On the Town


Action / Comedy / Musical / Romance

Rotten Tomatoes Critics - Certified Fresh 96%
Rotten Tomatoes Audience - Upright 84%
IMDb Rating 7.6 10 13511


Uploaded By: OTTO
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May 06, 2015 at 08:38 AM



Vera-Ellen as Ivy Smith
Gene Kelly as Gabey
Betty Garrett as Brunhilde Esterhazy
720p.BLU 1080p.BLU
758.02 MB
23.976 fps
1hr 38 min
P/S 4 / 6
1.45 GB
23.976 fps
1hr 38 min
P/S 2 / 11

Movie Reviews

Reviewed by HotToastyRag 5 / 10

New York, New York

Gene Kelly and Frank Sinatra fall in love with local girls while on a brief shore leave in On the Town. What's that? You've seen that movie already? Yes, I know, it sounds awfully similar to Anchors Aweigh, but this one is slightly different. For one, in addition to Gene and Frankie, On the Town features Jules Munshin as a third sailor on leave, the same actor who joined the pair in Take Me Out to the Ball Game. Also, Kathryn Grayson, the love interest in Anchors Aweigh, is replaced by Vera-Ellen, Ann Miller, and Betty Garrett. And finally, Gene Kelly doesn't dance with a mouse in this one.

Instead of the famous "Gene and Jerry" dance sequence, On the Town features the well-known title song "New York, New York", "Prehistoric Man", and "You're Awful". While there are some memorable moments from the movie, it's not one I choose to watch over and over again—even though Gene and Frankie look adorable in their uniforms. The troubles are Ann Miller and Betty Garrett. Ann Miller was a famous dancer, and I'm not going to dis her talent, but I really didn't like her. I didn't like her style, her expressions, or her attitude. Betty Garrett is unappealing, obnoxious, and reminds me of Celeste Holm's more annoying sister.

I do love Vera-Ellen, though, so at least one of the three love interests doesn't make my skin crawl. If you love Gene Kelly, or young Frank Sinatra, you'll probably want to see On the Town and Anchors Aweigh, since a few famous songs came out of them.

Reviewed by mmallon4 8 / 10

A Grand Day Out

On The Town is a unique beast of movie musical as MGM never followed up on it in one of the most noteworthy uses of location filming in a Hollywood movie up until that point. On the Town captures New York City circa 1949 in beautiful Technicolor as three sailors on leave spend 24 hours tearing up the town. When three men on board a ship without female interaction have leave, then dames become the ultimate aim. On the Town is also another example of Old Hollywood's idealisation of the navy, particularly in musicals. Did movies like this effect recruitment? They sure make the navy look fun and even explicitly state it during the On the Town number, "Travel! Adventure! See the world!". Likewise MGM musicals really aren't given the credit of just how funny they are, especially those penned by Betty Comden and Adolph Green. "It's 9:30 already. The day's gone and we haven't seen a thing yet." - Just right after that montage of you exploring the entire city?

Many shots in On the Town, particularly in the opening montage have an un-staged feel to them which give an insight into the world at the time, full of regular people getting on with their lives. The sets here are more on the realistic side and less artificial compared to other MGM musicals, allowing for the transitions between locations and sets to go by largely unnoticed.

Vera Ellen couldn't be more girl next door, very pure and innocent (as reflected in the number Main Street). Ann Miller and Betty Garret on the other are the opposite to this, which gives the movie characters of both the innocent and then the sex crazed variety. Betty Garret's nymphomaniac tendencies are on full display as soon as we meet her character of Hidly Esterhazy; she really wants to get Sinatra back up to her place, really badly.

Ann Miller however plays by far my favourite character is the film as the most unlikely of scientists, Claire Huddesen; a sex goddess with the personality of a weird girl - ah the best kinds of contradictions. In her own words she states she was running around with too much of all kinds of young men and just couldn't settle down. Her guardian suggested that she take up anthropology and make a scientific study of man thus becoming more objective and getting them out of her system and being able to control herself; I love this character! Yet this has caused her to have a thing for prehistoric males over modern men. I can relate to being attracted to those alive decades ago but Ann Miller takes this further to hundreds of thousands of years.

Prehistoric Man is one of the odder musical numbers in the film history both in terms of lyrical content/themes as well as the number itself. As the caveman dancing, bongo bashing, Ann Miller being pulled along the floor by the hair madness proceeds, you have to ask yourself "what the hell am I watching?". The soundtrack of On the Town is one of the finest in the MGM library; you know a musical soundtrack succeeds when you're humming multiple tunes from it for a week after watching. The only track which falls flat for me is You're Awful; with the absence any hook it's not awful but mediocre.

The first ballet sequence in On the Town which introduces Vera Ellen's Miss Turnstiles has a similar concept to Leslie Caron's introductory sequence in An American In Paris; full of contradictory statements to describe her character. The two ballet's in On the Town are much more humble that what would come in the MGM musicals over the next few years, nor do they have the eye popping colour and appear more washed out. The A Day In New York ballet for example is bound to only two modest sets but these still serve as nice warm up for the magnificence of what was to come.

Reviewed by atlasmb 10 / 10

A Musical Celebration

Co-directed by Gene Kelly and Stanley Donen, "On the Town" is a glorious celebration of the musical form. Adapted from the stage musical, this film features some of Leonard Bernstein's songs from the original show as well as some tunes from Roger Edens (all with words by Adolph Green and Betty Comden, who wrote the screenplay).

The film is also a celebration of New York City, where three sailors (who have never been to the city) have one day of leave.

Spectacle and talent are on display throughout the film. It would be nearly impossible to give tribute to all of it, so I will concentrate on the first few minutes of the film.

First we hear the plaintive voice of Bern Hoffman on the docks, where he sings about the sleepy early morning hours. It sets a tone that tells us this film is, perhaps, classier than the average, showy musical. And it serves as a contrast to the activity that 6:00 AM brings.

That's when hundreds of sailors storm the gangplank and pour into the city, wanting to release pent up energy after weeks at sea. Gene Kelly, Frank Sinatra, and Jules Munshin emerge with glowing faces and big voices, singing "New York, New York". There should be an exclamation mark after that song title. And the energy never flags.

In short order, their well-laid plans for seeing all of the sights of the city are sidetracked, but not before a wonderful montage featuring the Statue of Liberty, Central Park, Rockefeller Plaza, and the view from the Top of the Rock, among others.

On a subway ride, Gene becomes enamored with the new Miss Turnstiles (patterned after the real Miss Subways campaign), Vera-Ellen, who he briefly meets soon after. Frank becomes the target of an aggressive taxi driver (Betty Garrett) and Jules meets Ann Miller (a scientist), while Gene is determined to find Vera-Ellen in the city.

Production values are excellent and the on-location settings make their New York City adventures wonderful to watch. Seeing Columbus Circle as it existed in 1949, for example, is a bittersweet bonus.

With Kelly at the helm, it's no surprise the film includes a musical staple--the dream sequence. Choreography throughout the film is confident.

As Kelly would say later, these performers were at their peaks during this filming. What a joy to watch them in a production that pulls the best from each of them.

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