Young man falls for blonde heiress forced onto ship. Follows to rescue her, disguising as mobster's aide when realizing she's returning home and his boss is aboard.Young man falls for blonde heiress forced onto ship. Follows to rescue her, disguising as mobster's aide when realizing she's returning home and his boss is aboard.Young man falls for blonde heiress forced onto ship. Follows to rescue her, disguising as mobster's aide when realizing she's returning home and his boss is aboard.
Jack Adair
- Federal Man
- (uncredited)
Philip Ahn
- Ling
- (uncredited)
Storyline
Did you know
- TriviaW.C. Fields was replaced before filming began with Charles Ruggles.
- GoofsDuring "Sailor Beware," there is a shot of deckhands strumming guitars at a much faster tempo than the song itself, suggesting that it's stock footage from another film.
- Quotes
[first lines]
Reno Sweeney: [singing] In olden days a glimpse of stocking / Was looked on as something shocking, / Now, Heaven knows, / Anything goes!
[as she sings the words "anything goes", the title of the film appears onscreen]
- ConnectionsFeatured in Paramount Presents (1974)
Featured review
'Anything Goes' has always been one of my favourite Cole Porter musicals. The songs are some of his most memorable and catchy and the lyrics some of his cleverest.
This screen adaptation is slightly disappointing but also with plenty to enjoy. It is not among the best screen adaptations of his work (i.e. 'Kiss Me Kate') but not one of the weakest either (i.e. 'Can-Can'). The story is very lightweight and even more flimsy, and the grand production finale is a little overblown, the more lavish production values not quite meshing with the slightly less cinematic look where some lacking-in-finesse editing can be seen.
Porter's songs are simply wonderful and brilliantly sung by Ethel Merman and Bing Crosby, but did deserve better treatment. There are some glaring omissions and lyric changes to accommodate the censors meaning that the risqué naughtiness that made Porter's lyrics so clever is swapped for tamer and safer writing and, as much as one tries to judge on its own feet, it just doesn't feel the same.
However, apart from the editing it is a good-looking film, not lavish but nicely photographed in black and white and attractive enough costumes and sets. The music is wonderful, even with the changes and not quite feeling like Porter, and the choreography is never cluttered or leaden. The script is clever and witty, with some pleasing humour, and it's all solidly directed.
Nothing to fault with the performances. It is very easy to see why Merman was a triumph in her role here on Broadway, belting out powerfully in the title song (one of Porter's most famous classics for very good reason), "You're the Top" and particularly "I Get a Kick Out of You", the latter being the highlight of the film. Crosby looks relaxed and is charming, while Ida Lupino radiates in beauty and charisma and Charles Ruggles enjoys himself enormously.
To conclude, so much to enjoy but full potential is not quite met. 7/10 Bethany Cox
This screen adaptation is slightly disappointing but also with plenty to enjoy. It is not among the best screen adaptations of his work (i.e. 'Kiss Me Kate') but not one of the weakest either (i.e. 'Can-Can'). The story is very lightweight and even more flimsy, and the grand production finale is a little overblown, the more lavish production values not quite meshing with the slightly less cinematic look where some lacking-in-finesse editing can be seen.
Porter's songs are simply wonderful and brilliantly sung by Ethel Merman and Bing Crosby, but did deserve better treatment. There are some glaring omissions and lyric changes to accommodate the censors meaning that the risqué naughtiness that made Porter's lyrics so clever is swapped for tamer and safer writing and, as much as one tries to judge on its own feet, it just doesn't feel the same.
However, apart from the editing it is a good-looking film, not lavish but nicely photographed in black and white and attractive enough costumes and sets. The music is wonderful, even with the changes and not quite feeling like Porter, and the choreography is never cluttered or leaden. The script is clever and witty, with some pleasing humour, and it's all solidly directed.
Nothing to fault with the performances. It is very easy to see why Merman was a triumph in her role here on Broadway, belting out powerfully in the title song (one of Porter's most famous classics for very good reason), "You're the Top" and particularly "I Get a Kick Out of You", the latter being the highlight of the film. Crosby looks relaxed and is charming, while Ida Lupino radiates in beauty and charisma and Charles Ruggles enjoys himself enormously.
To conclude, so much to enjoy but full potential is not quite met. 7/10 Bethany Cox
- TheLittleSongbird
- Sep 17, 2016
- Permalink
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Details
Box office
- Budget
- $1,100,000 (estimated)
- Runtime1 hour 32 minutes
- Color
- Aspect ratio
- 1.37 : 1
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