'Anything Goes' has always been one of my favourite Cole Porter musicals. The songs are some of his most memorable and catchy (with a title song that almost everybody knows most likely) and the lyrics some of his cleverest.
The first screen adaptation, from 1936 also featuring Bing Crosby, wasn't perfect and wasn't a completely faithful treatment of the stage musical, with the risqué naughtiness of the lyrics being toned down. There was plenty to enjoy however, as the cleverness of the script wasn't lost and the performances across the board were terrific. While there were liberties taken with that version, they were nothing compared to this second adaptation from 1956 which is so loosely adapted that it's almost unrecognisable.
It is watchable certainly. Apart from the over-reliance on medium shots, the Technicolor is ravishing and visually in terms of editing it is slicker than the earlier version. Production values generally are more lavish without being overblown. The Roland Petit-choreographed ballet danced by Jeanmaire is very impressive. Of the performances, the standouts are Donald O'Connor and Mitzi Gaynor. O'Connor plays his role with such endearing zest and Gaynor is even more of a joy. Phil Harris makes the most of a thankless role that doesn't add as much as it had potential to.
Bing Crosby however, despite singing an absolute dream, looks nowhere near as relaxed as in the earlier version and seems disinterested and like he'd rather be someplace else. Jeanmaire dances impressively, but shows her limitations as a singer and plays her role far too coldly. The direction is heavy-footed and really does lack the lightness of touch needed, while the script, which is actually very clever and funny in the source material, is as flat as the soggiest of cucumber sandwiches.
One will say that nobody watches a musical for the story. In some way, that is true, because there are a lot of musicals where the stories are the weak point and are more than compensated by everything else. In this case however, it is not so easy to forgive due to very leaden pacing, a too long and over-stretched length and too many pointless additions, even thinner, sillier and flimsier than in the 1936 film. The last thirty minutes feel rushed and the ending on the tacky side.
While film musicals and anything should be judged on their own terms, the treatment of Porter's timeless songs with the updated arrangements making the songs lose some of their infectiousness and the lyrics are even blander and even less naughty than in the earlier film adaptation to the extent that it doesn't feel like Porter at all. The songs themselves are great, it's just that the arrangements don't do them justice (with the sole exception of "De-Lovely") and there should have been much more of them. The additional songs not written by Porter are too at odds with Porter's style and are nowhere near as inspired, "Ya Gotta Give The People Hoke" in particular is an embarrassment and should have been left chopped up on the editing room floor.
All in all, flat second adaptation of a classic Cole Porter musical. Before seeing this, 'Can-Can' was the weakest screen adaptation of any of Porter's work, as of now this dethrones it for that dubious distinction. 4/10 Bethany Cox
The first screen adaptation, from 1936 also featuring Bing Crosby, wasn't perfect and wasn't a completely faithful treatment of the stage musical, with the risqué naughtiness of the lyrics being toned down. There was plenty to enjoy however, as the cleverness of the script wasn't lost and the performances across the board were terrific. While there were liberties taken with that version, they were nothing compared to this second adaptation from 1956 which is so loosely adapted that it's almost unrecognisable.
It is watchable certainly. Apart from the over-reliance on medium shots, the Technicolor is ravishing and visually in terms of editing it is slicker than the earlier version. Production values generally are more lavish without being overblown. The Roland Petit-choreographed ballet danced by Jeanmaire is very impressive. Of the performances, the standouts are Donald O'Connor and Mitzi Gaynor. O'Connor plays his role with such endearing zest and Gaynor is even more of a joy. Phil Harris makes the most of a thankless role that doesn't add as much as it had potential to.
Bing Crosby however, despite singing an absolute dream, looks nowhere near as relaxed as in the earlier version and seems disinterested and like he'd rather be someplace else. Jeanmaire dances impressively, but shows her limitations as a singer and plays her role far too coldly. The direction is heavy-footed and really does lack the lightness of touch needed, while the script, which is actually very clever and funny in the source material, is as flat as the soggiest of cucumber sandwiches.
One will say that nobody watches a musical for the story. In some way, that is true, because there are a lot of musicals where the stories are the weak point and are more than compensated by everything else. In this case however, it is not so easy to forgive due to very leaden pacing, a too long and over-stretched length and too many pointless additions, even thinner, sillier and flimsier than in the 1936 film. The last thirty minutes feel rushed and the ending on the tacky side.
While film musicals and anything should be judged on their own terms, the treatment of Porter's timeless songs with the updated arrangements making the songs lose some of their infectiousness and the lyrics are even blander and even less naughty than in the earlier film adaptation to the extent that it doesn't feel like Porter at all. The songs themselves are great, it's just that the arrangements don't do them justice (with the sole exception of "De-Lovely") and there should have been much more of them. The additional songs not written by Porter are too at odds with Porter's style and are nowhere near as inspired, "Ya Gotta Give The People Hoke" in particular is an embarrassment and should have been left chopped up on the editing room floor.
All in all, flat second adaptation of a classic Cole Porter musical. Before seeing this, 'Can-Can' was the weakest screen adaptation of any of Porter's work, as of now this dethrones it for that dubious distinction. 4/10 Bethany Cox