mark.waltz Cole Porter had not had a smash hit on Broadway since the beginning of World War II when this took the New York stage by storm in late 1948. Rather than just take Shakespeare's "Taming of the Shew" and turn that directly into a musical, he made it about the backstage goings on of the pre-Broadway tryout of a new musical based upon the Bard's most famous comedy. Rodgers and Hart had earlier scored by musicalizing Shakespeare with "The Comedy of Errors" as "The Boys From Syracuse", which was about mistaken identity, but "Taming of the Shew" and its musical version take on another more serious topic: the battle of the sexes! Faithfully adapted to the screen with only a few of the songs taken out, "Kiss Me Kate" for its premiere engagement added 3-D into the mix, a novelty at the time, and one that had mixed results. I saw this in 3-D at the old Vagabond Theater in Los Angeles many years ago, after having seen it many times in 2-D. The result was still the same, only a bit more thrilling because I got to see all those streamers, vases and dancers flying out into the audience.Lilli Vanessi is the slightly temperamental ex-wife of Fred Graham and agrees to be directed by and co-star opposite her ex in this vehicle. She isn't one of those oh-so-picky divas who complains about everything, but it is very apparent that she hasn't lost her feelings for him, even if she is insulting him at every chance she gets. He makes her furious by openly flirting with co-star Lois Lane (no relation to Superman's girlfriend), the show's ingénue who has apparently only said no to men when she didn't understand the question. Lois is actually in love with Bill Calhoun, the show's juvenile leading man, faithful to him in her fashion, but ultimately, from that moment on, she won't be taking any more sable from that actor named Gable.Lilli misbelieves flowers Fred got for Lois were for her and when she finds out, fury strikes (as does Lilli) and after reminding her that they are doing "Taming of the Shrew" (not "He Who Gets Slapped"), Fred brings in two comic gangsters to keep her from walking out on the show. The gangsters fall in love with the Bard, Lilli ends up with a sore rump and in typical Broadway fashion, everything ends up "Wunderbar!".Unlike other show within the show musicals, the plot is actually thickening rather than stopping, like a musical "Noises Off!". That makes for excellent theater and certainly a wonderful movie. I can't think of a more brilliant cast for MGM's production than Howard Keel and Kathryn Grayson as Fred and Lilli, and Tommy Rall and Ann Miller as Bill and Lois. Grayson really gets to show off her comic talents here, being allowed to be both sweet and feisty, while Miller's perkiness is unforgettably show-stopping. When Miller, performing "Too Darn Hot", begins to remove her jewelry, Grayson humorously catches it and passes it nonchalantly onto Keel. Later, Grayson turns "I Hate Men!" into a delightfully bitchy song that reveals how much she actually loves them. The joy of the divorced couple dancing around their dressing room in "Wunderbar!" is another delight.Among the dancing admirers of Miller in the on-stage musical numbers are Bobby Van and Bob Fosse, as well as Carol Haney who later went onto great success in "The Pajama Game". Keenan Wynn and James Whitmore turn "Brush Up Your Shakespeare" into a duet of great laughs ("Kick Her Right in the Coreulanus!") that on stage is the show's 11:00 number. Ron Randell plays a very fictional "Cole Porter" for the audition sequence. Some deem this addition to the movie a mistake; To me, it is just unnceccessary. But everything else is practically perfect.This show has not dated at all; I have seen several revivals of it (most notably the 1999 Broadway production that was a lavish gem) and is one of few musical comedy's that has totally stood the test of time. It has also been done for TV several times, two productions of which have been released to home video. All are delightful in every way, shape, and form.

Neil Welch Like many of the screen musicals of the 50s, this one was based on a successful stage musical. In this case, it was a bizarre intermingling of Shakespeare's Taming Of The Shrew with a parallel of Shakespeare's story going on between the cast of the show.The screen version, filmed with a cast of individuals who would normally have been the supporting players (Howard Keel, despite a number of leading roles, never really leaped to the top of the first division), had the added peculiarity of being filmed in 3D, though not widely seen as such.For all that, this is a big success, in part due to its bizarreness (Keenan Wynn and Richard Whitmore as gangster song and dance men, anyone), in part due to the winning performances, and in part - in big part - due to the sparkling Cole Porter score. A highly capable melodicist, Porter was surely the supreme lyricist of the 20th century.

Jackson Booth-Millard I had never heard of this film I saw it listed in the TV schedule during the Christmas schedule two years running, and being a fan of the particular genre I gave it a try, from director George Sidney (Anchors Aweigh). Basically Cole Porter (Ron Randell) has a new stage production, translating the William Shakespeare comedy "The Taming of the Shrew" into a musical, with director Fred Graham (Calamity Jane's Howard Keel) directing and playing the lead character Peruchio. They need a good lead to play the part of Katherine, and after a talk they mange to convince actress/singer, and Fred's ex-wife, Lilli Vanessi (Kathryn Grayson), to be in "Kiss Me Kate". When Lilli and Fred divorced a year ago they parted on not good terms, and she is very jealous of his new girlfriend, playing the part of Katherine's sister Bianca, Lois Lane (Ann Miller). Fred and Lilli may be getting more used to each other in rehearsals, and he doesn't know however that Lois is only using him as she is seeing Bill Calhoun (Tommy Rall), playing the part of one of Bianca's suitor Lucentio. It comes to the opening night of the show, and as the plays goes on, the relationship between Fred and Lilli mimics the story being played out, ignited by her getting a bunch of flowers addressed to Lois. With the two leads trying to act while almost bickering on stage, there is quite a lot of improvisation to smooth it all over, and it doesn't stop until the interval when Lilli threatens to leave. Also involved in the situation is her on again/off again fiancé, cattle baron Tex Callaway (Willard Parker), as well as two gangsters who are wanting a gambling debt paid for a new investment. As the gangsters come on stage in costume, Lilli starts changing her feelings towards Fred, and the play reaches its conclusion, the stage production and their relationship have truly come together, and so do they. Also starring Keenan Wynn as Lippy, Bobby Van as 'Gremio', James Whitmore as Slug, Kurt Kasznar as 'Baptista' and Cabaret director Bob Fosse as 'Hortensio'. Keel is great in his role, Grayson is also really good, I agree Miller does almost steal the show with her character, her long bare legs and the song "Too Darn Hot", the other songs that stick out are "So In Love", "Why Can't You Behave", "I Hate Men" and "Brush Up Your Shakespeare", overall it is a fun and melodic musical comedy. It nominated the Oscar for Best Music for André Previn and Saul Chaplin. It was number 68 on The 100 Greatest Musicals. Very good!

moonspinner55 Ex-marrieds co-star in a musical production of Shakespeare's "The Taming of the Shrew"; backstage romantic complications ensue, with the female star threatening to walk out mid-performance. Weighted down by the inept Kathryn Grayson, this film version of the Broadway success runs out of steam after about an hour or so (of course it doesn't help that Grayson is portraying a selfish non-trouper, however she just hasn't the personality or the energy for the part, and one can see early on she's the weak link in the production). Ann Miller, Bobby Van, Bob Fosse, and especially Tommy Rall dance up a storm, and their musical numbers are all killers. Rall, playing a gambler off-stage, has a funny bit with a cigarette, and does an amazing routine with Miller on the roof of the theatre. Miller displays such a joy of performing and a love of this material that she shows Grayson up in more ways than one. Howard Keel looks great in his Petruchio costume, but his baritone voice is strictly love-it or leave-it; since most of his scenes are with Grayson, he loses most of his performing luster to the supporting team, but director George Sidney attempts to keep it all lively and merry. Originally screened in 3-D, which explains why so many objects are, amusingly, hurled at the camera. ** from ****