ON THE TOWN
US, 1949, 98 Minutes, Colour.
Gene Kelly, Frank Sinatra, Jules Munshin, Vera- Ellen, Betty Garrett, Ann Miller.
Directed by Gene Kelly and Stanley Donen.
On The Town is considered one of the classic musicals of all time. Made by M.G.M. in the late 40s at a time when it excelled in musicals and had such resources as Fred Astaire, Gene Kelly, Judy Garland, Kathryn Grayson and others as well as directors like Vincente Minnelli and Charles Waters. Gene Kelly and Stanley Donen combined to direct this musical and went on to success with another classic, Singin' in the Rain (1952). They also made It's Always Fair Weather (1955). On The Town has the vitality of the personalities of Gene Kelly and Frank Sinatra and their singing and dancing. The feminine lead is Vera- Ellen who was emerging as one of the best of the dancing heroines. Ann Miller contributes her customary tap dancing style. Betty Garrett and Jules Munshin provide light comedy. The plot is most basic - three sailors an a one-day leave in New York and chasing the girls. However, it is done with touches of humour, satire and a genial atmosphere that is entirely winning. The inventive use of New York locations (unusual at the time) as well as clever editing make this classic musical comedy Hollywood style. The screenplay was written by Adolph Green and Betty Comden, writers of many musicals and comedies of the time. Much of the music is contributed by Leonard Bernstein who was to achieve such fame as conductor and composer from classical music to musical comedies like West Side Story. On the Town seems very dated in its presentation of American styles of the 40s. However, it is of great interest to those who appreciate the American musical.
1. Does the film deserve its reputation as one of the great musicals? What are its chief attractions, skills? The contribution of the cast, music, songs, choreography? The conventions of the American musical comedy? The cinematic presentation - New York locations, fantasy, editing?
2. The contribution of the talents of Gene Kelly and Stanley Donen, the stars, Leonard Bernstein's music? The place of this film within the long careers of these artists? The contribution to the cinematic presentation of dance, song? Gene Kelly's chorographical style and direction?
3. The traditions of the M.G.M. musical - style, gloss? How inventive and creative was this film? The break-through in the use of New York locations how well?
4. The use of the basic structure of the 24 hours' leave - the signs of the passing of time, the sailors and the beginning of the day, the desire to see the sights, the place of meeting the girls? Meeting, pursuit, interaction? How enjoyable as frothy light comedy? The serious undertones of man loves woman? Troubles and confronting difficulties? The crises to be overcome? The end and the sense of "this must continue"? The appeal, despite the hackneyed material? How fresh was the use of conventional material? Audience identification with the perennial appeal of the love story?
5. The songs: the introduction with 'On the Town' and its reprise throughout the film? The humorous museum song about the dinosaur and pre-historic man? The comic song with Betty Garrett and Frank Sinatra in the taxi? The 'Miss Turnstiles" song and ballet? The Empire State Building? "The Day in New York" ballet with Gene Kelly and Vera-Ellen? The night club song and dance about needing one another? The vivacity of the singing, dancing, comic styles?
6. Gab, Chip and Ossie as three American types? Three facets of the American sailor, of the American male? How well did the film suggest the lines of their character? Ossie and his verve, joking, especially with the prehistoric man, the infatuation with Claire? Chip and Frank Sinatra's young nervousness, being a buddy, being pursued by the lady taxi-driver, the genial warm-hearted young innocent type? Gab as hero, Gene Kelly as the genial leading man, falling in love, pushy with Ivy and then the courteous apology, the nice hero? A pleasant portrait of the American male?
7. The three girls and their presentation of the American woman? Ivy as the small-town heroine, pleasant and nice, working in the big city, paying for her lessons, being suddenly exalted to some kind of glory as Miss Turnstiles, unwilling to tell the truth about herself, pleased with the love of Gab, sharing his origins? Held! as the forward, wise-cracking type. the lady taxi-driver, pursuing her man, winning him in the end, saving the day - and even driving the car in the car chase.' Claire and learning.. wealth, modern and sophisticated. the city girl? (Lucy and the humorous comment on the intrusive room-mate, her cold and adenoids, her coming on the date - and this being made nice (sentimentally) with Gab's affectionate farewell and apology?) How well did these three girls give complementary aspects of the American woman?
8. The incidents chosen and the way they were developed - seeing the photo of Miss Turnstile, pursuing her? The encounters with the police? Learning the way up-town? The people met in the restaurants, especially the man that Claire paid to make Miss Turnstiles welcome? The car chase? Coney Island and its side-shows, personnel? The happy resolution within the Coney Island framework?
9. How well were the contrived pieces presented - the collage of New York during the opening song, the build-up of the car chase. the museum searching, the fantasy of the day in New York, the night-clubs and Coney Island?
10. How satisfying a piece of Americana?
