Movie Review // Anchors Aweigh (1945) with Gene Kelly, Frank Sinatra & Kathryn Grayson

I've been looking forward to doing this and debating what style would be best. It might lead to my posting at the eleventh hour, but I think I'll go with narrative this time. Seems like it'll be fun. ;)

This film was originally intended as a trio with several other Kelly films (i.e. On the Town and, I think, Take Me Out to the Ballgame), but due to Grayson and Sinatra being in both (and that I'm certain I first saw them within a month of each other) I also tend to put it alongside The Kissing Bandit (so it's neat I've been able to review them so close together too).

The opening credits start rolling to the beat of a fine, sweeping, militant marching tune (which indeed carries over to the rest of the film).

We're immediately looking down the instruments of a navy marching band (or orchestra? whatever it is it's big). The first person we see proper is Jose Iturbi -- in person -- playing himself. His character is one of my favorite parts of this entire film. He seems like such a kind man, with such a fascinating passion and zest and enjoyment for his calling, even when it looks like it could easily be overwhelming. But more of that later.

And... we meet Joe Brady, Gunner's Mate Second Class (Gene Kelly), and Clarence Doolittle 'Brooklyn', Seaman First Class (Frank Sinatra), both being awarded the silver star for extraordinary bravery. In recent action they stayed at their gun till the ammo was exhausted and then when Clarence was swept into the sea, Joe jumped in and saved him. (awwww....) They're also getting four days shore leave.

Afterwards, Joe and Clarence rub it in a bit with their compatriots below deck. I'm not crazy how Joe refers to women in general as 'dames' throughout most of the film, but his attitude does change over time (i.e. that's part of the whole conflict development).

Anyway. Where were we? Ah yes, they were singing and cavorting round below decks. Kelly and Sinatra do play off each other with perfect ease in this. Joe is pretty cocky at this point and Clarence (the shy choir boy turned sailor) is more awkward and insecure, but they go together like bourbon and whiskey (or so I've heard). 

After Joe makes a call to Lola, the girl he's trying to meet, and Clarence talks to the operator, they load up on the bus for Hollywood.

We then meet a nice young chap with a bright eye marching down the sidewalk in Hollywood, clearly out past his bedtime, and intent on joining the navy. He gets taken into the local station by a passing cop. 

Meanwhile Joe and Clarence are having a little set-to, as Clarence insists on shadowing Joe everywhere he goes. The interchange ends with Joe trying to give Clarence his first lesson in the arts of harnessing (well, first in finding) his inner tiger and impressing the ladies, but just as they're in the middle of it all they get hauled into the station too. The officer on duty hopes two sailors can charm the previously mentioned little boy into giving up his name and address. 

The ruse works and they end up escorting him home to where he lives with his aunt. They even (eventually, after some further wheedling on Clarence's part as well) agree to stay and put in a good word for him with Aunt Susie.

Despite all his protestations to the contrary, right off you can see Joe making a connection with Donald (the little boy).

(These two are literally a couple of babies, the both of them.)

Meanwhile, Aunt Susie (Kathryn Grayson) has been working as an extra in the movies, living in hopes of Mr. Iturbi maybe, one marvelous day, noticing her existence and maybe -- even - by some incredible stroke of good fortune, giving her an audition. 

But that doesn't happen tonight and instead she comes home to find her tidy house in somewhat of an uproar and two unknown sailors rather put out at having lost a large chunk of their evening (well, Joe anyway) to babysitting.

Clarence, though, is immediately smitten by Aunt Susie's charms.

End of story, they end up helping put Donald back to bed and Clarence sings him a lullaby. Leaving both Donald and Joe sprawled out asleep, he tiptoes downstairs to visit with Aunt Susie, but when Joe  soon wakes up he's not at all pleased about his entire evening being fried and he grabs Clarence and they exit the house at sixty miles an hour.  

Clarence now wants Joe to help him win Aunt Susie. Only Joe isn't interested himself (or in encouraging his best friend) in building relationships with the sort of girls who expect more than an exciting night out on the town. So they leave Aunt Susie's house behind and end up sitting alone together downtown as the evening winds down to a close.

They crash for the night at a hostel for servicemen, but before heading to bed comes a quick song with Joe and Clarence spinning a yarn out of whole cloth regarding their evening activities, followed by a high powered, foot tappin' number finished off by jumping down the long row of beds -- which is always a winning move. (I know dancing wasn't Sinatra's strong suit, but he does an excellent job keeping up with Kelly in here and I think they really compliment each other. And the navy uniforms work well.)

Due to some devious maneuvering on Clarence's part, Joe ends up sleeping in the next morning and of course a funny little kafluffle follows when he does wake up. XD After first vehemently refusing to go back to That House Wherein Resides Aunt Susie, Joe is soon on his way with Clarence, arms piled high with gifts. Donald's not there, but Aunt Susie tells them a sad little bit of their family history and also about her own dream of getting to sing.

After succeeding in setting up a date for Clarence, they're on their way out the door when they cross paths with a strange (apparently wealthy and slightly self-absorbed) gentleman coming in. And here they proceed to royally Put Their Foot In It.

Coolly and nonchalantly, they walk back into the house and make themselves at home before sitting down at the piano and (when she's out of the room) proceeding to improvise an entire song on Aunt Susie, intended to scare off this unwelcome interloper -- which, of course, is dastardly of them, but it does become a pivotal plot point. The tune itself is bouncy and catchy and the back and forth improv between the two is exceptional. 

(Troublemakers.)

The stranger reacts with shock before leaving in a huff. And now they're right in the pot. That Man was going to take Susie to dinner and (via his mother in the Philharmonic Society) possibly be her golden ticket to an audition. (By the by, I love all her southwest/south of the border inspired ensembles. We'll have a better pic later, but the flowers on this gown look like they've actually been painted. Quite something, isn't it?)

And now Joe's in trouble in more ways than one. But, quite heedless, in trying to patch things up he continues putting his foot in it by declaring that Clarence is good friends with Iturbi and can easily get her that audition. Uh oh.

Skipping forward, we move to dinner at the local market square and the warm and welcoming Mexican restaurant where Aunt Susie is like one of the family. (This is actually one of my top favorite locations/atmosphere/what I love about this whole film, so I'm so happy to have finally arrived! And I'd say about half the rest of the movie revolves round this location, with good reason, as you shall see. So yes, very happy about that. Whoohoo!)

Ok, onward!

Because now it's Aunt Susie's turn to make their jaws drop.

He won't admit it, but Joe's just been swept off his feet.

Due to Clarence being uncertain of his dancing abilities with a partner, Joe and Aunt Susie end up dancing. During the course of which Clarence is haranguing himself alone at the table for being a coward and, of course, breaking into wistful song. 

And now The Girl from Brooklyn enters. Clarence can't string three words together with Aunt Susie, but when TGfB comes on scene the words just start tumbling out. It's like peanut butter and jelly from the instant they meet. Or matches and firecrackers more like.

And I'm not sure what to call it when it's more than a love triangle (a love quadrangle?), but -- as Aunt Susie is falling for Joe, without his being aware of it -- we soon have a romantic mess x 4. (Well, actually, both girls are pretty clear sighted about what's happening the whole time, our two sailors are the ones tripping over themselves and each other.)

Come the morning, Joe and Clarence have the daunting, near Herculean task of making good on their rash promise by trying to get a word in with Iturbi -- big, important man that he is with a packed schedule and closely guarded by bustling assistants.

And here, following Iturbi round during his day, we get treated to some AMAZING musical rabbit trails. *cue happy smiles over another major favorite thread in this film* Iturbi seems so genuine and down to earth; his warmth and good humor fairly radiate off the screen.

(In the middle of all this, Joe visits Donald at school and we have the whole Tom & Jerry sequence, especially of interest if you're at all fond of the cartoon. I understand some folks don't feel there's enough Tom in it, but it's still cute and very well done.)

Back to trying to get in touch with Iturbi... Due to Iturbi's self-depracation, we have a whole case of mistaken identity, even as Clarence does a musical number with him. (Love this part, even as I'm shouting at the screen, "Just tell him!!!!" And.... I've just realized the whole mistake doesn't really make sense as Clarence had already seen him once at the award ceremony. But he was at attention looking straightforward during all that, so I guess we'll give him a break. Forget I mentioned it. ;P)

Clarence goes off to dinner again with Susie and while he's waiting for her to arrive, Brooklyn meets Brooklyn again. (And there's a whole romantic little incident involving soup, which is too cute, but I've gotta leave something for you to discover. Suffice to say, he's a goner. ;D)

As the action's unfolding inside the restaurant, Joe is wandering round the plaza outside -- trying to be a good friend and let Clarence have a chance. And so we're treated to this splendiferous dance. 

It's SO SWEET! My second favorite dance in this film and one of my top favorite dances entirely. <3 :D

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<3

I'm trying to not get us bogged down here, but I do have to mention this incredible simultaneous multi-piano recital (featuring like 19 grand pianos in the Hollywood Bowl). 

Approaching the climax, J&C decide to make a clean confession to Susie and Joe goes off in search of her, while Clarence stays in the Hollywood Bowl and sings a big romantic solo on the piano. 

Then he just decides that's it and flies to the Girl from Brooklyn. 

He's found his inner tiger and it's bursting out of its cage. (translation: a big kiss and serious heart to heart, forthright conversation about the Convoluted Mess as seen from his end ;)) It is a mess, but Susie obviously thinks of him almost like a brother/a good friend and The Girl from Brooklyn is so perfect for him... so it really all works out with no feelings hurt anywhere. And it's adorable. 

Meanwhile, Joe has found Susie and is getting seriously sidetracked from his mission, landing in a charged, romantic scene of his own. And.... hence we arrive at the climactic dance of the entire film aka One of My All Time Top Favorites.

A spot of hotblooded, passionate Spanish dancing... all while wooing an imaginary princess in her tower (i.e. with hints of Zorro). Yup, it's definitely somethin' else. And yup, you know it's going to be one of my favorites. :) ;) <333

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Ok, pulling ourselves back to the story proper. Joe and Susie are now a pair of lovebirds, but now Joe and Clarence have to have a straightforward talk to sort things out between them, in the process of which... they realize they still didn't tell Susie about the whole Iturbi mess. Disaster is on the horizon.

A bit of to and fro-ing ensues, but the upshot is that the next morning Susie finds herself sitting next to the great musical director himself.

And then -- just as she's figuring it out and the whole thing is unraveling -- Iturbi steps in, being all kind and understanding, and saves the day.

Susie gets and nails her audition. (You can't get this shot without the fade in and I actually really like it.)

Meanwhile, Joe and Clarence are back aboard ship, sitting below decks, and both feeling pretty fairly glum as (though all is smooth sailing in Clarence's quarter) they're both feeling awful about what they think Susie must be going through.

And then once again, Iturbi saves the day. Amidst all the romantic misdirections and misunderstandings, he's just so mature and sensible.

And guess what? We're tying off the story neatly at another navy concert, and with both our sailors in the arms of their respective lady. 

Hurrah for much happiness everywhere!! ;) *dancing a jig*

~

Ok, now I think my brain is officially going into hibernation mode, but I'll wrap up by saying that at two hours and twenty minutes this is a bit longer than others, and honestly you can feel it at times (I'd definitely forgotten how much that alone would factor in to how long this'd take to finish! ;P), but I think it's mostly due to the Tom and Jerry part + having three (really four!) main leads and all of them having multiple spotlight sequences. 

And I'd say it's definitely family friendly. :)

Tell me! Have you seen and enjoyed this one? I can't wait to hear your thoughts!