Kiss Me Kate (1953)

The film makes a home in your brain and the only cure is to see it again.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The beloved Cole Porter stage musical was adapted to the screen in 1953, starring Howard Keel and Kathryn Grayson, the dynamite duo who won audience's hearts in Showboat two years prior. I don't know how it's possible, but the finished result of Kiss Me Kate is terrible. It's so bad, I didn't buy a copy to keep on my musical film shelf, which boasts over twenty classics.Kathryn Grayson, normally beautiful, endearing, and possessing a gorgeous soprano voice, is extremely disappointing. She wears a terribly unflattering wig, and the hair color and style make audiences forget how pretty she is. She tries to belt "I Hate Men" and it just doesn't work. Ann Miller takes the second lead and absolutely ruins the part. Kiss Me Kate is a musical adaptation of Shakespeare's The Taming of the Shrew, and the part of Bianca is normally sweet, adorable, and irresistible. I've never liked Ann Miller; her conceit and dance style always rubbed me the wrong way. She turns Bianca into an arrogant, stage-hogging character with extended dance sequences that bore the audience to tears. However, if you feel differently about Ann Miller, you'll obviously feel differently about what she does to the role.The good news is there's nothing wrong with Howard Keel's performance. As you can imagine, he's wonderful in the role of Fred. Fred has to be larger than life, just as much an actor onstage as he is off; he's charming, boisterous, and it doesn't hurt if he's handsome. Howard Keel earns his title as the king of musicals, giving all the elements of a wonderful performance despite his lackluster costars. His timing is impeccable, and he sells a song with his expressions as well as his beautiful voice.If you can find a taped version of a live production of Kiss Me Kate-there are several out there-you can give one of those a try for a better rendition. It really is a cute musical, but the 1953 film doesn't showcase it properly. I'm a bit biased, though. I've seen tapes of my mom playing both the Kathryn Grayson and Ann Miller roles onstage; it's no wonder I was so critical of the film's leading ladies. I know what it looks like when it's done properly!

Kiss Me Kate may be the greatest musical on film. Certainly, the dancing has never been equaled.The songs by Cole Porter are classic, of course, and the orchestral arrangements are glorious. The book and lyrics cannot be topped. That's a good start.But the cast makes this a shining gem. Howard Keel is handsome, debonair, and mischievous. Kathryn Grayson is at her most beautiful and in perfect voice. They have their usual wonderful chemistry.But, for me, it is the dancing that shines brightest. The choreography is stunning -- much of it done by the dancers themselves (Bob Fosse, Bobby Van, Tommy Rall) because of their specific abilities. They are exuberant, athletic, and artistic. Combine them with the extraordinary Ann Miller and you have the greatest dance team ever born. The producers saw what they had and devised special numbers just to highlight the talents of this amazing group of dancers.The pacing is fast and furious. The music is classic. The ensemble is great and they seem to be having the time of their lives.

The director and actor Fred Graham (Howard Keel) and the composer Cole Porter (Ron Randell) invite the talented but spoiled actress Lilli Vanessi (Kathryn Grayson) to perform Katherine in his musical version of "The Taming of the Shrew", where Fred has the lead role of Petruchio. Fred and Lili are divorced and he has also invited his affair, the promiscuous Lois Lane (Ann Miller), to perform Bianca. While they are preparing for the opening night, Lois' boyfriend Bill Calhoun (Tommy Rall), who performs Lucentio in the play, tells to Lois that he lost a large amount gambling and he signed a bill (promissory note) using the name of Fred. Out of the blue, two gangsters come to the backstage to collect the debt from Fred. Meanwhile Fred and Lilli have the same behavior in real life of Katherine and Petruchio on the stage. In the intermission, Lilli tells that she will leave the play; however, Fred lures the gangsters to keep Lilli acting. "Kiss me Kate" is a delightful musical, with a version of "The Taming of the Shrew". The story of a divorced couple that argues all the time and are brought together to perform Petruchio and Katherine of William Shakespeare and have the same behavior in real life is very entertaining and funny.Despite the restored image, unfortunately Warner released a shameful DVD in Brazil, without subtitles in the musical numbers (I checked and the subtitles are available only in Japanese)in a total disrespect to the Brazilian viewers. Shame on you, Warner! My vote is eight.Title (Brazil): "Dá-me um Beijo" ("Give me a Kiss")

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 ****