Overrated

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

OK all you lovely people out there, I know you enjoyed this and I feel a bit guilty to disagree. Maybe I was in a bad mood ? I am not sure ! That said I really felt it was OTT badly acted, somehow overly stretched singing that just did not hold up to the Cole Porter songs and lyrics that I have always loved. The print which clearly has undergone stupendous clean up and stunning hues of glorious colors, added to all that 3D simply detracted from the atmosphere of the original 2d version ! Having to wear infernal uncomfortable spectacles, continually drooping on my face was an additional pain in the backside. And frankly, a film of this genre in 3D is nothing less than an unattractive addition where none is needed. In no way does 3D add any gravitas whatsoever to this great version of Shakespeare's tale. Come on, really, a juggler throwing his skittles or whatever they were, a complete waste of time and detracting from all the original value. Why on earth do we need to fix something that is not broken ? I should have known better, as in fact my preview invite did state 3D and if I would have thought about that, I could have realized, that as a fussy purist. Actually, my comment re 'badly acted ' really somehow is at the mercy of this in 3D ! For me, it is akin to placing all actors under a microscope, thereby exaggerating their performances to the point of overblowing the performances to something that was not seen or felt in the original ! Once again, my personal interprtation. I would not have made the long journey required to get to the preview theater. I left after about 25 minutes due, at least partly to 3D glasses. And finally, the theater was packed to capacity, so clearly I am in a minority of about one quarter of one percent ? So, anyone reading this, please be aware, you may well revel and thoroughly enjoy this film from beginning to conclusion. My advice, never accept someone else's opine, as the above is always nothing more than personal for that particular day of viewing ? On another day, or evening, not withstanding the pointless ( also my opine only ) 3D, I may view at a later date and also thoroughly enjoy ?

"Kiss Me Kate" is a film about actors putting on a play about actors putting on a play. This adaptation from Shakespeare is packed with cleverness and talent.Let's start with the music. Cole Porter wrote music for this film in which Cole Porter writes music for a play that is an adaptation of Shakespeare. All that really matters is that Porter's tunes are clever, lively standards.The film's dance sequences are some of the best in film. Ann Miller, Bob Fosse, Tommy Rall, Hermes Pan (and more!) display their joyful, energetic and even prodigious talents. For example, watch for Tommy Rall to virtually explode on stage from the wings in one number.The costumes are colorful and eye catching. In addition, they accent the dancing extremely well.For a light-hearted musical romp filled with action and talent, it is hard to beat "Kiss Me Kate".

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!

... to borrow the title of an earlier Cole Porter song. This was indubitably Porter's finest score and as we ARE talking Cole Porter that's saying something. Bella Spewack who co-wrote the book with husband Sam is on record as saying that this was one Broadway show that required no tinkering or re-writing or, as Ethel Merman might have said, it was 'frozen' from the first run-through. Porter's outstanding score is more or less singer-proof which is just as well because I can think of a dozen singers of each sex who could - and in some case have - drawn more feeling and/or nuance out of such gems as So In Love, Why Can't You Behave, Always True To You In My Fashion etc. On the other hand Keel and Grayson are well suited for Wunderbar, a number in which two hams reminisce about a hammy show in which they once appeared, and Keel handles Where Is The Life That Late I Led well, albeit in a truncated and bowdlerised version. In the end the best way to approach this is to forget the sometimes dubious 'acting' and just bask in the score.