There are perhaps two things that set "Night and Day" apart from most musicals for me. One is the realistic way in which characters talk to and relate with one another; the writers have made their motivations very clear at all points. Then there is Michael Curtiz's sensitive and innovative camera-work. In my opinion, he brings out the story very strongly in appropriate and elaborate settings. Writing credit goes to Charles Hoffman, Leo Townsend, and William Bowers, who used material from the life of Cole Porter adapted by Jack Moffitt; the result is perhaps very poor biography but a very good thinking man's musical about an uncompromising composer. Jack Warner and line producer Arthur Schwarz deserve credit seeing the potential in this for this intelligent film. Difficult cinematography by Peverell Marley and William V. Skall, award level Art Direction by John Hughes, extraordinarily successful set decorations by Armor Marlowe and costume designs by Travilla and wardrobe by Milo Anderson only increase the believability and effectiveness of the film's colorful scenes. A comparison of this more realistic film to a similar "An American in Paris" is deserved and perhaps enlightening. "Boy strives for art career; boy avoids temptation of woman trying too hard to help; boy wins girl after professional success and some troubles"- -there's nothing new in this, perhaps, but the large and talented cast I say plays the story as if it had just been invented. Familiar faces such as Alan Hale, Tom D'Andrea, Selena Royle, Eve Arden, Henry Stephenson, Sig Ruman, Victor France, Paul Cavanagh, Herman Bing and Nick Stewart appear and disappear, but every one adds a jewel to the film's rich design in the form of a scene well-acted. Only Donald Woods and Dorothy Malone among the supporting players continue throughout the film. Monty Wooley has one of his best Hollywood parts here as himself; while Alexis Smith makes a marvel out of her part as the long suffering fiancée. Cary Grant tries hard and brings an earnestness to his Cole Porter that is finally surprisingly effective. Jane Wyman is very attractive and well-cast; Ginny Simms has four numbers, all inimitably sung, and shows talent as a romantic, comedic and character actress--none of capabilities which moguls ever let her do much of anywhere else. Mary Martin has single number, "My Heart Belongs to Daddy", and does well as both actress and singer. Other highlights of this long well-paced dramatic musical include Monty Wolley's "Miss Otis Regrets", "Begin the Beguine" presented as a tropical extravaganza, several fine versions of "Night and Day", and a dozen other songs that are familiar and given intelligent staging. Leroy Prinz's choreography is spot on as period work for the 1930s, featuring many arm movements, intricate turns. A scene in a New York music shop is for me one of the best scenes in the film, for dialogue, camera angles, acting and Ginny Simms' rendition of "What is This Thing Called Love". Other songs featured in the film include "In the Still of the Night", "Let's Do It", "You're the Top", "You Do Something to me', "I've Got You Under My Sin", "Don't Fence Me In", "Rosalie", "Anything Goes", "Just One of Those Things" and "I Get a Kick Out of You". This is a fine winter movie, one of the best musicals of all. "
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