User Reviews

A legendary MGM flop, one of the big musicals reputed to have helped kill off big musicals. And it's pretty silly in spots, with a buff Gower Champion singing lyrics like "If this be slavery/ I don't want to be free!" and song-and-dance cues arriving perfunctorily. But it's also an enterprising effort at keeping a dying genre alive, with plenty of sung-lyric exposition by Richard Haydn as a bewildered historian, and more plot-song integration than most MGM musicals attempted. It's also sexier than the average musical, quite frank about why Hannibal kept delaying his attack on Rome, and with plenty of chemistry between Esther Williams and Howard Keel in the main plot and the Champions as the secondary, comic-relief couple. The Burton Lane-Harold Adamson songs aren't great, but they aren't terrible, and for such a huge production, it's surprisingly light on its feet and irreverent. There's a fairly exciting, well-edited chase-through-the-water climax, and if Dorothy Kingsley's screenplay doesn't achieve the Shavian heights it's attempting to scale, it's smarter than most musical screenplays of the day. The wide screen is well filled, and the thing moves quickly. Well worth a look.

JUPITER'S DARLING is an offbeat MGM musical with many entertaining elements. Famous as one of the musical flops of MGM's 1955 output (which included KISMET and IT'S ALWAYS FAIR WEATHER)which all but ended the MGM musical -as well as the contracts of some of its major participants- the movie generally received critical praise in its day and still has a "fan base" today. The credits for the film are eye-opening.It is based on a landmark play of 1927 entitled THE ROAD TO ROME which dealt humorously with Hannibal's march on Rome but was in fact a plea against war.It's author, Robert Sherwood, died the year of the film's release and amongst his other stage and screen work are titles such as The Petrified Forest,Idiot's Delight, Rebecca and The Best Years of Our Lives.Though much changed to accommodate the aquatic talents of Esther Williams and the form of the screen musical, generous amounts of Sherwood's witty and even racy dialogue survive. At a time when the period epic was in its full CinemaScope bloom (egs. THE ROBE, THE Egyptian) it's refreshing to see the genre being lampooned in such a tongue-in-cheek manner. Esther even spoofs her own underwater ballets in the I HAD A DREAM sequence (the best song in a somewhat underrated Burton Lane score)and has another dramatically exciting underwater scene in a later reel. Vocally strong as ever,Howard Keel is robust and virile as Hannibal (who in one funny scene reveals a fear of water and an inability to swim-surely an "in-joke" considering his co-star!)and the supporting cast (Marge and Gower Champion,George Sanders,Norma Varden,William Demarest and Richard Hayden) all get great moments. The direction is by one of MGM's best musical directors, George Sidney (The Harvey Girls, Show Boat, Pal Joey) and the inventive wide screen cinematography is by Paul C. Vogel and Charles G.Clarke,two of the best D.P.'s of the day. (Clarke shot CAROUSEL for Fox magnificently one year later).Written for the screen by MGM contractor Dorothy Kingsley (Seven Brides,Kiss me Kate)and budgeted at possibly the biggest figure for an MGM musical at that time, the film is a visual stunner with unique merits which outweigh its flaws.(One complaint- MGM cut the reprise of I HAVE A DREAM by Williams(dubbed) and Sanders (not dubbed) which was followed by a sizzling dance by the Champions.A faded out-take on the laserdisc edition at least allows buffs to view this now!)

Unless someone tells you in advance that "Jupiter's Darling" is a spoof, you may be like me and wonder through the first part of the film exactly what you are watching. I thought it was a badly made "serious" musical. And I wonder if calling it a "spoof" forgives a film for its bad elements? Bad dancing. Stilted lyrics. Questionable artistic choices. Awkward moments. The beginning of this film is plagued with them. Once you take the film to be a spoof, some of them can be forgiven--IF you are sure that the silliness is intentional. I am not sure all of it is.

When Esther Williams sings "I Had a Dream", you might be surprised to hear her sing. I was. Then I learned that it was dubbed by Jo Ann Greer. Good choice of singer, because it sounds like Esther's voice. Note that she sings while swimming. That's a little awkward. And then the number turns (appropriately) into a dream sequence. Even if you find the film less than excellent, it's a number that is interesting--filmed to give the illusion that it was done without coming up for air.

Howard Keel, as Hannibal, is the romantic interest. He lends his booming voice to some silly lyrics. I had the recurring impression I was listening to The Grinch.

Another interesting thing: the opening line of one song ("Don't Let This Night Get Away") sounded remarkably like the opening line of "A Woman in Love" from "Guys and Dolls", released the same year.

Besides the underwater dance sequence I mentioned, there is another that is worth seeing for its uniqueness. Marge and Gower Champion sing "The Life of an Elephant" while dancing among elephants that perform tricks. Both sequences must have been tedious to film.

One element that that I found superior throughout was the costuming.

Esther Williams' swan song at MGM is also her final aquatic musical. Less significantly, it's also the last (and best) of the three movies Esther did with Howard Keel. It's a movie that takes place in ancient Rome where Esther plays Amytis, the object of affection for Roman ruler Fabius (George Sanders). Fabius is anticipating an attack on Rome from the famous military commander Hannibal (a bearded Howard Keel). When Hannibal meets Amytis, she tries to use her feminine charms to persuade him not to attack.

It's a silly movie but an enjoyable one that is better than its reputation suggests. The sets and costumes are all colorful and bright, though some today might find it all a bit corny. Esther is fit and gorgeous (those legs!) with a lovely underwater swimming number where she 'dances' with statues that come to life. A real classic and the highlight of the film. She does well in the romantic scenes with Howard Keel, who sings some forgettable tunes. I especially liked that Esther's character was so sexy and fun. Of the three films Keel and Esther did together, this is the one where they have the best chemistry. The cast backing up the leads is solid. George Sanders plays Fabius with as much seriousness as he can muster considering how silly the whole thing must have seemed to him. Richard Hayden is oddly enjoyable as the singing storyteller Horatio. Others in the cast include William Demarest, Douglas Dumbrille, Michael Ansara, and dancing couple Gower & Marge Champion. The Champions perform the "If This Be Slavery" number ("Hooray for slavery!"), which has some lyrics that are funny when taken out of context. Most of the songs and dance numbers are nothing to write home about but none are terrible. Anything with Esther is worth seeing just for her smile...and those legs!

'Jupiter's Darling' had so much going for it. Who cannot resist a cast with the likes of Esther Williams, Howard Keel, George Sanders and Marge and Gower Champion, and that it was directed by George Sidney, who made a number of great films.

It is a shame that 'Jupiter's Darling' wasn't better than it was. By all means, it is not a terrible film and not as bad as its notorious financial flop suggests. It does have many pleasures and the reasons for seeing the film in the first place come off well. This said, all have done much better, despite loving Keel and Sanders to death 'Jupiter's Darling' was seen as someone in the process of watching and reviewing every Esther Williams musical and it is one of my least favourite of hers along with 'Texas Carnival'.

Williams certainly isn't one of the problems, in fact she is in her serenely beautiful Amazonian prime and her aquatic skills second to none and the envy of many. Neither is Keel, who is masculine, commanding and charismatic and sings with his usual warm beauty and robust brio, especially in "Never Let the Night Get Away" where he is quite touching. The two click together superbly. Sanders is his usual suave and smooth self, yes even in a role pretty far removed from the types he excelled at (villains and cads), while Richard Haydn is amusing and Marge and Gower Champion are a delight.

That's not all though. The highlight is the truly spectacular water ballet in "I Had a Dream", one of Williams' best and most visually stunning water ballets. The chase sequence is also impressive. Marge and Gower Champion have two notable song and dance numbers and do a terrific job with both. "Life of an Elephant", which sees them dancing with painted elephants, is to be seen to be believed, though some may prefer the more energetic and less lengthy "If This Be Slavery".

Visually, 'Jupiter's Darling' is the very meaning of lavish, the use of CinemaScope, rich bold colours and inventive use of wide-screen are just exemplary, "I Had a Dream" being the standout in this regard. The costumes and sets are very handsome too.

However, the songs and score are only at best serviceable and generally forgettably substandard, the rousing "Hannibal's Victory March" and the touching "Never Let the Night Get Away" being exceptions. The rest have not-easy-to-remember melodies and sometimes very silly lyrics, some like in "Never Trust a Woman" being questionable. Choreographically, "I Had a Dream" and the Champions' numbers impress but the rest lumber and look under-rehearsed.

Storytelling is uneven, sometimes it moves quickly and has great energy but other parts are ponderous, and there is a sense that the film was trying to mix too many styles and genres and it never quite came together. Worst of all is the script, which is impossible to take seriously even in moments that are meant to be serious and even when you are taking the film for what it is, if Keel and Sanders really did have the giggles during filming that's hardly surprising. Sidney's direction is competent but uninspired.

Overall, difficult to rate but with enough pleasures to make it watchable. 5/10 Bethany Cox

Enormous in scope and production with elephants, horses, and a cast of thousands of costumed, weaponized extras, this picture is a cute diversion for an hour and a half. Esther Williams is downright gorgeous, period. The superbly dependable Howard Keel didn't have to visit the cafeteria, inasmuch as he spent the whole picture chewing the scenery. The battle scenes were well-shot, the humor and 1955ish lust delightfully presented. The Champions deliver their usual athletic dence routines to witty choreography by Hermes Pan. Unfortunately, the lyrics of the infrequent songs are abysmal, probably the result of a competition MGM sponsored for high school students. Fortunately, the tuneless, unmemorable music for these songs stoops to the level of the words. Still, just to catch an eyeful of the well-put-together Ms. Williams and Mr. Keel make this a pleasant way to kill an hour and a half.

Believe it or not, there's actually a song whose lyrics sing, "If this be slavery, then give me slavery. If this be slavery, I don't want to be free!" Not only did someone think to write it, but the song was given the green light by Hollywood producers, put into a film, performed by the dance duo Marge and Gower Champion, and not cut from the final film! That should give you an idea as to the quality of music featured in the Esther Williams vehicle Jupiter's Darling.

Esther Williams is engaged to Roman leader George Sanders, but she's drawn to Howard Keel, who's made it his mission to attack and conquer Rome. It's quite a love triangle, because Howard Keel isn't the most likable guy ever written, but he sings powerfully seductive songs and even picks up and moves a real leopard guarding Esther's bed! My one question is why didn't George Sanders get any songs? He showed off his beautiful voice in Call Me Madam, but maybe Hollywood didn't want to give Howard Keel any competition-not that he'd really have any. He's clearly the manly macho one in the movie, and he's scantily dressed, giving audiences an up close and personal view of his macho manliness.

Still, while Howard Keel is able to save a couple of songs in the movie, unless you're an Esther Williams fan, you probably won't end up renting this one. Underwater dancing is a very specialized talent, one that not everyone likes to watch. Then again, you might get a kick out of Richard Haydn sounding very much like his famous Caterpillar role from Alice in Wonderland. Or, you might enjoy looking at Howard Keel in a Greek warrior outfit that barely fits him. One more thing: This is a little criticism, but I do have it-there's a Marge and Gower Champion song performed alongside a couple of elephants, and I couldn't help but feel sorry for the animals. One was supposed to fall over and roll around, while the dancers make fun of it, but to me, it wasn't cute.

Esther Williams, Howard Keel, and husband-and-wife dancing team Marge and Gower Champion star in this musical about Hannibal. I went into this a little wary, but wanted to see one of Esther's lesser-known films. Granted, it may have earned a somewhat campy and corny reputation, but I found as I got deeper and deeper into it, that I really enjoyed it. What's a little ingenious about it, is that they worked in an Esther Williams swimming interlude in a dramatic way, as she is being chased. And, the great supporting cast of George Sanders, William Demarest, Douglas Dumbrille and Richard Haydn helps a lot. And, both Howard Keel and Esther are very believable as these mythological characters, she so beautiful and he so big, virile, and commanding. This is the type of film, that one will have the dialogue and especially the songs memorized from watching this over and over, because it's so much of a guilty pleasure. I definitely am going to see this again soon. I was going to give this a seven, given the fact this isn't one of Esther's top successes, but it's just so enjoyable, that I give it an '8.' After all, who cares what movie critics think? Just sit back and enjoy the histrionics of Hannibal and Amytis. By the way, do you think this is accurate?

I don't have many of the great MGM musicals of the 1940s and 50s in my video collection, but my interest in history resulted in my acquiring this decidedly minor work. I couldn't pass it up. Ancient history in American cinema tends (heavily) to be biblical history with a handful of glances at Ancient Egypt and Rome. Seriously, think of the best known titles: DeMille's THE TEN COMMANDMENTS [second version], SAMSON AND DELILAH, KING OF KINGS, THE SIGN OF THE CROSS, CLEOPATRA; THE EGYPTIAN; Joe Mankiewicz's CLEOPATRA; QUO VADIS (with Taylor, Kerr, and Ustinov); THE LAND OF THE PHAROAHS [with Joan Collins]. Films about ancient Greece are even rarer than this: THE FOUR HUNDRED SPARTANS (for the events leading to the defeat of Persia in 480 B.C.); HELEN OF TROY and ULYSSES (the latter actually an Italian film, but starring Kirk Douglas and Anthony Quinn); JASON AND THE ARGONAUTS. There are a few I've missed. Foreign cinemas have not been much better.

This film is about one of history's great military failures - Hannibal Barca, the Carthagenian tactical genius who is remembered for bringing his army over the alps (including his elephants - a feat of arms that is still marvelled at). He was of Phoenician ancestry, being from the city of Carthage in North Africa (founded by the Phoenicians). He probably was dark skinned, like most North Africans. He probably did not look like Howard Keel, a good actor and singer (KISS ME KATE, CALAMITY JANE - the latter as Wild Bill Hickok, THE DAY OF THE TRIFFIDS). Since this is a musical comedy the audience will swallow it, but from a historical realistic view the role cried for a singer and actor with a darker skin - someone like Paul Robson. However, for age reasons and political reasons Robson would have been impossible in 1955.

The basis of this film is Robert Sherwood's play, THE ROAD TO ROME, which was a comedy against war. Actually beyond this is the fact that Hannibal, having won five great victories against the Romans (capped by the total routs of Roman arms at Lake Transemene and Cannae) had the "road to Rome" open for his army - had he moved he would have destroyed Rome, and history would have been centered in North Africa for quite awhile. His dawdling lost him his chance, and the tactics of the Roman General Fabius Maximus (to snipe at Hannibal's army over a long period of time, until it was tired and demoralized) won the war after a decade. Fabius was killed in a skirmish, but his place was taken by Scipio Africanus, who delivered the knock-out blow at Zama in 202 B.C. Hannibal fled Carthage, to commit suicide in Macedonia a number of years later when he was about to be handed over to the Romans. Carthage was stripped of it's power and wealth, but nearly sixty years later it was purposely destroyed by the Romans (at the prodding of Cato the Elder, a bigotted Senator) in the pointless Third Punic "War". The population was killed or enslaved, and the town levelled - the site ploughed over with salt so nothing would ever grow there. Hence the bitter term: "Carthagenean Peace". But the memory of Rome's close call at the hands of this genius was a constant nightmare even at the height of their empire. In the AENIAD, Vergil has the doomed North African princess Dido die, praying that her descendant (Hannibal) destroys the Romans. Prior to the collapse of the Empire at the hands of "barbarian" tribes Hannibal was Rome's closest call to destruction.

This play may have been good in 1927, but it dates now. Moreover, Sherwood, despite some stage credits like IDIOT'S DELIGHT, is best remembered for his dual biography (which is still useful) ROOSEVELT AND HOPKINS, about FDR and his advisor Harry Hopkins. Keeping this in mind, my use of the term "minor" is understandable. It is not like a musical based on, say a play by Eugene O'Neill or Tennessee Williams. [Actually O'Neill plays have been turned into musicals: NEW GIRL IN TOWN is based on ANNA CRISTIE, and AH WILDERNESS! was turned into the musical TAKE ME ALONG.]

Williams and Keel are attractive together, but the Burton Lane score is not that good (a number with Marge and Gower Champion about the elephants seems very silly now). George Sanders gives his normally good performance, his Fabius being a mother-dominated type (momma is Norma Varden, who disapproves of his choice of Williams as a wife), but who is an intelligent military leader - witness how he realizes that the best way to fight Hannibal is not to present a pitched battle, but to wear him down. The action of the film is in 217 B.C., when the war was peaking for Hannibal, and Fabius did not die for nearly six years more. Interestingly enough Douglas Dumbrille has a brief part as Scipio, reminding us that the military affairs would remain in highly capable hands at the end. William Demerest is properly flustered a few times, constantly ready to give the signal for the final advance of the Carthageneans on Rome, only to find Hannibal unavailable or unwilling to tell him to do so. One wishes more had been done with Richard Haydn, as a historian named Horatio, but he seems wasted here. A film curiosity - not a great film though.

Not a bad movie. Interesting concept not to be taken seriously. Great photography, scenery and costumes. Lots of beautiful animals. Dancing is good, songs just so-so. Only movie I think Ive ever seen with and underwater swimming chase scene.

Even a good cast can't quite put this one over the top--elephants and all. The choreography is about as original as the score which includes not a single really memorable tune.

Wasted in this nonsensical romp are Esther Williams and Howard Keel in the leads, both given only a few moments to shine. Esther does some interesting underwater swimming with statues that come to life and dives off a cliff with acrobatic skill. Keel struts around as Hannibal with energy and humor and even lifts his voice in song a few times, although the tunes are hardly worthy of his manly baritone.

George Sanders, Richard Haydn, Norma Varden, William Demarest and Marge and Gower Champion are largely wasted and cannot overcome a script that is unintentionally funny even in serious moments. Uninspired direction from George Sidney is no help.

Summing up: Attempt at originality utterly fails in this unusual Esther Williams film. The Champions have a truly wretched dance number with some elephants that takes up far too much time.

Only for fans of the stars or MGM Musicals completists, like me. I've gotta collect them all! Of course this one was made during the decline, as Dore Schary took over the studio and he was *not* a fan of musicals. So, the songs are weak and there's more emphasis on spectacle & action - mixed in with comedy & romance. But the mixture doesn't blend very well. Each genre/character is underdeveloped and unsatisfying. For instance, if you enjoy action/war movies, you may be disappointed with a few chases, brief hand to hand combat...no epic battle, unless you count a little flame-throwing and battering at Rome's gates. Sorry, no bloodshed! (And I know you were expecting it from a movie with "Darling" in the title.)

Marge & Gower Champion are kind of wasted. They have one major number where they parade around with trained elephants. It's lame. I mean, they mostly hop around on one foot (yes, the elephants too) and the Champions are definitely limited by their dancing partners. Not their best choreography. Corny bits like mimicking an elephant's trunk, etc.

Esther Williams has one memorable underwater ballet with some statues that come to life, but other than that, her swimming abilities are used in more plot-driven ways than usual. Most unsettling is an extended chase sequence where soldiers chase her off a cliff and swim after her, trying to kill her...with bows and arrows...underwater! Is that even possible? It's *definitely* impossible to hold your breath for that long. (Something we don't normally question when Esther's underwater sequences are more lighthearted.) Why combine an air of "realistic" menace with such a fantastical premise? Let our fantasy be...fun! It was actually disturbing to see Esther menaced this way, in her "natural" habitat. She should always be grinning that big toothy grin at the camera and frolicking in the water happily. Don't mess with the natural laws of Esther Williams movie physics!

Howard Keel plays his usual charming brute, but maybe a bit too brutal this time, since he's a conquering warrior. Uncomfortable watching him manhandle Esther Williams, hold a knife to her throat, etc. Aaah, love! Marge & Gower also have this slave/master subplot that's pretty offensive. I suppose it's some consolation that she refuses to "be" an elephant...like all the "other" elephants he has trained to *obey* him. Uhh, love?

Not much fun to see George Sanders play an ineffectual mama's boy who can't get the girl. He can be suave and charismatic, but not here. I mean, he does what he's meant to...I just don't enjoy seeing him play a buffoonish sort. Would've been better if he was presented as a charmer with wit and intellect to rival Howard Keel's more robust, earthy qualities. A different, but equally attractive choice, to make Esther's decision less obvious. (But I'm not spoiling anything here by revealing Esther & Howard end up together - c'mon, they're the leads, and we know how these movies work!) Sure, Sanders' speech-making ability is acknowledged, but also ridiculed - and Esther doesn't bother to show up for the speech, so we get the message that Sanders is boring... dangit, some women *like* smart, articulate men! They could've created another supporting character who falls for Sanders, proving him a valid love interest who's just not right for *Esther*, since she and Howard are more physical/less intellectual types. Oh well.

Wow, I don't remember how any of the songs go. They really *are* forgettable. So, it's easy to see why this movie failed to please the Box-office Gods and led to the fall of the Great MGM Empire! I'd buy it on DVD anyway, especially if that outtake musical number from the Laserdisc (mentioned by a previous reviewer) is included. Curious to see Marge & Gower's deleted dance...it's got to be better than the Elephant Walk Of Shame.

I had wanted to see this film for a long time since I like Esther Williams, Howard Keel and the Champions. I saw it last night on TCM. What a let down. Not one good, memorable song, no real story and even the dance numbers were uninspired. This could have been a real killer of a movie but it just sort of puttered along on two cylinders, not good enough to be enjoyable but not quite bad enough to say the heck with it and give up. Esther's fantasy swimming number with the living statues is the high point. Howard Keel has no song worthy of his talent and the Champion's dance number with the elephants goes on way too long. The other reviewers have pretty much said it all. The fact that this film is not included in ANY of the Esther Williams DVD collections says a bunch.

In the 1950s and into the 60s, films set in ancient Rome were all the rage and were very profitable. Films such as "Quo Vadis", "Ben Hur" and "The Robe" were quite successful and hold up well today. However, occasionally, there was a dud and "Jupiter's Darling" was such a dud...losing a lot of money and driving Esther Williams to leave the studio. Why? Well, much of it might be the style of this film. Unlike the other films, which were serious religious epics, this one was a musical comedy...with lots of swimming! Obviously NOT something you'd associate with ancient Rome!

The film starts off very, very badly. This is because the first musical number is entitled "If This Be Slav'ry (Then Give Me Slavery)"...a song where a VERY happy slave is bought for Amytis' slave girlfriend and then he sings about how wonderful it was to be a slave!! This clearly did NOT age well!!!

A rich Roman woman, Amytis (Esther Williams) has been told by the Roman dictator (George Sanders) that she is going to marry him. However, when Amytis and her slave are spying on Hannibal and his Carthaginian army, she's captured and spends time being wooed by Hannibal. You can tell they are wooing because he sings a lot and she swims....standard wooing behavior if I've ever seen it. What's next? Well, see the film...or not.

So is this any good? Good grief, no! The story is pretty silly, the dialog weird and unrealistic and the film is one that will likely make history professors swoon because it is that ridiculous! The only thing I liked was seeing the cute ASIAN elephants...something Hannibal and his army never would have used since they were North Africans.

By the way, in one scene, Hannibal and Amytis are on the outskirts of Rome and you can see the Colosseum. Well, the story is set at about 220BC and the Colosseum wasn't built until about 80AD. A minor detail, I know.

Historically hysterically satirical, this showcase for the swimming talents of Olympian-turned-actress Esther Williams and the vocal talents of the great Howard Keel, is ostensibly set in the Roman Empire but reeks of 1950s Hollywood. Based on the landmark 1927 play "The Road to Rome" by the great Robert Sherwood, this movie did not fare well at the box office, but the reason may be that it was too racy, the lyrics and dialogue too ironic for the times. Dealing humorously with Hannibal's march on Rome, the story line is really a plea against war and features a gloriously athletic Williams driving a chariot, looking like Wonder Woman, and escaping her pursuers in a breathtaking underwater chase scene. Marge and Gower Champion's dance sequences are equally athletic and mesmerizing, especially their dance with Hannibal's elephants. While the songs may not be particularly memorable, the lyrics are often hilarious, especially "If This Be Slav'ry" and "Never Trust a Woman." The narration sung/spoken by Richard Haydn is also an amusing touch. The film opens with a caveat that sets the tone: "In 216 B.C., Hannibal the Barbarian marched on Rome. The history of this great march has always been confused. This picture will do nothing to clear it up."

The only way to watch this turkey is in a repertory cinema late on a Saturday night with friends where everyone gets to laugh as loud as they please at the ridiculousness of the movie. Who can say what is worst -- the clumsy, childish narrative, the clumsy, childish dialogue, the ridiculous battle scenes? There's no saving grace at all in this absurd, amateurish waste of time. It's as if a group of tenth graders were given a few million dollars to write and produce a movie based on a few paragraphs they read about Hannibal. Laugh, if you can. Otherwise, don't bother. It hurts watching as if it were a real movie.

It's 216 B. C. Hannibal (Howard Keel) is on the march to Rome. Fabius Maximus rules the city and loves Amytis (Esther Williams) although she's not as committed. She's much more fascinated with Hannibal and sets off to spy on him.

This is a comedy musical. A couple of things made me uncomfortable initially. First, they're doing the Heil salute. I get the Roman salute came first, but it is still a bit jarring. Then, they make light comedy out of slavery. The movie is not funny enough. It needs to be full spoof. It needs to be completely irreverent. Esther Williams doesn't strike me as the comedic type. Sure, she does some swimming. Her singing is old fashion and perfectly fine. This is in Technicolor with plenty of elephants. It's a big production with very few actual laughs.