Thank you so much to everyone who joined in our blogathon festivities! The weekend ended up a bit fuller than I'd anticipated, but I had so much fun. I hope you all did too! I'm looking forward to reading any posts I haven't been able to yet. Our list of entries is below. Make sure to check out everyone's lovely contributions and leave some nice comments sprinkled about. ;)
If we do this again does anyone have any ideas for who we should spotlight next? Or should I just leave it open for anything musical related? Would love to hear your thoughts on that.
Thank you again so much to everyone and see y'all soon!
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
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
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!
