Cortechba Overrated

Console best movie i've ever seen.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

tavm After so many years of knowing this was on YouTube, I finally decided to watch this initial film version of Cole Porter's musical Anything Goes. Ethel Merman reprises her Broadway role as Reno Sweeney and got to sing the Porter songs, "I Get a Kick Out of You" and "You're the Top" which she performed with the other film star, Bing Crosby, though both songs had some lyric changes either because of the Production Code or because Paramount didn't want to have stars not contracted to that studio mentioned in the latter song. Oh, and "Anything Goes" was only sung briefly by Merman at the beginning. Anyway, this was quite a funny farce though it takes a while before one gets what's going on and even then, you have to really pay attention to understand it! Charlie Ruggles is a hoot as someone disguising as a missionary man and Margaret Dumont is her funny dowager self sharing a scene with him. The non-Porter songs aren't bad, either, and Ida Lupino was a luminous leading lady here. So on that note, this version of Anything Goes is worth a look. P.S. The reason I decided to watch this now was because I've been reviewing the Our Gang shorts in chronological order as well as some films outside of the series that has some of those kid players in the same way. So it was that OG player Jerry Tucker has a part here doing some mischief between Crosby, Merman, and Ruggles and another man who's laying in a deck chair. And the version I watched on YT had the alternate title, Tops Is the Limit.

mark.waltz Fans waiting for the ultimate film version of Broadway's greatest 1930's musical comedy will have to pray for a miracle or recall the 1987 Lincoln Center Production (with Patti LuPone) or the 2010 revival with Sutton Foster. There has not yet been the definitive movie or TV production of that tap-happy show, this production truncating the score down to four songs, the classic title song (seen on the Tony Awards for both revivals) heard only over the credits, albeit briefly. Ethel Merman repeats her Broadway role of Reno Sweeney, and shines with the material she is given, somewhat overshadowed by Bing Crosby in screen time, but every inch the leading lady as she would only do one more time with her screen version of "Call Me Madam". Crosby, as Billy Crocker, is an above average choice for the role, and adds a lot more zest than he did with most of his laid-back acting during this time. Cast mostly in forgettable formula musicals, he shows off a skill as a comic that would have to wait until he started on the "Road" with Bob Hope.Crosby and Merman shine with the altered lyrics for "You're the Top", but it is Merman's repeat of "I Get a Kick Out of You" that is the musical highlight here, not the newly written "Shanghai De-Ho" production number finale. Of the non-Cole Porter songs written for the film, only "Sailor Beware" holds any interest. Cutting out the phenomenal "Blow Gabriel Blow!" was a drastic mistake, as was Billy's ballad, "All Through the Night", and a lively chorus number, "Buddy Beware!", although "Bon Voyage!" is heard briefly as an orchestral interlude as the ship Crosby is on sails.Broadway's lovable Victor Moore has been replaced here by the much different Charlie Ruggles as Moonface Martin, and as much as I would have liked to have seen the chubby Moore in the part, I truly adored Ruggles in it. Grace Bradley and Ida Lupino (much different than her 1940's drama queen) are the supporting females, the essence of loveliness, yet not standing out. An assorted group of familiar character actors play the passengers and crew, most recognizably Margaret Dumont as a wealthy philanthropist passenger whose Pomeranian aids Crosby in his search for a disguise, Jack Norton as (of course) a drunk, and Robert McWade as a Bishop who is mistaken for Moonface Martin after an amusing exchange with Ruggles that includes the gem of a gag about Indo-China.

bkoganbing The trouble with filming Cole Porter shows is that the book and lyrics were normally, so naughty, so risqué that it was inevitable those sharp eyed censors feasted mightily on cuts.This first version of Anything Goes was no exception. All the naughty lyrics and risqué situations and dialog were cut out to make this product G rated. It wasn't until Kiss Me Kate was done in the 1950s that a really successful adaption of one of Cole Porter's Broadway shows was done. The best success Porter had on the screen was when he wrote directly FOR the screen. Born to Dance, Rosalie, High Society, etc.What this Anything Goes has to recommend it was the fact that this was only one of two instances where Ethel Merman reprised one of her Broadway successes for the screen. At that she sung some G rated lyrics for the title song and I Get A Kick Out of You.The only thing that Bing Crosby got to do in the movie that was from Cole Porter was a duet with Ethel Merman with You're the Top. If I had to nominate a song in history that's had more lyrics done for it would have to be this one. The melody is eternal and the lyrics are constantly being updated. Someone ought to investigate the Cole Porter estate and see just how many verses he actually wrote to You're the Top. Surely there haven't been any since 1964, but you can hear versions of You're the Top even today with up to date topical lyrics:You're the Top, you're Madonna's reinventionYou're the Top, you're Bush's stolen electionNow I just made that up, but it's a tribute to a great songwriter and an eternal melody.A whole bunch of Hollywood songwriters gave Bing Crosby some serviceable tunes for him, but it ain't Cole Porter. I think this has to do with the family image that Crosby had even back then. No naughty Cole Porter lyrics for Der Bingle.Yet he has some moments with songs. I particular like the number he does from the ship's crow's nest, Sailor Beware. Good song, but it's a typical example of the cheap production numbers that Paramount gave Crosby at this time. If you look at it, try to imagine what Busby Berkeley would have done. He also has a nice ballad to sing to Ida Lupino in My Heart and I. Finally there's a song called Moonburn which sold a few 78 rpm platters back in the day. On record Crosby sings it with just the accompaniment of jazz pianist Joe Sullivan. It's classic Bing.Charlie Ruggles was never bad in anything he did, but I do kind of wish that Victor Moore reprised his part from Anything Goes. He was a big hit on Broadway as squeamish Public Enemy 13, Moonface Martin.Ida Lupino gives very little indication of the classic actress she became on screen. But she's serviceable as Bing's love interest.Look at the trio of sailors singing, They'll Always Be a Lady Fair and you'll recognize Chill Wills.Add to that a badly butchered job in editing and you haven't got one of Bing Crosby's best films, but still enjoyable for fans of Der Bingle like your's truly.

Sauerkraut625 Haven't actually seen this, but the actors a good, and I am in the process of doing this as a school musical, it's great! The story is a great love story between a love quadrilateral. Billy Crocker loves Hope Harcourt who is supposed to love Evelyn Oakleigh, who really loves the famous night club singer, Reno Sweeney. During all of this Moonface Martin (Public Enemy #13)and his girlfriend, Bonnie have snuck on the boat and disguised themselves as a minister, and a nightclub "angel" The whole play is great, the music can get a little annoying, but that's probably because I've heard them too often, but they too are timeless. Overall, this play has great characters, great storyline(s), great music, and (sometimes) great choreography, GREAT PLAY (movie)!