bkoganbing For his debut film Danny Kaye was given an impressive production for a typical service comedy, a little more than most got during wartime years. Sam Goldwyn was a man who never did anything by halves and Kaye's stardom was assured. Kaye's so funny that you might not notice that the plot was taken and used the following year by MGM for Anchors Aweigh.If you can wrap yourself around the concept that Dana Andrews would want to pal around with hypochondriac Danny Kaye than you'll find this a very funny film. As with so many others the Selective Service didn't find any one of Kaye's thousand or so ailments reason enough to keep him out of World War II.A couple of nurses played by Dinah Shore and Constance Dowling are in the cast. Kaye is absolutely bug eyed over Dowling, but it's Andrews that she likes. In the meantime Dinah Shore who has a couple of good songs to sing can't get Kaye to notice her.Up In Arms got two Oscar nominations for Best Musical Scoring and for Dinah Shore's song Now I Know. Personally I've always liked Tess's Torch Song which you can hear her perform in this film. But the real treat are Kaye's patter numbers done by Max Liebman and Mrs. Danny Kaye Sylvia Fine. The Melody in 4-F is a classic and loved by all of Danny Kaye's fans.This was the start of a great comic career and an impressive start at that.

douglas hansen I remember seeing Up In Arms on TV when I was a young boy and found it thoroughly entertaining. I remember so much of it as if I'd just seen it and now it's been at least ten years.The story concerns a hypochondriac (Danny) who gets drafted despite his terrible perceived problems. Along the way he hitches up with his friend Joe(Dana Andrews), Dinah Shore in one of her better roles and Constance Cummings. I'll not tell you which girl Danny gets but this is the movie that has his famous spoof on the movies of the time. It's his incredible "Lobby Number" which precedes to get him and his friends "escorted" out of the movie theater before the show even starts.There is also a great Technicolor musical number towards the end of the film "Tess's Torch Song" with Danny and Dinah. It's a swingy, torchy, blues of a thing that has always left me smiling. Sure it's a fluff of a movie but that's what many pictures were in those days.So if you wish to escape reality and go along for a tuneful and comedic ride, just get Up In Arms. Personally I'd jump at a box set of Danny Kaye DVD's. I don't understand why the Inspector General gets a release but Up In Arms, Knock On Wood and the Kid From Brooklyn are left in VHS form. These are some enjoyable movies and truly highlight Danny Kaye's knock out entertaining.

kent-wicker I just saw this for the first time. I'm an old Danny Kaye fan -- grew up with Court Jester & other DK films; always appreciated his particular genius.I only saw the second half of this film -- but it just blew me away. Of course, it already features the trademark Danny Kaye combination of showmanship, clowning, doe-eyed sincerity, patter-songs and absolutely beautiful vocal control that others mention here. And that is truly impressive. Also impressive in this film is the playing with gender, which is something DK could always get away with, but here comes out as particularly hyper and intense.But what really shocked me was how ahead of its time this film was. Made during WWII, and absolutely full of patriotism and wartime idealism, all somehow mixed together with the idealism of romance and home and family, this was clearly a 1944 deal, with fake-looking classic Hollywood sound stage warships and sea scenes. But it looks much more like something out of 1955 or, God help us, 1966.They don't really hide from that sound-set fakeness, esp. in the truly weird dream sequences, and the whole thing ends up looking more like Bob Fosse than the WWII propaganda film it's also trying to be. These sequences feature sets and costumes in co-ordinated "hot" pastels, a bartender-cum-minister-cum-scat singer, and I kid you not a bright sky blue goat. This segues into a scene with intense women in skimpy black clothing (think Robt Palmer's "Addicted to Love" video from the 1980s meets a 1890's bordello), some of whom are mounted/pinned/crucifed on trees/crosses/black wings set on poles.In front of this, Danny Kaye in a devilish red suit does some of the most pure and outrageous absurdities I have EVER seen him do -- phasing in and out like the young Robin Williams on cocaine, switching into and out of a pastiche of popular song styles, slang, scat and African-American impersonation as if he were a black guy pretending to be a white guy pretending to be a black guy pretending to be a black guy. (In most of this, he is echoed capably -- but not brilliantly -- by Dinah Shore.) He is manic and brilliant and so very American and post-modern.He is also incredibly young, and looks quite a bit like some manic, visionary rock star of today. (He resembles a bit the young Sting or Billy Idol.) And esp. in those fantasy scenes, the intensity combined with the costuming and showmanship made me realize that DK can be seen in that line of intense musical innovators/showmen that includes Prince and probably Jack White of the White Stripes.

dunkiin This recently showed on Turner Classic Movies and I was lucky enough to catch most of it. The film is old and features some cartoonesque lampooning of racial stereotypes (especially the Japanese, but hey it was made in 1944 - do the math), but nothing as offensive as incidental references made in the modern media. Danny Kaye's antics had me in stitches and the ladies are still lovely despite the age of the material - the song-and-dance silly humor is unlike anything you'll find in Hollywood these days but was quite fitting at the time. Overall it was highly entertaining and I would not mind watching it again either alone or with company.