petshel-910-45303 Danny Kaye in one of his funniest films. I saw this first in 1948 along with Wonder Man. The Technicolor is beautiful. The comedy infectious. The interplay between the characters superb. Vera-Ellen dances energetically while the lovely Virginia Mayo never disappoints. I am reminded of so many other great American musicals where colour, dance, great songs all combined to a visual masterpiece. This film is an uncomplicated delight. And not a vulgar word said Would that more films were made like this. It never dates. Enjoy!

writers_reign After a series of 'shorts' dating from the late thirties (thus before his breakout role on Broadway in 1941's Lady In The Dark) Danny Kaye was signed by Sam Goldwyn who built a series of musical-comedy films around him beginning with Up In Arms in 1944. The Kid From Brooklyn was a third outing and in my opinion it fell below the standard of UIA and it's successor Wonder Man. What TKFB does have is the brilliant Eve Arden and Walter Abel who, are, alas, offset by the lackluster Vera Ellen and the insipid Virginia Mayo. The plot - based on the Harold Lloyd vehicle The Milky Way - has Kaye as a milquetoast milkman who accidentally decks champion boxer Steve Cochran and is then hyped by Abel as Cochran's manager. Predictable.

Spikeopath I agree with the other user comments here on this site that state it helps to like Danny Kaye in the first place, because the film offers nothing fresh and exciting outside of a love for musicals and Kaye's effervescent madcap malarkey. It's a perfect showcase for Kaye to let loose and he delivers smartly as the humble milkman mistakenly built up as a prize fighter of note who then proceeds to lose the grip on his ego. He is surrounded by very stoic actors and they all benefit from a tidy script and foot tapping tunes, and sure enough the laughs are dotted throughout the show, but it still feels like they plonked Danny Kaye on set and built a film around him.It's also of interest to note the back story of the film actually being a remake of Harold Lloyd's 1936 film The Milky Way, that is something that few people are aware of and great effort was made by the makers of The Kid From Brooklyn to distance themselves from the 36 film. So with that in mind it's hard to not view this film as merely a Kaye vehicle without much heart, and with that I say the film is entertaining enough without being close to being a really good Danny Kaye movie, 6/10.

Big If you are looking to see Danny Kaye in his absolute prime, look no further than "The Kid from Brooklyn". This film was the third made by Kaye during his first filming contract (MGM) and it's fresh and funny even now in 2006 for so many reasons. Having cut his teeth in "Up In Arms" and "Wonder Man", he appears more polished and his act has found its place. This is the film where he would "find his mark" and then subsequently hit a grand-slam with "The Secret Life of Walter Mitty".Here is the Kaye most beloved by all -- the nervous, lovable milquetoast with a secret extrovert/entertainer side, incredible physical comedy and exuberance; a funny, fast-paced almost screwball script featuring the best on-screen partners Kaye would ever work with (particularly his unscrupulous manager and wonderfully deadpan Eve Arden); the always lovely Virgina Mayo as his love interest; and spectacular music/dance numbers, including his tongue-twisting "Pavlowa". This is Kaye bursting with energy, youth and vitality, on-top-of the world (literally) and knowing it. Kaye could literally do no wrong from 1940 - 1950, and this film captures the confidence and joie de vivre that can only come from knowing that the entire world worships every move you make and word you say. This was Kaye's time in the sun and he soaks up every ray and sends it into the camera.In addition, this film benefits greatly from a more ensemble feel. Kaye is clearly the star, but there is balance with songs and dancing from other members of the cast. It's my opinion that his best work (if not the most memorable) came when he was still on the rise and had to take orders from the studio bosses. In his later films -- such as "Hans Christian Andersen" -- Kaye would have more control and would even exercise this control to eliminate "competition" from other actors by singing the songs written for other characters. In the "Kid from Brooklyn", we see a humbler, hungrier Kaye.Also -- this is often overlooked -- the historical context of this film adds much to your enjoyment of it. Not only was Kaye on top of the world, but America was, having emerged victorious from WWII and with a booming economy. The optimism shines through in the songs, the dance, and especially the incredibly saturated, gorgeous color photography. This was a Technicolor picture when most films were shot in black and white (and would continue to be for the next 15-20 years!) and you sense that MGM wanted not just color on the screen, but C-O-L-O-R! Check out some of the outfits, particularly worn by Eve Arden -- they are almost overwhelming in their colorfulness and this adds to the fun. It's almost like watching a Disney cartoon, it is that colorful.Add to it the period flavor -- the incredible costumes, the inherent dash and style of a bypassed era when even a milkman looked eye-catching -- and you can't help but brim over with fun watching this film. I have watched this many times in my life and here I am, a world-weary Generation Xer hitting 36 and I still let out a pure, spontaneous laugh at the non-cynical humor. This film is just funny and fun -- period.