Sinatra knows nothing about girls--much like in "On the Town" best when NOT doing the fantasy sequences

"Anchors Away" is the movie made famous by Gene Kelly's very famous dance number with Jerry Mouse (from Tom & Jerry fame). However, to me this and other fantasy sequences in the film are among the least entertaining aspects of the film. Why? Because although well done, they really have nothing to do with the plot and seem out of place. Perhaps these numbers should have been released as shorts on their own--of course, what do I know?

The film begins with a ship coming into port and a couple sailors, Clarence (Frank Sinatra) and Joe (Gene Kelly),are out on the prowl for some 'dames'. Just like in "On the Town" (another musical from MGM where the two are sailors on the prowl),Kelly plays the ladies' man and Sinatra plays the very shy guy--and you almost wonder if "On the Town" was meant to be a sequel. Joe is so sure of himself that he promises to get Clarence a girl. Unfortunately, on the way to find women, they meet a cute runaway kid (Dean Stockwell) and they take him home. Soon, his guardian, Susan (Kathryn Grayson) arrives and Joe wants to leave. But Clarence is infatuated with her--and Joe decides, reluctantly, to stick around and help Clarence with Susan. However, to impress her, Kelly makes up a HUGE lie involving her getting an audition with the famous pianist, José Iturbi. Much of the rest of the film is spent trying to get her the interview as well as seeing both men (naturally) fall in love--just not the way they planned.

I really like this film. The characters were good but I particularly liked the screwy plot. Plus, the film had a bit more plot than many musicals. As I mentioned above, there were two fantasy sequences, however, that were great but had nothing to do with the film. Without them, the film would have been tighter and more to the point. It also helped that the ending with Iturbi was quite funny--and worth the wait. All in all, a very nice musical--full of lovely songs (particularly Sinatra's wonder numbers and Iturbi's amazing piano pieces). It has all the glitz, sparkle and color you can expect from MGM--and then some.

Anchors Aweigh is not a favourite of mine by all means, but I do enjoy it. It is overlong, the story is somewhat slight and the dialogue is unexceptional. Despite its failings, it is enjoyable. The production values are pleasing to the eye, while the score and songs are very pleasant and the choreography sprightly. The direction is good enough, while the pace while slightly mannered I had little problem with, as there are certain delights that stop the film from being dull. The cast, dancing and singing are excellent. Gene Kelly is always likable and here is no exception, while Frank Sinatra delights with his beautiful voice and and Kathryn Grayson is graceful and beautiful. The real delight though is the film's most famous sequence and no surprise really, the sequence when Kelly dances with Jerry of Tom and Jerry fame is as clever as it is memorable. So overall, not exceptional by all means, but there is much to enjoy still. 7/10 Bethany Cox

Released some months before the end of the war, "Anchors Aweigh" is one of Gene Kelly's major musical triumphs of the forties…

Under the direction of George Sidney, it had the benefits of a pleasant score, and—best of all—the services of Gene Kelly in his first true starring role at MGM… The year before, in Columbia's "Cover Girl," he had revealed an innovative approach to dance on the screen, a light but agreeable singing voice, and considerable charm In "Anchors Aweigh," although he was billed under Frank Sinatra and Kathryn Grayson, he was laying the solid groundwork for his most revealing years at MGM…

The film's story, a kind of dry run for "On the Town" four years later, follows sailors Kelly and Sinatra on shore leave, spend their holiday in Hollywood, where they become involved in the affairs of an aspiring singer (Grayson) and her little nephew (Dean Stockwell).

Grayson, it appears, has her heart set on an audition with conductor-pianist Jose Iturbi… She gets the audition, of course; Kelly gets Grayson after some misunderstandings; and Sinatra, has forgotten to be shy, and has lost his heart to a girl from Brooklyn (Pamela Britton).

The plot is conventional for the period but, regrettably, it now seems barely tolerable… But there is Gene Kelly, who dominates the movie with his agreeable personality… Perhaps he grins too much, but when is permitted to dance, the film finally lifts off the ground…

"I Begged Her," his early song and dance with Sinatra, is amusing and slightly absurd, in which he imagines himself as a bandit chieftain in a Spanish courtyard, courting maiden Grayson with a flamboyant flamenco dance and some athletic leaps… He also does a charming Mexican dance with little Sharon McManus in the square of a Mexican settlement in Los Angeles…

The highlight of the movie, however, is Kelly's famous dance with the cartoon character Jerry the Mouse (of "Tom and Jerry" fame). Delightful and innovative, it skillfully combines live action and animation in its tale of a sad mouse king who refuses to allow music in his kingdom until Kelly, a sailor in the "Pomeranian Navy," wearing a striped shirt and a beret, shows him how to dance… "Look at me, I'm dancin'!" says the gleeful mouse king...