, with music by Leonard Bernstein. It's probably true that whoever bought the rights for the movie version bought the right to alter it (i.e., butcher it) for the screen. Anyone who has had the good fortune to see the recent brilliant Broadway revival of the original show knows that the screen version has little to do with the original, except the bones of the story line. Very little of Bernstein's original score makes it to celluloid, doubtless because the producers in their wisdom thought the complexity and originality of Bernstein's score too much for the average moviegoer. What little remains of the original music was abbreviated and watered down. Evidently Bernstein resented Comden's and Green's participation in the movie production, which is odd because evidently he served as a consultant as well. If you see this flick, whether you enjoy it or not, just know you are not seeing "On The Town."
weezeralfalfa
Simply the most fun Hollywood dancical romantic comedy of all time! I call it a dancical, rather than a musical, because there is comparatively little singing or background music that doesn't include some dancing or prancing around(outside of the opening and closing "New York, New York", two Sinatra-Garrett duets, and an opening and closing song by an uncredited shipyard builder). Also, aside from "New, York, New York", there are no standard songs, although several fine songs that express the mood of the person or persons. With 3 of the most celebrated Hollywood dancers of the '40s and early '50s(Gene Kelly, Ann Miller, and Vera-Ellen), and the remainder of the stars being competent show singers and dancers, it's no wonder that song and dance was emphasized over pure crooning. But, what makes it the top entertainment dancical is the near perfect blend of story, comedy, and musical numbers, the sheer energy of the performers, and the comradery between the 3 male and 3 female stars. Too many musicals and dancicals of this era stuffed the between musical scenes with complicated romantic or professional conflict drama, which soon gets tedious and sometimes dominates your attention away from the often great musical numbers. That's minimal here.There's no misunderstanding whose girl is whose. The main drama elements involve the occasional disappearance of 'Miss Turnstile'(Vera-Ellen), the periodic police chases, and the problem of homely Alice Pearse as Kelly's enforced substitute date, after the unexplained disappearance of 'Miss Turnstile', all leading to comedic incidents. Of the 6 stars and Alice Pearse, only the Sinatra and Vera-Ellen characters weren't gifted at comedy in this action-packed film, with emphasis on 3 24 hr romances by sailor buddies on limited NYC leave. Sure, Ann Miller and Betty Garrett's characters come across as brazen big city hussies, but they are lots of fun as dates. In contrast, Vera-Ellen is the shy unsophisticated small town girl-next -door who appeals to Kelly as something more than just a one-night stand trick.(It turns out they are from the same small town!). Alice Pearse is great as the primary supporting actress, with her trademark homely old fashion spinster act, complete with periodic raucous cackles, exploited to the comedic fullest. She played a similar character in the Fred Astaire-Vera Ellen dancical "The Belle of New York". She was also the only member of the Broadway version of "On the Town" to play the same role in the film version. There is one highlight after another. Among the tops are: the "Prehistoric Man" museum scene, led by Anne Miller's sexy tap dancing, and the comedic Coney Island hootchy-kootchy episode, near the end. Vera Ellen does a pantomime ballet dance illustrating her various talents and interests.Also entertaining is the long comical "You Can Count on Me" number, performed by the gang, especially featuring Alice Pearse. This was soon followed by the long Kelly-featuring "A Day in New York", pantomime ballet, in which Kelly recounts an outline of the Day's salient events, and demonstrates his infatuation with the vanishing "Miss Turnstile". Actually, the song that sticks with me the most is "Main Street", a soft shoe number which Kelly sings to Vera-Ellen, while they begin to get acquainted, and then they dance to, seemingly effortlessly floating back and forth over the stage. Yes, I live on Main Street, in a small town.This film was an adaptation of the Broadway play of the same name.As often happens, there were many changes in the details. Many of Leonard Bernstein's songs were dropped in favor of new ones, causing Bernstein to boycott the film. Nonetheless, it won the Oscar for best music, and the Writer's Guild of America's award for the best written musical. I would rate the choreography and cinematography as superb, as well. Partially filmed in NYC, poor weather and crowds of onlookers limited more extensive on-location shooting.This film was released only months after the well received "Take Me Out to the Ball Game", with a very similar format, and which I rate as near the equal of the present film. Kelly, Sinatra, and Munshin were again in uniform, enforcing their comradery. Garrett was again immediately smitten by Sinatra's character, and Kelly again winds up with that female star characterized as the most wholesome, having had his fill of easy pickings. It too is much fun, but lacks any female star with exceptional dancing or singing talent, and also lacked Alice Pearse.Six years later, MGM would make a musical "It's Always Fair Weather", which was originally conceived to be a sequel to "On the Town", in which the 3 sailor buddies meet in a bar, after 10 years of not seeing nor corresponding with each other. However, of the 6 "On the Town" stars, only Kelly returned.Although this film included a number of technically more challenging dance numbers, such as the 'trash can lid' dance, Kelly's roller skating street dance, along with Cid Charisse's 'Boxing Ring" routine, it simply lacked the charm, romance, sustained comedy, and youthful exuberance of the original, and was rather coolly received by audiences. Nonotheless, it has its moments, and you might want to check it out. It is currently offered very cheaply as part of a 5 MGM musicals DVD package.
