In between the musical boom in the '30s, and the resurgence of the Hollywood musical in the early '50s with "An American in Paris" and "Singin' in the Rain", there was "Anchors Aweigh". A 1945 MGM musical starring Gene Kelly, Frank Sinatra, and Kathryn Grayson, what we have here is not by any means cinema at its finest; rather, it is simply that wonderful brand of lighthearted escapism that Hollywood was famous for in its golden age.
The Hollywood musical didn't by any means die off in the '40s, but it reached a low-point in popularity, by comparison to the cornucopia of musicals from every major studio in the '30s. As we know, the German director Ernst Lubitsch, having migrated to America in '23, brought the musical to life. His 1929 film "The Love Parade", starring Maurice Chevalier and Jeannette MacDonald, was the first truly modern musical committed to the big screen. Lubitsch made several other similar musicals during the early '30s ("Monte Carlo", "The Smiling Lieutenant", and "One Hour With Your"). These films, made for Paramount, were, like everything Lubitsch, based in charisma, wit, and innuendo. After 1932, however, Lubitsch abandoned the musical, which was in the process of undergoing a vast transformation. The new musical was on the horizon, and it came bursting to life in 1933. RKO brought Fred Astaire and Ginger Rogers to the screen with "Flying Down to Rio". Warner Bros released three musicals helmed by the great Busby Berkeley: "42nd Street", "The Gold Diggers of 1933", and "Footlight Parade" -- all backstage musicals. MGM, who had a habit of, let's say, "borrowing" from Warner, released their own Berkeley knockoff called "Dancing Lady". Extravagance and spectacle were the name of the game now. Large, ornate sets saw the production of grand, elaborate musical numbers. Only Paramount remained relatively low-key, with musicals like "International House" and "College Humor". They were in the process of establishing names like W.C. Fields, George Burns, Gracie Allen, and, of course, Bing Crosby.
This trend continued throughout the '30s. MGM released "San Francisco" and "The Great Ziegfeld", along with three followups to their 1929 musical "The Broadway Melody": "The Broadway Melody of 1936", "The Broadway Melody of 1938", and "The Broadway Melody of 1940". Warner Bros continued releasing Busby Berkeley musicals, like "Dames", "The Gold Diggers of 1935", and "The Gold Diggers of 1937". Paramount had Bing Crosby in full form by 1936 when they released "Rhythm on the Range", and two years later gave Bob Hope his feature debut in "The Big Broadcast of 1938", followed by "Give Me a Sailor", both of which costarred Martha Raye. RKO continued the now ultra-popular run of Astaire and Rogers films — "Roberta", "Follow the Fleet", "Swing Time", "Carefree", and others. And, finally, Fox hopped on the bandwagon with "Pigskin Parade" in 1936 (I'm sure there were Fox musicals before this, but I'm not familiar with any).
Then, something happened. The war. World War II saw the necessity for propagandistic war films surging, which cut into the popularity of the musical. Or maybe musicals simply had run their course. In either case, the early '40s saw a significant drop-off in the production and popularity of Hollywood musicals. The one major exception was Fox. They kept the musical alive through the war years, with lavish Technicolor films starring the likes of Betty Grable, Alice Faye, and Don Ameche (i.e. "Down Argentine Way", "That Night in Rio", and "Moon Over Miami").
Interestingly, it is these Fox Technicolor musicals from the early '40s that provided the most obvious inspiration for MGM's "Anchors Aweigh". Not only the use of color, but the general style and aesthetic of the film is very similar to Fox's musicals from earlier in the decade. Later, "Anchors Aweigh" would evolve into MGM's famous musicals from the early '50s — "An American in Paris" and "Singin' in the Rain" — which also starred Gene Kelly, and triggered the rebirth of the Hollywood musical.
Gene Kelly is absolutely the centerpiece of this film. He is wonderful. He's among the most charismatic screen presences I've seen in Hollywood's history, and it never shows more than it does here. Kelly carries this film. Kathryn Grayson is decent in the lead female role, and Sinatra, the film's costar, is solid enough. I've never been that big on Frank Sinatra, but I find his younger self in this film much more amiable than his later roles.
"Anchors Aweigh" is gorgeously shot. Like virtually all Hollywood commercial films, it lacks any artistic ambition, but the technical skills demonstrated by those who collaborated on the film are immense. The set design is extraordinary. The lighting is impeccable. Visually speaking, it's an amazingly attractive film, and at times it even seems to possess a distinctly painterly quality, which we are now bereft of with the digital realism of modern cinema.
There is a side role for Dean Stockwell, a child actor who was popular at the time, and has been acting ever since. This was his second role. Also notable is José Iturbi, the Spanish conductor and piano prodigy who plays himself in the film. His presence reminds us of Oscar Levant in "An American in Paris". Iturbi has multiple piano performances in the film, and they are truly a pleasure to behold. What a talent.
Overall, this is a solid film. In the world of Hollywood musicals, I'd say it's a very good film. It's long, but it never gets tedious. It's good fun from start to finish. The musical numbers aren't astonishing, but they're good, on the whole. At the end of the day, though, Gene Kelly is the reason to show up for the film, and the reason to stay until it's over. His screen personality is very fun and a joy to watch, and that's about how I'd sum up the film itself.
RATING: 6.67 out of 10 stars
The Hollywood musical didn't by any means die off in the '40s, but it reached a low-point in popularity, by comparison to the cornucopia of musicals from every major studio in the '30s. As we know, the German director Ernst Lubitsch, having migrated to America in '23, brought the musical to life. His 1929 film "The Love Parade", starring Maurice Chevalier and Jeannette MacDonald, was the first truly modern musical committed to the big screen. Lubitsch made several other similar musicals during the early '30s ("Monte Carlo", "The Smiling Lieutenant", and "One Hour With Your"). These films, made for Paramount, were, like everything Lubitsch, based in charisma, wit, and innuendo. After 1932, however, Lubitsch abandoned the musical, which was in the process of undergoing a vast transformation. The new musical was on the horizon, and it came bursting to life in 1933. RKO brought Fred Astaire and Ginger Rogers to the screen with "Flying Down to Rio". Warner Bros released three musicals helmed by the great Busby Berkeley: "42nd Street", "The Gold Diggers of 1933", and "Footlight Parade" -- all backstage musicals. MGM, who had a habit of, let's say, "borrowing" from Warner, released their own Berkeley knockoff called "Dancing Lady". Extravagance and spectacle were the name of the game now. Large, ornate sets saw the production of grand, elaborate musical numbers. Only Paramount remained relatively low-key, with musicals like "International House" and "College Humor". They were in the process of establishing names like W.C. Fields, George Burns, Gracie Allen, and, of course, Bing Crosby.
This trend continued throughout the '30s. MGM released "San Francisco" and "The Great Ziegfeld", along with three followups to their 1929 musical "The Broadway Melody": "The Broadway Melody of 1936", "The Broadway Melody of 1938", and "The Broadway Melody of 1940". Warner Bros continued releasing Busby Berkeley musicals, like "Dames", "The Gold Diggers of 1935", and "The Gold Diggers of 1937". Paramount had Bing Crosby in full form by 1936 when they released "Rhythm on the Range", and two years later gave Bob Hope his feature debut in "The Big Broadcast of 1938", followed by "Give Me a Sailor", both of which costarred Martha Raye. RKO continued the now ultra-popular run of Astaire and Rogers films — "Roberta", "Follow the Fleet", "Swing Time", "Carefree", and others. And, finally, Fox hopped on the bandwagon with "Pigskin Parade" in 1936 (I'm sure there were Fox musicals before this, but I'm not familiar with any).
Then, something happened. The war. World War II saw the necessity for propagandistic war films surging, which cut into the popularity of the musical. Or maybe musicals simply had run their course. In either case, the early '40s saw a significant drop-off in the production and popularity of Hollywood musicals. The one major exception was Fox. They kept the musical alive through the war years, with lavish Technicolor films starring the likes of Betty Grable, Alice Faye, and Don Ameche (i.e. "Down Argentine Way", "That Night in Rio", and "Moon Over Miami").
Interestingly, it is these Fox Technicolor musicals from the early '40s that provided the most obvious inspiration for MGM's "Anchors Aweigh". Not only the use of color, but the general style and aesthetic of the film is very similar to Fox's musicals from earlier in the decade. Later, "Anchors Aweigh" would evolve into MGM's famous musicals from the early '50s — "An American in Paris" and "Singin' in the Rain" — which also starred Gene Kelly, and triggered the rebirth of the Hollywood musical.
Gene Kelly is absolutely the centerpiece of this film. He is wonderful. He's among the most charismatic screen presences I've seen in Hollywood's history, and it never shows more than it does here. Kelly carries this film. Kathryn Grayson is decent in the lead female role, and Sinatra, the film's costar, is solid enough. I've never been that big on Frank Sinatra, but I find his younger self in this film much more amiable than his later roles.
"Anchors Aweigh" is gorgeously shot. Like virtually all Hollywood commercial films, it lacks any artistic ambition, but the technical skills demonstrated by those who collaborated on the film are immense. The set design is extraordinary. The lighting is impeccable. Visually speaking, it's an amazingly attractive film, and at times it even seems to possess a distinctly painterly quality, which we are now bereft of with the digital realism of modern cinema.
There is a side role for Dean Stockwell, a child actor who was popular at the time, and has been acting ever since. This was his second role. Also notable is José Iturbi, the Spanish conductor and piano prodigy who plays himself in the film. His presence reminds us of Oscar Levant in "An American in Paris". Iturbi has multiple piano performances in the film, and they are truly a pleasure to behold. What a talent.
Overall, this is a solid film. In the world of Hollywood musicals, I'd say it's a very good film. It's long, but it never gets tedious. It's good fun from start to finish. The musical numbers aren't astonishing, but they're good, on the whole. At the end of the day, though, Gene Kelly is the reason to show up for the film, and the reason to stay until it's over. His screen personality is very fun and a joy to watch, and that's about how I'd sum up the film itself.
RATING: 6.67 out of 10 stars