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6/10
Old King Cole filled with Broadway rhythm.
mark.waltz31 January 2017
The rising medium of TV took audiences to Broadway without leaving their own living room in the mid 1950's, and that year, they paid great tribute to Cole Porter. Bert Lahr and Ethel Merman joined forces with Sinatra for a rousing "Anything Goes", Merman rode high as "Panama Hattie", an all star cast provided the great Porter American songbook in a revue dedicated to him, and Lahr went down Milton Berle territory by dressing in comical ugly drag in this, one of Porter's big hits that is now forgotten. Lahr is joined by "Guys and Dolls" star Vivian Blaine and rising movie dancer Gene Nelson, on the verge of co-starring in the film version of "Oklahoma!"

The plot is as convoluted and silly as many 1930's and 1940's musicals and is scarcely worth trying to describe. It deals with three soldiers hiding out from their suspicious wives, and their attempts to find them to make them jealous. Nelson and Blaine are utilized as "chaperones", with Lahr playing a double role. Some Porter standards are thrown in to the deletion of much of the original score, showing the insecurity of early TV producers, directors and writers. With professionals like the three leads performing and clowning along with James Gleason, Betty Furness and Virginia Gibson) it is still a very entertaining hour, showing that simplicity and old fashioned sentiment often works over flash and pizazz.
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3/10
A bomb and a bust.
ilprofessore-128 December 2021
Lots of very talented people, frantically directed by TVs Sid Smith, can't make this shortened 1954 adaptation of a successful 1941 Broadway show, once starring Danny Kaye and Eve Arden, sparkle. But look at the on-screen talent! Bert Lahr, Vivian Blaine, Gene Nelson, Betty Furness, Gloria Jean, and James Gleason all put their trouper's heart and soul into punching bad jokes by Broadway veterans Herb and Dorothy Fields, brother and sister, and singing songs by Cole Porter, some from other shows. Director Smith keeps them all running around the stage as if constant movement will make up for a second-rate book. Typical of wartime musical comedies of the period, the soldiers-on-leave plot is stupid beyond words, and almost all the jokes and silly situations , what might have been amusing then falls flat a decade later. The comic relief in the TV version is supplied by the great Lahr and his eager sidekick, Bob Strauss. Both keep mugging outrageously. Lahr, the great clown he was, can somehow get away with it, but Strauss is an embarrassment. Gene Nelson, the romantic lead, is attractive, can sing and dance, and tries hard, but he was no Danny Kaye. Then again, who was?
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