Noteworthy for a couple of stunningly choreographed numbers--namely, "Baby, You Knock Me Out!" with CYD CHARISSE and the boxers at Stillman's Gym going through some fantastic acrobatics, and DOLORES GRAY singing "Thanks A Lot, But No Thanks" to a bevy of loose-limbed chorus boys who gyrate to the tune with some acrobatic flip-flops--well, in those moments IT'S ALWAYS FAIR WEATHER really sizzles and comes to life.
But unfortunately, the script by Comden and Greene is only fitfully witty and is not on par with some of their other MGM greats and the other numbers are not quite catchy enough to create much more than a passing remark and likely to be quickly forgotten.
Even more detrimental is the fact that while GENE KELLY gets a fair share of nice musical turns (his cool roller-skating routine is really polished), DAN DAILEY (a great singer/dancer talent) is given the worst material imaginable and much less screen time to shine. MICHAEL KIDD is also underused but shows a nice flair for comedy, as well as his dancing skills. But the three men, when sharing a split screen for a couple of their dances, are as nimble and talented as can be.
DOLORES GRAY has to get mixed reviews. When she's acting as the TV host of a "reality" show that puts surprised guests on the air, she's as phony as a three dollar bill--and overacts to the nth degree with what she supposes is syrupy charm. But when she goes into her big dance routine with those acrobatic chorus boys, well--it's on par with Judy Garland's "Get Happy" routine from SUMMER STOCK, which is high praise indeed since that's considered a Garland highlight. Gray's routine is even more imaginatively staged for maximum effect.
While not quite up to the standards of other Stanley Donen-directed musicals, IT'S ALWAYS FAIR WEATHER is worth watching for the splendid performances (even CYD CHARISSE warms up in that boxing scene). The only drawback is it never quite overcomes the dark streak that runs through the plot, showing how three men can despise each other when a ten year reunion brings them together and forces them to realize how their values have changed. This must have given the plot extra relevance after the war years ended, but it does put a damper on the overall plot line.
But unfortunately, the script by Comden and Greene is only fitfully witty and is not on par with some of their other MGM greats and the other numbers are not quite catchy enough to create much more than a passing remark and likely to be quickly forgotten.
Even more detrimental is the fact that while GENE KELLY gets a fair share of nice musical turns (his cool roller-skating routine is really polished), DAN DAILEY (a great singer/dancer talent) is given the worst material imaginable and much less screen time to shine. MICHAEL KIDD is also underused but shows a nice flair for comedy, as well as his dancing skills. But the three men, when sharing a split screen for a couple of their dances, are as nimble and talented as can be.
DOLORES GRAY has to get mixed reviews. When she's acting as the TV host of a "reality" show that puts surprised guests on the air, she's as phony as a three dollar bill--and overacts to the nth degree with what she supposes is syrupy charm. But when she goes into her big dance routine with those acrobatic chorus boys, well--it's on par with Judy Garland's "Get Happy" routine from SUMMER STOCK, which is high praise indeed since that's considered a Garland highlight. Gray's routine is even more imaginatively staged for maximum effect.
While not quite up to the standards of other Stanley Donen-directed musicals, IT'S ALWAYS FAIR WEATHER is worth watching for the splendid performances (even CYD CHARISSE warms up in that boxing scene). The only drawback is it never quite overcomes the dark streak that runs through the plot, showing how three men can despise each other when a ten year reunion brings them together and forces them to realize how their values have changed. This must have given the plot extra relevance after the war years ended, but it does put a damper on the overall plot line.