IMDb > Anchors Aweigh (1945)
Anchors Aweigh
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Anchors Aweigh (1945) More at IMDbPro »

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Overview

User Rating:
7.2/10   4,855 votes »
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Director:
Writers:
Isobel Lennart (screen play)
Natalie Marcin (suggested by a story by)
Contact:
View company contact information for Anchors Aweigh on IMDbPro.
Release Date:
13 August 1945 (Brazil) See more »
Tagline:
On waves of song . . . laughter and romance ! Two love-lost sailors on a four-day leave of fun and frivolity ! See more »
Plot:
Two sailors, one naive, the other experienced in the ways of the world, on liberty in Los Angeles, is the setting for this movie musical. See more » | Add synopsis »
Plot Keywords:
Awards:
Won Oscar. Another 4 nominations See more »
User Reviews:
Flashy, funny, overlong... but Kelly shines through! See more (60 total) »

Cast

  (in credits order) (verified as complete)

Frank Sinatra ... Clarence Doolittle

Kathryn Grayson ... Susan Abbott

Gene Kelly ... Joseph Brady
José Iturbi ... Himself

Dean Stockwell ... Donald Martin
Pamela Britton ... Girl from Brooklyn
Rags Ragland ... Police Sergeant (as 'Rags' Ragland)

Billy Gilbert ... Cafe Manager
Henry O'Neill ... Admiral Hammond
Carlos Ramírez ... Carlos (as Carlos Ramirez)
Edgar Kennedy ... Police Captain
Grady Sutton ... Bertram Kraler

Leon Ames ... Admiral's Aide
Sharon McManus ... Little Girl Beggar
James Flavin ... Radio Cop
James Burke ... Studio Cop
Henry Armetta ... Hamburger Man
Chester Clute ... Iturbi's Assistant
rest of cast listed alphabetically:

Mimi Aguglia ... Old Lady (uncredited)
Paulita Arvizu ... Cashier in Café (uncredited)

Bobby Barber ... Salad Cook on Olvera Street (uncredited)
Harry Barris ... Sailor Asking Joe to Get Autographs (uncredited)
Joseph E. Bernard ... Old Doorman (uncredited)
Sara Berner ... Jerry Mouse (voice) (uncredited)
Steve Brodie ... Soldier (uncredited)
Alex Callam ... Commander (uncredited)
John Cannon ... Sailor (uncredited)
James Carlisle ... Test Director (uncredited)
Wally Cassell ... Sailor (uncredited)
Charles Coleman ... Iturbi's Butler (uncredited)

Douglas Cowan ... Sailor (uncredited)
Henry H. Daniels Jr. ... Sailor (uncredited)
Frank Darien ... Hollywood Bowl Janitor (uncredited)
Romere Darling ... Waitress (uncredited)
Joe Dominguez ... Man in Caé (uncredited)
Lester Dorr ... Assistant Director (uncredited)
Ralph Dunn ... Hollywood Bowl Cop (uncredited)
Virginia Engels ... Woman with Cop (uncredited)
Sam Finn ... Sailor (uncredited)
William Forrest ... Movie Director (uncredited)
Don Garner ... Soldier (uncredited)
Jane Green ... USO Mother (uncredited)

Eddie Hall ... Sailor Discussing Lola (uncredited)
Phil Hanna ... Sailor (uncredited)
Lottie Harrison ... Phone Operator (uncredited)
Jack Harvey ... Admiral (uncredited)
Joe Haworth ... Marine (uncredited)
Ben Heideman ... Mexican Cook (uncredited)
Robert Homans ... Old Cop (uncredited)
Gloria Hope ... Receptionist (uncredited)
John James ... Sailor (uncredited)
Milton Kibbee ... Bartender Serving Double Scotch (uncredited)
Nolan Leary ... Milkman (uncredited)
Ruth Lee ... Kindergarten Teacher (uncredited)
Orley Lindgren ... Boy (uncredited)
Jack Luden ... Assistant Director (uncredited)
Peggy Maley ... Lana Turner Impersonator (uncredited)

Gloria Marlen ... Woman (uncredited)
Frank Marlowe ... Shore Patrol Officer (uncredited)
Lock Martin ... Giant (uncredited)
Esther Michelson ... Hamburger Woman (uncredited)
Frank Mitchell ... Sailor (uncredited)
Connie Montoya ... Waitress (uncredited)
Forbes Murray ... Passerby (uncredited)
Billy Nelson ... Sailor (uncredited)
Bea Nigro ... (uncredited)
Robert Emmett O'Connor ... Cop (uncredited)
Garry Owen ... 2nd Soldier at USO (uncredited)
Netta Packer ... USO Mother (uncredited)
Milton Parsons ... Man with Beard (uncredited)
Lee Phelps ... Cop (uncredited)
William 'Bill' Phillips ... 1st Sailor on Pay Phone (uncredited)
Tom Quinn ... (uncredited)
Allen Ray ... Sailor (uncredited)
Paul Regan ... Marine (uncredited)
Renie Riano ... Studio Waitress (uncredited)
Sondra Rodgers ... Jean (uncredited)
Naomi Scher ... Waitress (uncredited)
Jerry Shane ... Sailor (uncredited)
Connie Starr ... Waitress (uncredited)

Ray Teal ... Assistant Movie Director (uncredited)
Tom Trout ... Sailor (uncredited)
Elinor Troy ... Tall Woman (uncredited)
Arthur Walsh ... Sailor (uncredited)
Jerry Warren ... (uncredited)
Claire Whitney ... USO Mother (uncredited)
Marjorie Wood ... USO Mother (uncredited)
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Directed by
George Sidney 
 
Writing credits
Isobel Lennart (screen play)

Natalie Marcin (suggested by a story by)

Produced by
Joe Pasternak .... producer
 
Original Music by
Calvin Jackson (uncredited)
George Stoll (uncredited)
 
Cinematography by
Charles P. Boyle (director of photography) (as Charles Boyle)
Robert H. Planck (director of photography) (as Robert Planck)
 
Film Editing by
Adrienne Fazan 
Thomas Richards (uncredited)
 
Art Direction by
Randall Duell 
Cedric Gibbons 
 
Set Decoration by
Edwin B. Willis (set decorations)
 
Makeup Department
Jack Dawn .... makeup creator
 
Production Management
Jay Marchant .... production manager (uncredited)
 
Second Unit Director or Assistant Director
George Rhein .... assistant director (uncredited)
 
Art Department
Richard Pefferle .... associate set decorator
Frank Wesselhoff .... painter (uncredited)
 
Sound Department
Douglas Shearer .... recording director
James Z. Flaster .... re-recording effects mixer (uncredited)
James Z. Flaster .... unit mixer (uncredited)
Robert Shirley .... re-recording and effects mixer (uncredited)
Newell Sparks .... re-recording and effects mixer (uncredited)
William Steinkamp .... re-recording and effects mixer (uncredited)
Michael Steinore .... re-recording and effects mixer (uncredited)
John A. Williams .... re-recording and effects mixer (uncredited)
 
Visual Effects by
Mark Davis .... matte paintings camera (uncredited)
Warren Newcombe .... matte paintings (uncredited)
 
Camera and Electrical Department
Irving Glassberg .... second camera (uncredited)
Sam Leavitt .... camera operator (uncredited)
 
Animation Department
Ed Barge .... animator (uncredited)
Kenneth Muse .... animator (uncredited)
Ray Patterson .... animator (uncredited)
 
Costume and Wardrobe Department
Kay Dean .... associate costume supervisor
Irene .... costume supervisor
Eugene Joseff .... costume jeweller (uncredited)
 
Music Department
Earl K. Brent .... vocal arrangements: Kathryn Grayson (as Earl Brent)
Sammy Cahn .... songs: Frank Sinatra
George Stoll .... musical director (as Georgie Stoll)
Axel Stordahl .... orchestrator
Jule Styne .... songs: Frank Sinatra
Pete Decker .... music mixer (uncredited)
Carmen Dragon .... orchestrator (uncredited)
Ted Duncan .... orchestrator (uncredited)
Robert Franklyn .... composer: additional music (uncredited)
Robert Franklyn .... orchestrator (uncredited)
Calvin Jackson .... orchestrator (uncredited)
M.J. McLaughlin .... music mixer (uncredited)
Joseph Nussbaum .... orchestrator (uncredited)
William Saracino .... music mixer (uncredited)
Herbert Stahlberg .... music mixer (uncredited)
 
Other crew
Henri Jaffa .... associate Technicolor color director
Natalie Kalmus .... Technicolor color director
Gene Kelly .... dance sequences created by
Joseph Barbera .... cartoon sequence (uncredited)
Jack Donohue .... dance director (uncredited)
William Hanna .... cartoon sequence (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
143 min | USA:140 min (DVD version) | West Germany:119 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Australia:G | Finland:S | Sweden:Btl | UK:U | UK:U (tv rating) | UK:U (video rating) (1988) (2005) | USA:Unrated | USA:TV-G (TV rating) | USA:Passed (The National Board of Review) | USA:Approved (certificate #10433) | West Germany:12 (nf)

Did You Know?

Trivia:
The first of three film pairings of Gene Kelly and Frank Sinatra.See more »
Goofs:
Continuity: While Joe Brady is sitting at the bar as the bartender keeps feeding him glasses of whiskey, he drinks the first and second glasses while talking to Clarence. The barkeep slides him a third glass, then a fourth. However, he never drinks the third glass. It simply disappears.See more »
Quotes:
[first lines]
Admiral Hammond:On behalf of your commanding officer I'm sure I can tell Mr. Jose Iturbi that the officers and crew of ship are grateful to him for coming here, to lead our naval bands in this ceremony.
José Iturbi:Along with every other civilian, it is I who am grateful to you, and to all the men in the United States navy.
See more »
Movie Connections:
Featured in Kisses (1991) (TV)See more »
Soundtrack:
We Hate to LeaveSee more »

FAQ

This FAQ is empty. Add the first question.
16 out of 20 people found the following review useful.
Flashy, funny, overlong... but Kelly shines through!, 14 October 2002
Author: gaityr from United Kingdom

ANCHORS AWEIGH sees two eager young sailors, Joe Brady (Gene Kelly) and Clarence Doolittle/Brooklyn (Frank Sinatra), get a special four-day shore leave. Eager to get to the girls, particularly Joe's Lola, neither Joe nor Brooklyn figure on the interruption of little Navy-mad Donald (Dean Stockwell) and his Aunt Susie (Kathryn Grayson). Unexperienced in the ways of females and courting, Brooklyn quickly enlists Joe to help him win Aunt Susie over. Along the way, however, Joe finds himself falling for the gal he thinks belongs to his best friend. How is Brooklyn going to take this betrayal? And does Joe end up with Susie, who loves him too?

The first and second times I saw ANCHORS AWEIGH, I also saw it at the same time as I did ON THE TOWN, the Kelly/Sinatra collaboration from 1949. Both times I felt that ANCHORS AWEIGH was the better film in terms of plotting and structure--all the dances and songs fit the moment in the plot, and they develop the characters and story rather than hamper them. Yet, both times I came away feeling that ON THE TOWN is the better film overall. Having now seen both films a third time, I still stand by that judgement. Somehow ON THE TOWN, as a film and a piece of entertainment, is just lighter, gayer, purely and simply *happier*. The numbers are more outrageous and less integral to the plot, and yet somehow it works better than all the dances and singing in ANCHORS AWEIGH. I'm not quite sure why this is. The typical argument is that the latter film is over-long: at almost two and a half hours, this is certainly a valid criticism to make. I certainly felt the length the first two times I saw it! However, it's also a film that grows on you--the more you see it, the shorter it feels and the more you appreciate the technical mastery involved in its making. And yet, something just doesn't hang together quite right. It feels almost as if the script was pored over, and *every* single moment when Kelly could break into dance or Sinatra into song was noted, and that's exactly what happened. No opportunity to shoehorn a musical number in was given up... and that's probably the film's biggest weakness. It has 16 numbers (give or take a few), and no matter how big a fan you are of Kelly or Sinatra, this really starts to turn one numb after a while. (Contrast this, for example, with the ten numbers in ON THE TOWN.) You might well feel that each song, each dance, can't be taken out of the film without leaving it lacking... and that's true. But that's also because the writers weren't more restrained in adding them in in the first place.

All this long preamble doesn't mean there's nothing good about ANCHORS AWEIGH. The musical *is* splashy with great songs bursting out all over, like the duets between Kelly and Sinatra ('We Hate To Leave', 'I Begged Her' and 'If You Knew Susie'), the singing of Sinatra ('What Makes The Sunset', 'The Charm Of You', and the best of all, 'I Fall In Love Too Easily'), and without a doubt the always inventive, always breathtaking dancing of Kelly. It's also hard to miss with a cast of this calibre. Grayson is sweet and seems to improve on each viewing (her voice becoming stunning rather than frightening); Jose Iturbi's role is written sympathetically and he does a great job with it; even Clarence's own Brooklyn, Pamela Britton, is cute and charming... as close as one could get to Betty Garrett without being Garrett herself! Sinatra is adorable with those blue eyes and curls of his, and plays the innocent boy-man wonderfully (a role he reprises in ON THE TOWN). His singing is, as usual, simply faultless from enunciation through to timing and phrasing. His solo numbers might seem to drag a little, but when you've got the voice of a century, showcasing it is probably as good a reason as any to slow up the rest of the film!

Gene Kelly's sheer genius in this film is worthy of its own paragraph. Third in the billing behind Sinatra and Grayson respectively, ANCHORS AWEIGH really is Kelly's film. His Joe Brady is a believable, real character--he's tough on the outside, glib and willing to lie when necessary to win a gal, but he's actually the biggest softy on the inside. Kelly makes this charming rather than cloying, but also gives Joe a real edge that you see in the scene when Joe chases Brooklyn around the room with a genuinely murderous look on his face and his breakfast tray in his hands. And the *dancing*--again, the film suffers from the 'too much of a good thing spoils the effect' syndrome, as it does with Sinatra's singing. But once again, if it's Gene Kelly doing the softshoe, or tapping across the screen in a sailor's outfit or dressed up as a bandit chief... might as well err on the side of overdoing it! All of Kelly's dances are breathtaking, be it the pared-down simplicity of his tap number with Sinatra to 'I Begged Her', his 'Mexican Hat Dance' with the sweet wide-eyed little girl, or his lavish Spanish-influenced dance 'La Cumparsita'. Of course, the classic image left in audiences' minds for all time would be Kelly in his red, white and blue sailor suit, dancing with Jerry Mouse of 'Tom & Jerry' fame. A well-deserved golden film memory, to be sure--it's not often that one can say you're impressed by the special effects in a film made in 1945, given the saturation of CGI in the contemporary film market. But Gene and Jerry still look great, with Kelly always hitting his spots and looking exactly where he needs to look. It *would* turn out that just about the only people who could really keep up with Gene Kelly would be Kelly himself (in COVER GIRL) and a cartoon animation.

It's doubtless that this first daring, inventive Kelly dance with Jerry has reserved a place for ANCHORS AWEIGH in film history and the hearts of classic film buffs. But it's also notable for being the first of three Kelly/Sinatra film collaborations, and though rather too drawn-out, still a great couple of hours of entertainment. Watch it first, then again and maybe again--it'll grow on you before you realise it! 7.5/10

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