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Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
Bill Benson and Ted Adams are to appear in a Broadway show together and, while in Paris, each 'discovers' the perfect leading lady for the plum female role. Each promises the prize role to the girl they selected without informing the other until they head back across the Atlantic by liner - with each man having brought his choice along! It becomes a stormy crossing as each man has to tell his 'find' that she might not get the role after all. Written by
When the film "DeLovely" recently rekindled my love for Cole Porter's music, I encountered this DVD on sale and thought it would make a great addition to my collection. It didn't. For the most part, what a clunker.
I realize that as great as the music is, "Anything Goes" is a bit dated as a musical, but this story, which has nothing to do with the original, is just dreadful.
In addition to the uninspired plot, the songs that were added by Sammy Cahn and James Van Heusen are remarkably banal. Even more so, when one compares them to the Porter originals left in. It's sad that anybody watching might actually think they were Porter's own.
Additionally, because of the prudishness of Hollywood, Porter's originals get censored too. An example of the lunacy is when, in a lyric, "4-letter word" becomes "3 letter-word." How trite can Hollywood be? 2 Porter songs in the beginning that get transformed into '50s-style jazz-dance numbers for the female leads lose all their charm from the butchery. The song "Anything Goes" has never been given a worse rendition.
Bing Crosby, in his last Paramount picture, sleepwalks through it. Jeanmaire is not much better (especially her acting). It is no surprise that her career gravitated back to France after this.
Mitzi Gaynor was her usual perky self, but the film gets saved somewhat by Donald O'Connor's presence and energy. The one Porter song that seems to have kept its charm is a nice Gaynor/O'Connor duet on "De-Lovely."
While Porter purists will retch over this film (which was probably what his reaction was after seeing it, especially the added songs), it does offer up a period glimpse of Hollywood choreography from the mid-50s, along with the previously mentioned duet.
Otherwise, it's the bottom, not the top.
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