Konterr Brilliant and touching

Solidrariol Am I Missing Something?

Hulkeasexo it is the rare 'crazy' movie that actually has something to say.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

mark.waltz Taking on a man's job as radio DJ, future camp movie musical star Annie Miller moves from supporting roles to leading lady and Columbia's big song and dance girl in this war collection of specialties by some of the hottest acts of the time. Ann Miller would go on to greater things years later at MGM and of course on Broadway, but her charm and innocence made for a fine second string lead at Columbia studios where, while no threat to Rita Hayworth or Jean Arthur, was definitely one of their top attractions.This is 75% music and 25% plot, but what is inside the shell is quite superb. Even Frank Sinatra pops up to sing Night and Day, and there's also Bob Crosby, the Mills Brothers and a novelty song called Cow Cow boogie witch has a music video out there somewhere involving cows lip syncing to the song heard here. It's a shame though that what was obviously a sound, or essentially an early music video, wasn't utilized in this movie because of the original songs, it is the most well remembered.Look sharp for Irene Ryan as Miller's co-worker who gets in a few funny Libes. Franklin Pangborn sneers hysterically at cracks for being a decade out of step with the times and the Radio Rogues, sometimes annoying, are amusing with their selections of imitations. Of course, this wouldn't be a successful World War II musical without the obligatory patriotic finale, and this is where Annie breaks out in tap shoes which she would later utilize with great abandon and in Technicolor, and sometimes backwards as well wearing high heels at MGM.

dougdoepke Rather subdued war-time musical, not as sparkling as other Miller vehicles, but still entertaining with some of the top musical acts of the time-- Duke Ellington's Take the A-Train, Bob Crosby's Big Noise from Winnetka, Frank Sinatra's Night and Day, along with The Mills Brothers, Count Basie, and my favorite, Ella Mae Morse's styling of Cow-Cow Boogie. The music is there, but somehow there's not the flair nor the energy that would normally be expected of these headliners. Miller gets a final production number and a belated chance to tap dance her way into our proverbial hearts, but the staging comes across on the skimpy side. I suspect the flaming "V" (rather too close to the stage curtain) at number's end was an attempt to compensate.Naturally, in a musical not much is expected from the story. Miller's yo-yoing between the radio station and the music store is somewhat amusing, as is her competition with the incomparably fussy Franklin Pangborn whose cartoonish eyebrows appear ready to jump off the screen. Irene Ryan (later, Granny, on the Beverly Hillbillies) has the best bits as the scatterbrained secretary. The romantic subplot is lame, to say the least, at the same time, leading man William Wright seems oddly to disappear from the movie's last half. In fact, the screenplay as a whole appears uncertain what to do with Wright and buddy Purcell once they're introduced into the plot.A couple of noteworthy sidelights. Good to see the presence of a backyard Victory garden, that staple of civilian support for the war effort. Then too, if food prices keep going up in 2008, we may see them returned and renamed Survival gardens. Note also how class differences between Wright and his chauffeur are symbolically eliminated in support of the common war effort. Finally, note the rather surprising downbeat ending with the boys marching off to war, leaving Miller looking unkissed and forlorn. Perhaps the rather subdued mood of the musical as a whole has to do with it being 1943 and a lot of boys and their girls having to face a very uncertain future. Though not the best Miller musical, there are compensations.

mkawagoye Just took another trip down memory lane by watching the 1943 movie, "Reveille With Beverly". A few of the details had been forgotten over the 64 years since the original viewing but the music was remembered! The reprise of the records which were so popular at that time and which kept wearing out turntable needles was a joy to the ears. The Mills Bros. (with John Sr instead of the original John Jr) were a soothing sound. Count Basie was a must with his 'One O'Clock Jump'. Bob Crosby with bassist Bob Haggart and drummer Ray Bauduc gave us "Big Noise From Winnetka". Then Duke Ellington and his great organization gave us his theme song, 'Take the A Train'. Frank Sinatra gave us a production staged rendition of ' Night and Day'. That is to say, it featured many violinists and pianists of gowned femininity. But the arrangement was the record which was so popular on a 78. Ella Mae Morse with the backing of Freddie Slack and his orchestra gave us the 'Cow Cow Boogie' in her own inimitable way. Finally the Radio Rogues were brought in to give us a smorgasbord of various popular radio performers of the time and of the past. There were the usual imitations of 'Lum and Abner'; 'Amos and Andy'; Kate Smith; Ben Bernie; Red Skelton; etc. Ann Miller finished up with a production number which was strapped by budget. If you like swing and remember WWII, this is a delight.

timothymcclenaghan Looking luscious at the age the ripe old age of 20, Ann Miller stars in this 1940s equivalent of today's music videos on MTV or VH1. The flimsy plot is just an excuse to string together musical performances of recording artists of that era.The musical performance by Frank Sinatra of Cole Porter's "Night And Day" is a noteworthy highlight. His stage is set with six lady pianists at grand pianos and six lady violinists.Although flimsy, the plot has some merit. Comic relief is provided by veteran character actors, Tim Ryan and Irene Ryan, along with perpetually persnickety Franklin Pangborn. You'll also recognize other character actors in this film.The film wraps up with a splendid tap dancing production number by Miller, to a patriotic World War II-era song.It's 78 minutes of nostalgia and worth watching just to see Miller at her loveliest. The print recently broadcast by Turner Classic Movies was in very good condition.