Jeanskynebu the audience applauded

Console best movie i've ever seen.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

lindee-20510 I remember the first time I saw this film, I was spell bound,I have read up about Cole Porter since this film,and it's all seems negative,who cares if it's not all facts of his life, the music itself, is all Cole Porter, and if you didn't know Cole Porter's music before you will after this film, that educational in itself,Cary Grant played him well,Monty Wolley,well never heard of him before this, film but I do now and will watch another film that he's in no problem, great appearances from Jane Wyeman and MARY Martin,and to be the first colour film that Cary Grant made what a achievement and I'm sure I notice a very young Robert Wagner in there too has a young soldier. If you like your musicals you got to give this a go and Alexis Smith as Porter's long suffering wife is great #I get no kick out of champagne# #let's fall in love# and you sure do with the Cole porter sound

weezeralfalfa Despite her dancing and singing talent, poor Alexis Smith was stuck with the thankless role of a long suffering, non-singing or dancing version, of Porter's wife, Linda. The real Linda was considerably older than Porter, not 17 years younger, as in the Grant-Alexis pairing. In this film, we get the impression that, despite their lingering attraction, Linda felt insufficiently valued by Porter, resulting in long separations, possibly suggesting Porter's gay orientation. The real Linda seemed generally comfortable with their non-sexual companion relationship, and often was involved in inspiring his song writing. For a small sampling of Alexis's singing and dancing talents, check out the Errol Flynn western "San Antonio" and the WWII musical revue "Thank Your Lucky Stars". She became Olivia de Havilland's successor as Flynn's most frequent romantic interest in his '40s films, ending as a cattle queen in the '50 "Montana".A comedic scene has Porter meeting Linda by chance after many years separated, and he gets the impression she is married, and has born many children, whereas she is working at an orphanage.We have a number of men and women featured singers and dancers, Thus, this musical takes on the character of a revue. Dorothy Malone, Eve Arden and Mary Martin each are featured for one song, Mary reprising her Broadway role in singing "My Heart Belongs to Daddy". Impossibly cute Jane Wyman is the featured breezy singer for 3 songs from the '20s, whereas the elegantly gorgeous Ginny Simms sings nearly all the songs from the '30s, essentially taking the place of Ethel Merman, who was Porter's favorite singer during this period. Of course, her voice and personality were not remotely like those of Ethel, being much more ethereal. Nonetheless, she was perfect for the role, I much enjoyed her renditions. Ginny was vastly underutilized by Hollywood, both as a singer and actress. For another role in which she sang a few songs, as well as being a major character in the story, see the revue musical "Broadway Rhythm"...You may have been surprised by the choice of Jane Wyman as a singer/dancer. Although she began her public entertainment career as a singer, her singing/dancing talent was very seldom used by Hollywood....Grant sings several songs, most of them among the forgotten ones. Porter reportedly was quite satisfied with the choice of Grant to impersonate him. Cary well fulfills his promise as a suave, low-key version of Porter, without his hedonistic excesses...Bill Days does a fine job singing an abbreviated "Night and Day" on stage....Carlos Ramirez, who was quite a famous singer in his native Columbia, is the featured singer in the elaborate production around "Begin the Beguine". This is, no doubt, the high point of his very limited utilization by Hollywood. In the previous "Two Girls and a Sailor", he did a great rendition of the classic "Granada".The choreography in the 3 main numbers is top rate and the highlight of the film. Each of the 3 main dance performances employed a different dancer or dancing couple, and the dancing styles were quite different. For most of the dancers, this was essentially their only inclusion in a Hollywood film, at least as a dancer. Estelle Sloan was the solo act while Ginny sang "Just One of Those Things", She came across as a mix of MGM's Anne Miller and Eleanor Powell, with her tap dancing, followed by a series a very fast spins: pretty impressive. While Ginny sang "I've Got You under My Skin", Adam and Jane di Gatano were the dance team. They included many lifts of Jane, including a Busby Berkeley-like overhead view of Adam spinning while holding Jane over his head. Lastly, as part of the elaborate production surrounding "Begin the Beguine", George Zorith and Milada Mladova provide a very sensuous dancing couple, with much time devoted to coordinated individual elegant movements. Very impressive! This performance invites comparison with the elaborate performance to the same song, featuring Fred Astaire and Eleanor Powell as a pair, in "Broadway Melody of 1940". Yes, quite different! Astaire and Eleanor emphasized very rapid tandem dance steps, which was their forte, as opposed to the airy often individual romantic expressions in the present film.Wooly Monty Woolley takes on the role of Porter's equally charismatic alter ego, beginning the film as Porter's law instructor at Yale, then popping up periodically throughout the film, as theater director and Porter's confidant. They made a great contrasting pair: physically and personality-wise. Woolley was, in fact, a gay friend of the real Porter. He serves as master of ceremonies in the strange, rather grim, finale Yale tribute to Porter, in which Porter enters the hall with the aid of two canes to support his much operated-on legs, "Night and Day" is once again played(as the theme song for the Porter/Linda relationship) and Porter is once again reunited with Linda, bearing an ominous expression over her shoulder as they embrace. Clearly, he is apprehensive about her reentry into his life. Because of his painful legs problem? Grant's rather cool reception of clear romantic overtures by Jane's and Ginny's characters, ambivalent attitude toward Linda, along with Monty's dominating presence in his life, could well hint at Porter's gay orientation.Henry Stephenson plays Porter's wealthy grandfather, who largely controls his purse strings in his early adult life, and insists on Porter taking a law curriculum at Yale. Stephenson had many such roles in '40s Hollywood films.Despite some much overemphasized minuses by many reviewers, I still rate this as a very enjoyable experience, if much fictionalized history.

Terrell-4 Night and Day is probably the worst of the reverential "biographies" of America's great theater composers which Hollywood cranked out in the Forties. Rodgers & Hart, George Gershwin, Jerome Kern, Sigmund Romberg, the list goes on, were all smoothed out, glossed over, given awful dialogue and had to see their songs so over-produced at times it must have seemed that they were hearing the heavenly choir. Night and Day gives us a number of Cole Porter songs polished and massaged with the lush sound stage treatment. The movie also gives the songs pretentious orchestrations so foreign to Porter's style, plus bowdlerized and rewritten lyrics to insure little of Porter's naughtiness would survive to possibly offend middle America. Most surrealistically, we have Cary Grant as Cole Porter...and that is the kind of casting that makes the Hollywood studio system so wonderful to read about. In addition to being one of the great theater composers, Porter was short, enthusiastically gay, a bit pop-eyed and a terrible social snob. On the other hand, he was supposed to have had a great sense of humor, and reportedly was highly amused when Cary Grant was chosen to portray him. (Another odd bit of Hollywood casting was choosing Mickey Rooney to play Lorenz Hart in Words and Music.) One or two good biographies have been written about Porter. As a film biography, though, Night and Day is largely a work of hack Hollywood fiction. But don't we at least get a bunch of his songs? Sadly, the songs have been so over-produced, treated so respectfully and have been so sanitized, that watching the numbers often is just downright irritating. Porter, such a social snob and living the kind of high-maintenance life some might consider simply frivolous, is worth knowing because of his songs...and his songs are best enjoyed when they are performed with impudence and style. It's smart to remember that when he wrote... I love you / Hums the April breeze. I love you / Echo the hills. I love you / The golden dawn agreesAs once more she sees / Daffodils. It's spring again / And birds on the wing again / Start to sing again / The old melody. I love you, / That's the song of songs And it all belongs / To you and me. ...he wrote it to win a bet that he couldn't write a hit love song using mundane images. Porter won the bet and thoroughly enjoyed seeing what he consider a mediocre string of clichés become widely popular. If you enjoy detective work as well as Cole Porter songs, track down the CD's produced by Ben Bagley, the Cole Porter Revisited series of albums. I think Porter might have enjoyed them.

slymusic "Night and Day" is part of "Cary Grant: The Signature Collection," a five-DVD boxed set, the other four films being "Mr. Blandings Builds His Dream House" (1948), "The Bachelor and the Bobby-Soxer" (1947), "My Favorite Wife" (1940), and "Destination Tokyo" (1943). Given my musical background, I figured that "Night and Day" (a biographical film of one of the world's favorite composers/songwriters: Cole Porter) would be my personal favorite of the five; instead, it turned out to be the film I liked the least. True, it has the look of a multi-million-dollar Technicolor production, featuring many favorite Cole Porter standards such as "I Get a Kick Out of You," "What Is This Thing Called Love?", "Just One of Those Things," "I've Got You Under My Skin," and, of course, "Night and Day." But there are a few major flaws with this movie. Most notably, the various prolonged lavish production numbers cause this two-hour picture to drag considerably. Plus, it is my understanding that the events in this pictorial biography of Cole Porter could hardly be deemed accurate. To top it off, Cary Grant (one of my favorite actors) was a curious choice to play the role of the great composer. Question is, does he indeed FIT that role? Hard for me to tell, but he at least plays the part with his usual charm and suavity. The story of Cole Porter, as depicted in this movie, traces through his final year at Yale as he neglects his law studies, to the consternation of his grandfather; his early struggles as a composer, including a show that closed after one performance because of the sinking of the Lusitania; his getting wounded in action during the First World War while writing his popular "Begin the Beguine"; his writing of "Night and Day" in seclusion (influenced by rain and a grandfather clock) while being nursed by the woman who would eventually become his wife, Linda Lee (Alexis Smith); his eventual successes with show after show after show, to the detriment of his marriage; his losing the use of both legs from a fall off a horse; and his valedictory performance back at Yale.Despite the film's weaknesses, "Night and Day" contains quite a few memorable scenes, all of them musical. Cole's close friend, Yale law professor Monty Woolley (playing himself), summons Cole from playing piano in a theatrical show to rush back to the Yale campus and lead the singing of his "Bulldog Song" at a football rally. At a rehearsal hall owned by the pompous Wilowski (Sig Ruman), Cole and his friend Gracie (Jane Wyman) perform a swinging arrangement of Cole's "Let's Do It (Let's Fall in Love)". The French star Gabrielle (a flashy role for Eve Arden) sings Cole's "I'm Unlucky at Gambling"; not much of a hit, but *I* think it's a catchy tune. One of the more humorous scenes in the picture involves Monty singing/reciting Cole's "Miss Otis Regrets" for a couple of theatrical producers (one of them played by Alan Hale). At a sheet music store, Cole and his friend Carole (Ginny Simms) perform "What Is This Thing Called Love?", which generates quite an auspicious response from the customers. Cary Grant actually lends his own voice to Cole's singing/playing of his "You're the Top" with Carole. And finally, when Cole returns to Yale to perform a most beautiful rendition of "Night and Day" with an orchestra and a male choir, he is quite surprised to see Linda in the audience after a lengthy separation; Cary Grant again lends his own voice to the very soft "You, you, you" lyric during the introductory verse, and before the piece ends, Cole and Linda step outside and, without a word spoken, embrace.