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Nan Spencer is on a boat bound for Havana which runs aground. The man sent to rescue her is engaged and she doesn't understand his disinterest. Gambler is interested, to the annoyance of his girlfriend.
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In 1922, novice composer Kenneth Harvey arrives in New York from Kansas, hoping to publish his concerto; he meets speakeasy owner Danny O'Mara, who hopes to put on a broadway show. Ken's affairs take a turn for the better when he falls for singer Bonnie Watson. But while he labors on orchestration, O'Mara is surreptitiously adapting his tunes to the Greenwich Village Gaieties. Written by
Rod Crawford <email@example.com>
After seeing 'Greenwich Village' due to the cast, it was a film that did not disappoint and delivered just about what was expected. If one likes musicals from this period or of this type and take it for what it is, 'Greenwich Village' is most likely to be difficult to resist.
The story is flimsy, silly and occasionally feels disjointed in transitions, while parts of the script is by-the-numbers stuff. A bigger fault is the ending, which is so abrupt you can swear that there is no ending at all and that the film was made incomplete or something.
However, as is true of a number of Technicolor musicals made during World War II, as far as escapist entertainment goes and for anybody wanting a fun diversion to blow away any blues 'Greenwich Village' delivers. The film looks great, with lavish set and costume design, big, bold, rich colours that leap out at the screen that always dazzle rather than nauseate and photographed in a way that shows a lot of love and care.
'Greenwich Village's' songs are pleasant and tuneful, performed with spirit and choreographed in a way that doesn't feel overblown or routine. "Whispering" and Carmen Miranda's songs ("I'm Just Wild About Harry" being particularly notable) fare best.
Much of the script is snappy and has energy and wit, Miranda's broken English sparking the most delight. The film is solidly directed, and has its fun and charms.
Vivian Blaine and Don Ameche have to work with slightly bland characters but do a lot with them, Blaine brings polish and passion and Ameche charm and suavity. William Bendix is very funny, while also giving a touching sincerity. Then there's Miranda, who comes very close to stealing the film with her colourfully wild costumes and her hilariously nutty presence from her butchered English to her deliciously exaggerated facial expressions. Felix Bressart is a lively presence too.
In summary, fun and very enjoyable. 7/10 Bethany Cox
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