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Having just seen the Sutton Foster version on PBS (London, 2022) I was naturally curious about this 1936 film, which I'd never seen. Well, if you're at all familiar with the great Cole Porter score, which was featured in the original rendition on the Broadway stage (and ran for over a year - a long run in those days) forget this turkey. All but 4 of Porter's songs were scrapped, and what's left doesn't amount to much, the way they were treated in this film.

How do you not include Blow Gabriel Blow in a production of Anything Goes? How do you substitute songs not written by Porter into a Cole Porter score?

I suppose the only bright spot was Ethel Merman reprising her role on Broadway. Other than that, this thing is lamentable. If you don't know what Anything Goes is supposed to actually look and sound like, try to see a live production. Anywhere, even at a local community theatre. You'll be far more entertained than by watching this version.

Good points: -Jan Sterling -Topicality of the subject matter -Reliability of the supporting cast.

Bad points: -Kirk Douglas' performance is WAY over the top. A year earlier, he played the lead in Detective Story, and was more restrained (well, as restrained as Douglas ever got). The difference was quite possibly the director. Billy Wilder's style was often a bit more florid, whereas the great William Wyler (Dodsworth, The Letter, The Little Foxes, The Best Years Of Our Lives, Ben Hur) managed to get outsized actors to "bring it down." -The afore-mentioned Wilder. He directed many classics (Double Indemnity, Lost Weekend. Some Like It Hot). But also, some stinkers (Kiss Me Stupid, Avanti, a lousy remake of The Front Page). So his judgement wasn't always the best. Ace In The Hole makes that case.

On the stage, Guys and Dolls is the perfect musical. Terrific Damon Runyon characters, spectacularly funny dialogue, and brilliant music by the great genius Frank Loesser. From the time it debuted on Broadway in 1950, it drew raves, Tonys, and a moniker (see what I did there?) known as "bulletproof." I've seen it on stage at least 7 times - from major professional productions to amateur theatre. A delight each time. But this film version is an absolute dud. If you were to see a stage version, you would realize how grotesquely miscast Brando was. Sinatra didn't fare much better. These guys were the diametric opposite of what Runyon and librettist Abe Burrows had in mind.

The direction was horrible. Classic showstoppers ("Sue Me," "Sit Down You're Rockin' The Boat," etc) just fall flat. Appalling. The only saving grace, aside from Loesser's music were Vivian Blaine and Stubby Kaye, both from the original stage play.

Sorry, but you folks who gave this thing high marks are setting the bar WAY too low. Again, try to see it on stage. You'll thank me.