Gene Kelly was one of the most talented and charismatic performers in classic musicals, some of his dance routines being among cinema's most jaw-dropping. And George Cukor was a fine director with a filmography that contained a number of favourites.Both have done better films than 'Les Girls', in fact everybody involved pretty much has, but the film is definitely well worth watching and is entertaining in its own right. To me, what came off least successfully is the story, which is basically a musical version of Akira Kurosawa's 'Rashomon' (except that film handled its story structure much better). It is certainly intriguing, and it is difficult to resist its often risqué and disarming nature, but it does struggle at times to sustain momentum and material for a running time that feels over-stretched, making the latter half pedestrian narratively. And while interesting the flashback structure doesn't always feel as smooth as it could have been, some of it clumsy and disorganised.Cole Porter's songs have been criticised for reasons that are understandable. None of the songs are bad, Porter was too good a composer/song-writer to write bad music, and are reasonably pleasant, but this is not one of Porter's better song scores. Pleasant enough, but nowhere near as memorable or as inspired, apart from some witty and naughty lyric-writing (though there are instances where they are over-shadowed by some distracting stage business in the choreography), as they could have been, disappointing for a great composer/song-writer who should have gone out on a high note but didn't. Jacques Bergerac is also insipidly dull in a role with practically nothing to it, basically the sort of role that's there for the sake of being a plot device but nothing more.Despite how this all sounds, 'Les Girls' does have a number of merits that it is difficult to be too hard on it. The best assets are the production values and the performances of the ladies. 'Les Girls' is simply a stunning-looking film, the colours are eye-poppingly ravishing, the sets are lavish, the costumes are beautifully chic and the cinematography often dazzles. The ladies manage to steal the show under those who most would naturally see the film for (Kelly, Cukor and Porter). Particularly note-worthy is the perfection that is Kay Kendall, who is charming and hilarious and would have had a bigger career if it hadn't been cut short so early and tragically. Mitzi Gaynor also has fun with her role and makes the character sympathetic too, while Taina Elg is suitably sultry.Kelly is always watchable, and dances with charisma and his usual polish and technical meticulousness in routines that, while not exactly career highlights, do show off how incredible a dancer he was, even if his character is one of his least endearing (though he does bring wit and charm). Cukor makes the most of the production values and there is enough elegance and lightness of touch, but it does seem in the early parts especially that he wasn't in complete control, or entirely trust or was comfortable, with the material. The script is wonderfully witty and also has a risqué boldness and sexiness.On the whole, not a great film, and doesn't see the enormously talented people in front of and behind the camera doing the best work of their careers, but absolutely worth watching for the production values and Kendall. 7/10 Bethany Cox

The plot for this film is a lot like taking the Kurasawa film "Rashomon" and combining it with "An American in Paris". The final product, while pretty to look at, it pretty dreadful--overly long, overly familiar and amazingly slight.The film begins with Angèle (Taina Elg) suing Sybil (Kay Kendall) following the publication of Sybil's tell-all book "Barry Nichols and Les Girls". What follows is a Rashomon-style plot where each of the particulars in the story tell their account of what happened back when they were a successful dance team--and each has a completely different idea of what has really occurred--and each thinks they were Barry's one love. So why wasn't I in love with this film? The biggest problem is that the characters are generally unlikable--especially the very manipulative Barry (Gene Kelly). As for the dancing, I hated it but it all depends on what style music you like. If you like big production numbers and lots of very modern dance, you'll probably like it. I prefer musicals where the singing and dancing are more integrated into the plot-- such as in the infinitely more successful film from this same period, "Gigi". Also, the film just lacks originality, as it did borrow so heavily from "Rashomon". But most importantly, I just found the film overly long and pretty dull. Pretty to look at...but dull.

George Cukor was not usually a director of musicals. He made only a few. Some, like A Star Is Born (1954), and My Fair Lady (1964), were acclaimed; others, like Let's Make Love (1960), were disappointments.Les Girls both benefits from, and suffers from, his approach to musical comedy. It benefits as a comedy and suffers as a musical. Someone like Vincente Minnelli might have made a lighter, more stylish film from the same material, with more emphasis on the musical numbers. Cukor's approach seems more character-driven and actor-focused.Les Girls has some wonderfully sophisticated, witty, adult things to say about relationships, but it doesn't seem especially suited to the MGM musical form. The numbers are rather few and far between - and sometimes, too brief. Granted, there's an unusual depth to the characters. There's also a focus on the actors, not as musical performers but truly as actors, which is why we get one of Gene Kelly's very best performances, and very good ones from Mitzi Gaynor and Taina Elg. Kay Kendall gets a superb showcase for her comedic charms, even a drunk scene in which she "sings" opera, which is a little lengthy - though funny.It's well directed, the cast is great, and the songs by Cole Porter are good. It's not bad to look at, either, with Cukor employing his A Star Is Born production team of designer Gene Allen and color consultant Hoyningen-Huene. It gets bogged down plot-wise and you have to slog through it a bit towards the end, but I would still recommend seeing Les Girls.

The musical "Les Girls" (1957) is curious, I suggest for many reasons. It has three leading ladies, only a few very good musical numbers and a plot that is heavy on satirical comedy, with four distinct sections. It is also embedded within a trial about libel and takes part very largely indoors; yet it is arguably filled with clear 'action' from start to finish. John Patrick's screenplay I find clever and the dialog perhaps very good. Vera Casparay's story gave us three different versions of mostly the same events, with a subtle shift forward in time each time. Director George Cukor used shots from heights and clever low angles to give an extra dimension to what otherwise might have been boring indoor shots (in less-capable hands). The film produced by Saul Chaplin and Sol Siegel looks lovely in Technicolor and seems sumptuous as well as convincing throughout, I suggest. The cinematography by Robert Surtees, acting as director of photography, the vivid art direction by Gene Allen and William A. Horning and the set decorations by Richard Pefferle and the great Edwin Willis complement the well-matched art direction very well indeed, in my opinion. Among the film's musical numbers, "Ca C'est L'Amour", "You're Too Too" and the rope ballet seemed the most memorable moments to me. Orry-Kelly's wardrobe and costumes and the musical department's contributions stand out; Jack Cole and Alex Romero are credited with the choreography, no doubt with ideas from the star Gene Kelly. In featured roles, Jacques Bergerac, Henry Daniell as the judge, and Leslie Phillips and Patrick MacNee all make very strong impressions with little to work with. The three ladies in the act "Barry Nichols and Les Girls", are Kay Kendall, Taina Elg and Mitzi Gaynor. Kendall deserves an Oscar for her range of comedy and dramatic moments in the film, by my standards; Mitzi Gaynor is a good dancer and delivers both a decent characterization and some fine one-liners without being vocally strong. Taina Elg is the surprise--by turns charming, mischievous and intelligent; her accent perhaps harmed her opportunity to play more comedies within a shrinking 50's movie industry. Kelly is believable throughout and perhaps has never danced better. This film that retails the interplay among four interesting people on "the road" in Europe in the 1950s is undoubtedly both beautifully directed and professionally mounted. It has, I say as a writer, discreet charm, some nice comedic and emotional moments and a pace that director Cukor and the cast never allow to falter. It deserves more credit than it has ever been given, and I believe awards for some of its finest achievers' work exhibited herein.