I had seen this film years ago, but barely remembered it. The only thing that impressed me then was how vivid the Technicolor looked. Well, in this version that was shown by TMC, the colors had faded, to the point that, at times, it had the 'look' of a recolored picture.
Whatever possessed Michael Curtiz to direct this film is beyond imagination. Maybe it was in his contract, because otherwise it made no sense, as it broke no ground. At times, the impression we get it that we're watching the type of videos that some studios made from popular songs.
The film asks a lot from us. First of all, Cary Grant never ages! We see him as a student at Yale in his early twenties. Later on, at the height of his popularity, he still hasn't changed at all. We get hints about his being gay by the way he plants a couple of chaste kisses on Jane Wyman's nose. In the scenes with Alexis Smith, Cary tends to give her pecks in the cheek; Cole never knew the art of French kissing, even though being such a Francophile.
The film is not terrible, only that it stretches the facts for its own benefit. Of course, Hollywood of that era wouldn't touch any risky subject with a mile long pole. After watching this film, anyone will be confused as to who Cole Porter was. Cary Grant is a bit stiff playing Cole, maybe because of the direction? Alexis Smith was a gorgeous woman. This must have been one of her earlier films and it shows.
The singing was excellent. Ginny Simms passes for Ethel Merman, the original performer in a few Cole Porter musicals. Ms Simms cuts quite a figure and she is an asset, but Hollywood wouldn't give credit to the talented Merman, who could belt a song better than anyone around. Monty Woolley, playing himself, comes out better. Jane Wyman is a welcome addition to the film. Mary Martin was delightful as herself. Also Eve Arden makes us like her Gabrielle.
Perhaps we have to wait for the new film with Kevin Kline on the subject and compare it with this one.
Whatever possessed Michael Curtiz to direct this film is beyond imagination. Maybe it was in his contract, because otherwise it made no sense, as it broke no ground. At times, the impression we get it that we're watching the type of videos that some studios made from popular songs.
The film asks a lot from us. First of all, Cary Grant never ages! We see him as a student at Yale in his early twenties. Later on, at the height of his popularity, he still hasn't changed at all. We get hints about his being gay by the way he plants a couple of chaste kisses on Jane Wyman's nose. In the scenes with Alexis Smith, Cary tends to give her pecks in the cheek; Cole never knew the art of French kissing, even though being such a Francophile.
The film is not terrible, only that it stretches the facts for its own benefit. Of course, Hollywood of that era wouldn't touch any risky subject with a mile long pole. After watching this film, anyone will be confused as to who Cole Porter was. Cary Grant is a bit stiff playing Cole, maybe because of the direction? Alexis Smith was a gorgeous woman. This must have been one of her earlier films and it shows.
The singing was excellent. Ginny Simms passes for Ethel Merman, the original performer in a few Cole Porter musicals. Ms Simms cuts quite a figure and she is an asset, but Hollywood wouldn't give credit to the talented Merman, who could belt a song better than anyone around. Monty Woolley, playing himself, comes out better. Jane Wyman is a welcome addition to the film. Mary Martin was delightful as herself. Also Eve Arden makes us like her Gabrielle.
Perhaps we have to wait for the new film with Kevin Kline on the subject and compare it with this one.