A rousing Hollywood war-effort movie made directly after the U.S. entered the war following Pearl Harbour, starring Judy Garland in what is recognised as her first adult role and Gene Kelly in his film debut. She's a young singer and dancer Jo Hayden, hoofing her way through Vaudeville who we first see partnering nice guy George Murphy's Jimmy, until she meets fellow-entertainer, "flash" Harry Palmer, Kelly's ambitious, self-centred fellow song and dance man. Jimmy, who might just have an unrequited thing for Jo too, gallantly steps aside when brash Harry, turns up and steals Jo's heart. Before you know it, Harry comes round too and after they team up professionally, they become a couple, although only after he's taught some home truths at the hands of worldly, glamorous singer Eve Minard, played by Marta Eggerth.
The hard-working duo then strive for a break into the big-time and after a false alarm, finally crack it when they earn a residency in New York, only for that pesky First World War to flare up and spoil Harry's dreams. Amongst the first recruits to the U.S. army is Garland's adored younger brother, played by future director Richard Quine, but when Harry's draft papers duly arrive soon afterwards, he's upset that his appointed army medical will get in the way of the duo's Broadway debut, which causes him to make a regrettable decision. Will Harry find redemption in time to save his personal reputation and more importantly his engagement to Garland? Well, what do you think, it is a rousing wartime movie after all?
Some aspects of the film didn't particularly appeal to me, including Kelly's character's initial moral scruples, his fantastical return to glory and, I have to say, the music, especially the old-fashioned songs both leads have to belt out, not to mention diva Eggerth, of the blurry bodice and her light-operatic style.
The divine Miss G is in excellent form throughout, impressively turning on tears of emotion at will and generally carrying the film by dint of her equal parts charm, personality and all-round talent. Kelly is a little callow and doesn't at this stage get any solo numbers to hoof along to but his nascent star quality is at once apparent. Director Busby Berkeley, despite obviously having some empathy with this era and its music, really doesn't flex his muscles at any of the set-piece songs so that we don't get to see any of his big-budget choreographed scenes, although I guess synchronised bathing mightn't have been thought a good fit for this particular feature.
Although it has its minor flaws, this movie made for generally uplifting viewing and almost certainly did the same for its audience on original release. The first of three co-headlining features Garland and Kelly would make together.
The hard-working duo then strive for a break into the big-time and after a false alarm, finally crack it when they earn a residency in New York, only for that pesky First World War to flare up and spoil Harry's dreams. Amongst the first recruits to the U.S. army is Garland's adored younger brother, played by future director Richard Quine, but when Harry's draft papers duly arrive soon afterwards, he's upset that his appointed army medical will get in the way of the duo's Broadway debut, which causes him to make a regrettable decision. Will Harry find redemption in time to save his personal reputation and more importantly his engagement to Garland? Well, what do you think, it is a rousing wartime movie after all?
Some aspects of the film didn't particularly appeal to me, including Kelly's character's initial moral scruples, his fantastical return to glory and, I have to say, the music, especially the old-fashioned songs both leads have to belt out, not to mention diva Eggerth, of the blurry bodice and her light-operatic style.
The divine Miss G is in excellent form throughout, impressively turning on tears of emotion at will and generally carrying the film by dint of her equal parts charm, personality and all-round talent. Kelly is a little callow and doesn't at this stage get any solo numbers to hoof along to but his nascent star quality is at once apparent. Director Busby Berkeley, despite obviously having some empathy with this era and its music, really doesn't flex his muscles at any of the set-piece songs so that we don't get to see any of his big-budget choreographed scenes, although I guess synchronised bathing mightn't have been thought a good fit for this particular feature.
Although it has its minor flaws, this movie made for generally uplifting viewing and almost certainly did the same for its audience on original release. The first of three co-headlining features Garland and Kelly would make together.