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Anchors Aweigh

Anchors Aweigh (1945)

August. 13,1945
|
7
|
NR
| Comedy Music Romance

Two sailors, Joe and Clarence have four days shore leave in spend their shore leave trying to get a girl for Clarence. Clarence has his eye on a girl with musical aspirations, and before Joe can stop him, promises to get her an audition with José Iturbi. But the trouble really starts when Joe realizes he's falling for his buddy's girl.

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Ensofter
1945/08/13

Overrated and overhyped

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Tacticalin
1945/08/14

An absolute waste of money

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Murphy Howard
1945/08/15

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

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Casey Duggan
1945/08/16

It’s sentimental, ridiculously long and only occasionally funny

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chenxiaomao
1945/08/17

Full of fun love comedy story, combined with the right song and dance makes more than two hours of film joy. The middle section of the song and dance show Jean Kelly and the reality of the most impressive and the pool side of the dance with the little girl is perfect. Two people together to sing and dance good passages. Separate part of a bit long, but the movie feature is a long time, why even Hungarian Rhapsody to complete again. When I remember this is the first time to see a real person and the role of the animation show, then feel very fresh. Three happy sailors and three warm, silly girls, this is the most fun I have ever seen. The film also set off the victory of World War ii.

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ninabruzdzinski
1945/08/18

Surprisingly, I loved this movie. I'm not huge on musicals, but this movie was done incredibly well. Clarence and Joe were so lovable and such a great duo together. Donald was adorable and really pulled at my heartstrings. The kindness and silliness of Joe and Clarence as a pair was refreshing and I had a smile on my face the ought the entire movie. The songs were fun and light, and I think that's such a great thing to add to movies filmed during this time period. War was so embedded in the every day lives of people, it must've been a nice relief to enjoy leisure time and see a different side of the war- and how soldiers were real people too, and wanted the war to be over more than anyone. I also especially loved the high angles and panning of all of the pianists playing their piano on the stage towards the end of the film, it was a beautiful touch.

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Videoguy7579
1945/08/19

I like those old MGM musicals - Gene Kelly, Judy Garland, and the gang - but this was not one of them. At a bloated 2 hours and 23 minutes, it goes on long after it should have ended. It seemed like every three minutes, there was some excuse for a musical number. People would just up and sing. Jose Iturbi is a fantastic pianist, but there are so many times that the plot takes a back seat for him to play the piano. Interminable dance routines. All of this gets distracting. Kathryn Grayson is extremely tolerant of these strange sailors who barge in and out of her house, lie to her, and interfere in her private affairs.The only parts that are worth tuning in for is the wonderful cartoon sequence with Tom & Jerry, as well as Iturbi's performance at the Hollywood Bowl accompanied by a group of teenage virtuosos.

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lasttimeisaw
1945/08/20

I will not thumb my nose's at the usually stock Hollywood musicals, not with a combo of Sinatra's mellow show-tunes, Kelly's choreographic moves and Grayson's soprano renditions. Although screenwriter Isobel Lennart does not care a damn of the plausibility in the storytelling, but if you can swallow that, ANCHORS AWEIGH might find its comfy niche in overwhelming its contemporary viewers with its blatantly gaily romance and a cornucopia of vaudevillian assortments.An Oscar BEST PICTURE nominee (5 nominations and 1 win for George Stoll's music score), directed by versatile and prolific Hollywood journeyman George Sidney, my second film from his filmography after SCARAMOUCHE (1952, 6/10), ANCHORS AWEIGH runs approximate 140 minutes, collects an ever-high-octane Gene Kelly (it comes as a big surprise that he had earned only one Oscar nomination through his entire career, which is from this film), third-billed from the opening-credit, who however, splendidly embraces his efflorescence by spearheading as a multifaceted showman in transmitting his vigor and life-force into this otherwise average hedonism burlesque, the highlight surely is Kelly's duo dance with Disney's Jerry Mouse, a technique pioneers the animation-cum-live-action trend, and it is seamlessly dovetailed with utter originality, to which one can barely imagine how audiences could react during its premier over 70 years ago. And what's more relevant to present viewers, now we can realize from where the archetype of Jean Dujardin in THE ARTIST (2011, 8/10) comes and Kelly is much more competent. Sinatra in his incipient thirties, willowy as ever, his character may be flat and dopey, once he sings, one just wonders how miraculous is his slender figure could hone up to a marvelous instrument and produce that voice! Almost the same can be applied for Grayson only if she could veil her obvious contempt every time being addressed as "Auntie Susan". Apart from the triad, among the supporting group is a genial Spanish conductor José Iturbi plays himself, his symphony of Liszt's Hungarian Rhapsody No. 2 with a dozen of pianists is a plain grandstanding but also a virtuoso achievement beside the point. And if I haven't perused the credits, I can never suspect that the young boy is Dean Stockwell, his big screen debut, also for Pamela Britton, unfortunately she doesn't even has a name in the film and billed as the girl from Brooklyn.

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