On the Town (1949) - film review

Once their ship has docked in New York Harbour, three sailors – Gabey, Chip and Ozzie – head straight for the thundering heart of the city, determined not to waste one second of their 24 hours’ shore leave.  Whilst Chip is set on fulfilling a childhood dream to visit all of New York’s tourist attractions, his two friends have other beauty spots on their mind, those of a distinctly feminine variety.  On a subway train, Gabey glimpses a poster of a young woman who has just been christened Miss Turnstiles and is smitten by her.  By chance, he gets to meet her in the flesh a few minutes later, although he does not yet realise that she is not a star but an unknown hoofer named Ivy Smith.   When the woman of his dreams disappears into the rush-hour crowds, Gabey resolves to find her, and his two friends reluctantly agree to help.  Along the way, Chip becomes the unwilling object of desire for an over-sexed woman cab driver, Hildy Esterhazy, whilst Ozzie finds himself cast as the perfect specimen of the primitive male for dedicated anthropologist Claire Huddesen.  With Chip and Ozzie busily occupied with their ardent female admirers, Gabey ends up having to find his beloved Ivy by himself, aware that time is fast running out...

One of the most lively and enjoyable of the great MGM musicals, On the Town can hardly fail to please, particularly as it offers the dream pairing of Gene Kelly with Frank Sinatra and a plethora of glitzy adrenalin-pumping song and dance numbers.  With music by Leonard Bernstein and lyrics by Betty Comden and Adolph Green, many of these numbers have become all-time classics, and include the hit New York, New York, a song which has practically become the city’s anthem.

The film marks a significant break with musical tradition in that much of the action, including some of the song and dance numbers, takes place in real locations.  Gene Kelly originally intended that the entire film be shot on location but MGM boss Louis B. Mayer was adamant that it would be a studio-only production.  A compromise was ultimately arrived at whereby one week would be given over to filming at recognisable New York locations.  The breakneck pace and sense of urgency that infects the film is a probably a direct consequence of the insane timescale for the location shoot.

On the Town was the first of three classic musicals which were directed by Gene Kelly and Stanley Donen.  It was followed by Singin’ in the Rain (1952), arguably the greatest of the MGM musicals, and the lesser known but just as enthralling It’s Always Fair Weather (1955).  Whilst it has some superlative music and great set-pieces – including a stunning ballet sequence summarising the main narrative – On the Town is weak on plot and character and consequently feels aimless and contrived, not that this matters much.  With exuberant contributions from the two iconic stars and their talented supporting artistes (particularly Ann Miller, a tornado in human form), the film is a rapturous breeze which perfectly evokes the raw energy and relentless pace of life in the great American metropolis.

© filmsdefrance.com 2009

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