George Sidney

The Three Musketeers (1948)

The Three Musketeers (1948)

(On Cable TV, November 2019) There have been a lot of adaptations of Alexandre Dumas’ The Three Musketeers over the years, so the only way to talk about them is to highlight how they differ from one another. In the case of 1948’s version, the answer is simpler than we think: Gene Kelly. That’s it: Gene Kelly as d’Artagnan, meeting the three musketeers and fighting valiantly against Milady, Countess de Winter (Lana Turner!) for the honour of France. The casting highlights doesn’t stop there, what with Vincent Price as Richelieu and Angela Lansbury as Queen Anne. The swashbuckling is strong in this late-1940s MGM spectacle, and while director George Sidney said he drew inspiration from westerns in staging the sword-fighting cinematography, the presence of Kelly suggests that there’s quite a bit of dancing inspiration in there as well—and Kelly’s skills were uniquely well suited for a non-singing sword-fighting hero. The colour cinematography still pops out today, and the rest of the adventure is handled competently, although perhaps too sedately when not busy with action scenes. Remove the cast and the sword-fighting and the film becomes far more ordinary, but that’s the nature of all versions of The Three Musketeers: we’re there for the swords, the rest is just fancy wrapping. If you want the story, read the book.

Anchors Aweigh (1945)

Anchors Aweigh (1945)

(On Cable TV, January 2019) I’m probably showing the shallowness of my pool of reference, but Anchors Aweigh certainly struck me as a dry run for the more successful On the Town four years later. After all, both movies star Gene Kelly and Frank Sinatra as sailors on shore leave, reaching for the same kind of audience-friendly mixture of comedy and music. It’s as if both sprang from the same starting point, with On the Town improving upon its predecessor by featuring more couples and swapping Los Angeles for New York. Still, Anchors Aweigh is far more than a prototype—it’s a perfectly enjoyable film in its own right. The plot is serviceable as a way to showcase what its leads do best. Sinatra is great while singing a quiet number at a piano, while Gene Kelly dances as well as ever—famously with an animated Jerry the Mouse, but also in a market sequence, and then again in a dream Spanish adventure sequence. The colourful look at 1945 movie studios pleasantly blurs the line between fiction and memorializing then-reality. George Sidney’s direction is slickly professional (especially during the Hollywood Bowl piano sequence), and female lead Kathryn Grayson is very, very cute. While comparisons with On the Town do Anchors Aweigh no favour, it’s a very enjoyable musical, and it’s doubly worth seeing by classical Hollywood fans by virtue of showing us what MGM studios looked like at the close of WW2.