An American boy and a French girl run away from a Swiss school making for Paris to reunite with their parents. The boy's father and the girl's mother join forces, despite cultural differences, to search for their kids.
This is a movie where three entirely different stories are told though dancing. Words are not used and the style of dancing is different for each part. Kelly is a clown in the 'Circus'; a ... See full summary »
1947: Captain Jeff Eliott returns to Germany to thank the Lehrt family, who hid him during WW-II when his plane was shot down over Munich. However he learns that the parents died when their... See full summary »
Leo Gogarty marries Margaud Morgan after a whirlwind romance just before shipping out to war. When he returns he is surprised to discover not only that his bride is not what she led him to ... See full summary »
Gregory La Cava
Ted, Doug, and Angie are three ex-G.I.s who vow to meet again at a New York bar on October 11, 1955. They all show up on the appointed day, but quickly find that their friendship isn't what it used to be. However, a program coordinator wants to bring the three men together again on a live TV show. Circumstances are further complicated by a group of gangsters who are after Ted. Written by
The voice of the woman on the phone who dumps Kelly early in the film was dubbed by an uncredited Betty Comden. See more »
During the scene in the taxi just after Ted Riley (Gene Kelly) mentions Kid Mariachi to Jackie Leighton (Cyd Charisse), the street scene in the rear window of the taxi goes blank for about six frames. See more »
How strong! - - A one-two-three-four-five-six-seven-eight-nine-ten. Bong! Come on! - - You got me hangin' on the ropes!
Baby, you knock me out. You're the broad I applaud in a Broadway show...
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Keep in mind that the era of the movie musical was pretty much in the dust when IT'S ALWAYS FAIR WEATHER hit the screens in 1955. Yet the story is an odd hybrid for benign musicals, and a rather dark story of three GI's coming home from the war, vowing a loyal, buddy-buddy reunion, then, upon reuniting years later, realizing they have outgrown one another and have virtually nothing in common. There is a reunion dinner at a posh nightclub, and try as they might, hostility and acrimony flare up among the men as they gradually discern they have now little in common. The movie also teams Dan Daily and Michael Kyd with Kelly, a Grade A, winning combination for the few, but excellent numbers, they perform.
However, this movie should be seen for one and one reason only: Gene Kelly's dance on roller skates to one of the most beautiful tunes ever written by Comden and Green. As the story goes, Kelly had been searching for just the right opportunity to dance on skates in a film for years. Betty Comden has said she lived close to Kelly in Beverly Hills and that he had purchased skates years before at a hardware store near-by and that she'd watched Kelly take his daughter skating many times. It's not a stretch that Kelly spent a lot of hours imagining just where and when he'd do a roller skates number as he flew around Beverly Hills on wheels.
Another delight is the very robust and creative "trash can lids" number featuring Kelly, Dan Daily, and Michael Kyd. With a trash can lid stuck to one foot, the trio bounce up and down a street to a snappy melody while still in uniform. For those who thought lanky Dan Daily was "just another hoofer," this number proves he could hold his own with the best of them.
I have heard Comden and Green also relate the story that after the movie opened someone told them they had seen the film in a drive-in. "I knew that the end had come," (for the movie musical) commented Adolf Green.
IT'S ALWAYS FAIR WEATHER is very much worth seeing for being one of the last studio movie musicals of its kind. Moreover, the novelty of watching Kelly teamed with Dan Daily and Michael Kyd--the only time those three dancers appeared together--is supremely enoyable. IT'S ALWAYS FAIR WEATHER remains underrated to this day and serves as one of the final signposts for the demise of the great screen musical.
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