User reviews

If you are like me, you love to watch even average or bad old movies just to see if you can spot up and coming stars in the background. Or maybe it's to be able to see stars that you wouldn't normally see at film retrospectives, or maybe it's to try to get an indication of why they were once considered to be great talents.

"Ship Ahoy" is such a picture. Released in 1942, it tells the story of how a chorus girl( a beautiful Eleanor Powell) unwittingly becomes involved as a Japanese spy during WWII. The story is totally forgettable and ridiculous, and the songs (some by E.Y."Yip" Harburg and Burton Lane" are not memorable. But this is still an interesting movie to watch.

It is a wonderful snapshot that shows us why Powell, Red Skelton, and especially Bert Lahr were big stars. Especially Lahr, who most people only remember either from "The Wizard of Oz" or the Lays Potato chip ads (I realize I'm dating myself with that last reference). Lahr is hysterical as a would-be playboy who assists Skelton in writing a series of hair-brained adventure stories. His scenes with Virginia O'Brien are the best in the movie.

This film is also noted as being the film debut for a skinny kid from Hoboken, N.J. named Frank Sinatra. Although he does not sing any songs of note, he does have an instant presence on the screen. Also, look fast to see future stars Hilary Brooke and John Raitt.

"Ship Ahoy" is never going to be a classic, but it is a film that film history fans should see.

6 out of 10

"Ship Ahoy" was probably made in order to showcase MGM talent. The film is a fun trip on an ocean liner on its way to San Juan, Puerto Rico, at the time in which the country was involved in WWII. This was typical fare for the studios, which gave the movie going public light weight entertainment as a distraction during those difficult times the country was living.

The beautiful Eleanor Powell is seen at her best in some musical numbers where she clearly shows us she was a dancer to be reckoned with. Red Skelton is also seen in a straight part with not too much clowning, as he pursues the beautiful Ms. Powell on the ship that is bringing them to Puerto Rico. The irresistible Bert Lahr has good opportunities in the film to show he was a funny man. Also Virginia Grey is seen as a fun girl who is not fooled by anyone.

There are good musical numbers featuring Tommy Dorsey and his orchestra, in which one sees, among others, the amazing Buddy Rich, who has a few solos with Mr. Dorsey and Ms. Powell. A young Frank Sinatra appears also as the lead singer of the band, backed by the Pied Pipers.

This is a nostalgic trip that should be savored by fans of this genre, which MGM totally controlled.

As with most of Eleanor Powell's films, this one plays out along the flimsiest of plots. For some reason -- oh it is explained! -- she's selected to transport a magnetic mine to Cuba. Good guys and bad guys compete for the mine and who is who gets confusing. But, as always, Powell's dancing is superb and worth the price of admission. And in this one Lahr plays his cowardly lion, evoking warm memories of that Technicolor film of 1939. A fringe benefit is hearing a young Frank, with that wonderful voice and skinny vulnerability that he abandoned for his wise-guy persona later on. In addition, the great drummer, Buddy Rich, has a wonderful time displaying his virtuosity. Watch particularly for his unique duet with Dorsey's trumpet man, Ziggy Elman. I say "unique" perhaps in ignorance, but I know of no other drum/trumpet sequence like this one on film or records. This film is fun. Even Skelton's goofy persona is relatively restrained. Powell shows again that she is the greatest film dancer ever.

As the story in my family goes, my dad, Milton Raskin, played the piano for the Dorsey band. After Sinatra joined the band, my dad practiced with him for hours on end. Then, at a point in time, my dad told Sinatra that he was actually to good to be tied up with such a small group (band), and that he should venture off on his own. By that time Sinatra had enough credits 'under his belt' to do just that! Dorsey never forgave my dad, and the rest, as they say, is history.

I have some pictures and records to that effect, and so does Berkley University in California.

I have seen just about every Sinatra movie more times than I wish to say, and his movies never get old . . . Thank you Frank

ELEANOR POWELL was in top tap-dancing form when she made SHIP AHOY! with RED SKELTON as her bumbling co-star and BERT LAHR for some added laughs, along with VIRGINIA O'BRIEN.

It's a daffy story about a gal asked to transport a magnetic mine aboard a ship to San Juan, Puerto Rico during World War II when Nazi spies were rampant in films of this sort. Her mission is soon in peril and the rest of the plot has her managing to stave off the bad guys with the help of Skelton and Lahr.

Worthwhile really only for the dancing talents of ELEANOR POWELL, who does a specialty number involving Buddy Rich on the drums that has to be seen to be believed. And watch for the young FRANK SINATRA singing with Tommy Dorsey and his Orchestra.

It's a minor MGM musical comedy that deserves at least one watch.

"Ship Ahoy" is one of MGM's minor musical comedies of the early 40s with a simple plot, great dance numbers by Eleanor Powell and comedy antics by Red Skelton supplemented by the music of Tommy Dorsey's orchestra which includes Buddy Rich and a young Frank Sinatra. Fun added by Bert Lahr and Smile-less Virginia O'Brien. This film is fun to watch!

I just love this movie! Red Skelton has always been one of my favorites, and Miss Powell's dancing is fabulous. My family's favorite part of this movie, however, is VIRGINIA O'BRIEN! Known for her deadpan facial expressions, she outdoes herself while singing the song Poor You. (Pay attention to the lyrics - so funny!) We have to rewind this part of the movie several times just because she is so ADORABLE! And the reactions by Bert Lahr are priceless. The music is good, the plot okay, but who cares? Miss Powell is gorgeous and the love story is cute. And it's a treat to see a young Frank Sinatra. One of my favorites.

Ahh, that exotic "open seas location" of an ocean cruise... aka the back lot at MGM. The leads Eleanor Powell and Red Skelton take a cruise down to Puerto Rico. The usual wartime plot with spies, trickery, and mistaken identities. More tap dancing with Powell. Some other big Hollywood names in here -- Bert Lehr who had JUST had his big role in Wizard of Oz, uses the same wide-eyes looks and voice that we saw in W.O.O. Virginia O'Brien is Fran, fun as always, and sings "Poor Me, Poor You". (Did you notice on the poster for the costume ball, the Captain's name was ALSO O'Brien?) Uncredited Frank Sinatra does a song during the costume ball scene. Much screen time for Tommy Dorsey and his orchestra. The plot is kind of fluff, but we don't really spend much time on that. Not sure why the dancing girl knows Morse Code. Directed by Ed Buzzell, who had made a couple films with Powell and a couple with Skelton. and even a couple with the Marx brothers. Pretty entertaining, but you won't miss much if you don't pay close attention. Some clever lines, since about half the cast had started in vaudeville halls. Runs a bit long, (from all that TAP DANCING...) but on the plus side, we get to hear Sinatra, Virginia Obrien, and Tommy Dorsey.

The plot of this enjoyable MGM musical is contrived and only occasionally amusing, dealing with espionage and romance but the focus of the film is properly pointed upon the tuneful interludes showcasing the enormously talented and athletic tap dancing Eleanor Powell, abetted by Tommy Dorsey and his orchestra, featuring Ziggy Elman, Buddy Rich and Frank Sinatra. Red Skelton shares top billing with Powell, and he and sidekick Bert Lahr are given most of the comedic minutes, although Skelton is more effective when he, if it can be believed, performs as Powell's love interest, with Virginia O'Brien actually providing most of the film's humor as the dancer's companion. The technical brilliance of Powell is evidenced during one incredible scene within which Buddy Rich contributes his drumming skills, and which must be viewed several times in order to permit one's breathing to catch up with her precision. Director Edward Buzzell utilizes his large cast well to move the action nicely along despite the rather disjointed script with which he must deal, and permits Powell's cotangent impossibilities to rule the affair, as is appropriate.

Forget the ridiculous plot, the stupid antics of Red Skelton and Bert Lahr, and focus on the breathtaking beauty and extraordinary brilliance of the magnificent Eleanor Powell. Her dancing is perfection, her artistry divine, and she's the greatest anti-depressant I've ever known. She's the greatest dancer Hollywood ever had and unfortunately MGM didn't put her into very good film projects. With the notable exception of Broadway Melody Of 1940, her films had a silliness to them that made them minor films except for her superlative dancing, this film included. The 2 main dances she does here are off the charts great, especially the Matador dance, which is my personal favorite of all her filmed dances. Admittedly I have a crush on Eleanor the size of the Grand Canyon making it difficult for me to be objective. I have this film on my DVR and fast forward through the scenes she isn't in, watch her dances several times, and have a wonderful time watching the gorgeous, charming, and very charismatic Eleanor Powell. She alone is more than enough reason to watch Ship Ahoy. By the way, did I happen to mention how hopelessly in love I am with Eleanor Powell?

So-so musical comedy with a flimsy espionage plot. Dancer Eleanor Powell is tricked VERY easily by Axis spies into taking some super special magnetic mine on board a ship headed to Puerto Rico. On the voyage she falls for writer Red Skelton, who also happens to be the guy who wrote the story that gave the spies the whole idea to begin with. Yeah, I know. Anyway, no one cares about all that. If you watched this, chances are you did so either to see Skelton do his shtick or to see Powell dance. If you're here for Skelton, you might be disappointed since he's rather subdued this time around. That's actually a plus for me as he isn't one of my favorite comic actors. If, like me, you watched this for Eleanor Powell, you undoubtedly enjoyed her nice tap numbers. Outside of the two stars, the movie has two other things worth mentioning about it. The first is a positive - an early appearance from a skinny Frank Sinatra singing with the Tommy Dorsey Orchestra. The second is a negative - the Cowardly Lion himself, Bert Lahr, plays Skelton's comic relief sidekick. Why Skelton, of all people, would need a sidekick trying to upstage him is beyond me. Lahr is a big drain on the movie, annoying to no end and playing a horndog chasing after girls half his age. The guy was literally born in the 19th century and poor Virginia O'Brien, in her early twenties here, is forced to play opposite him. Gross. Anyway, it's not the best movie but it will help to pass the time in a mostly pleasant way. The romance is flat and the comedy is a bit weak but Powell is charming and the musical numbers are good.

"Ship Ahoy" is a film with a couple strikes against it at the onset. First, like many of the worst of Red Skelton movies, it's a musical-- which was a waste of his considerable talents. He was a comedian first and foremost and when they stuck him in films where he was just a supporting character, they were second rate. More comedy less singing and dancing!! Second, the plot is obviously inspired by the war and simply makes no sense. It was first and foremost a propaganda film and occasionally these films simply didn't have reasonable plots and they don't age well.

As to the plot, a government official approaches Tallulah Winters (Eleanor Powell) and asks her to take an important mine to Puerto Rico. The reasoning is that since the band for which she performs she should take the mine. Now think about it....the mine is supposed to be top secret and an important part of the American arsenal...and they just ask some civilian to sneak it to Puerto Rico!! And, the fact that these turn out NOT to be government officials but Nazis...well that is completely ridiculous! What's also ridiculous and completely perplexing is the way she behaves throughout the film...especially with her scenes with Skelton. On hand are Skelton as a dopey hypochondriac and her romantic interest (sometimes...yet at other times she's cold as ice towards him...and I had no idea why), Bert Lahr as his goofy sidekick as well as music by Tommy Dorsey and his orchestra along with Frank Sinatra doing a bit of singing. In fact, singing and dancing and music make up the bulk of this film, as the plot is not only nonsensical but incredibly thin.

The bottom line is that this is a very watchable film but one that really isn't a coherent whole. Bits and pieces, such as a bit of the dancing and Sinatra's singing and Skelton's gentle comedy are nice...but also a bit of a jumble and the ending is rather disappointing. There's simply not enough of any of each of the good elements to make a really good film.

One of the legendary Broadway stars who did not forge a memorable career in films, Bert Lahr performs at his cinematic best in this flimsy, albeit entertaining, musical comedy. Given considerable screen time and a character that permits his idiosyncratic comic turns to fit comfortably, Lahr exceeds his achievements in other movies. Whether working to only the camera, or with Red Skelton, or with Virginia O'Brien (a good partner for him), Bert Lahr at last shows what he can do. His brand of comedy may not be to everyone's taste (whose is?), but if you like his "shtick," don't miss this one.

Not among the best film musicals out there, also a long way from being one of the worst. There are a few flaws and fairly big ones too, but there are at least three interest points that deliver without disappointment, more than enough to keep 'Ship Ahoy' afloat.

The best things about it are Eleanor Powell and the dancing. Powell has charisma and charm galore, and who cannot fail to be enraptured by her dancing, some of the finest of that era. The dancing routines and choreography are similarly extraordinary, with the ship-board tap dance, with inspired by-play with drums, enough to take the breath away.

By all means there are more pleasures, particularly the swinging involvement of the Tommy Dorsey Orchestra, Ziggy Elman and Buddy Rich's contributions especially worth of note, and the ever sumptuous singing of Frank Sinatra. Red Skelton was always a take or leave performer, and it was a pleasant surprise to see him effectively subdued to usual and all the better for it.

Virginia O'Brien is hilariously deadpan as well, while the songs are first rate, it's efficiently directed, maintains interest throughout and the romance is sweet enough.

On the other hand, the story is flimsy, even for a film musical from the early 40s, and pretty nonsensical while the patriotism at times is laid on too thick and feels tacky.

Unfortunately also, for me, some of the comedy falls flat, particularly in the case of Bert Lahr. Have liked Lahr in other things (who cannot forget his Cowardly Lion in 'The Wizard of Oz', which still holds up as a timeless classic?) but here he has an annoying character and Lahr resorts to mugging (ironically that is something that is more expected from Skelton).

In conclusion, well above average entertainment with much to enjoy, though it also could have been much better. 7/10 Bethany Cox

Dancer Tallulah Winters (Eleanor Powell) is duped by enemy spies into transporting a stolen prototype mine to Puerto Rico via boat. Onboard, she falls in love with writer Merton Kibble (Red Skelton).

This attempt to combine a spy story with a musical doesn't work very well. Powell is charming as always, and gets some fantastic dance scenes, particularly the "I'll Take Tallulah" number. Red Skelton is good, and I liked Bert Lahr as Skelton's friend. Also watch out for an uncredited Frank Sinatra crooning a couple tunes.

All in all, this was an enjoyable film, mainly because of the dance scenes. First time viewing. 3/5

The necessity of making Ship Ahoy wartime relevant has robbed it a bit of its staying power. Still any film with as much talent as this one has deserves to be preserved and seen. I doubt we'll get a remake.

Eleanor Powell and Virginia O'Brien are part of Tommy Dorsey's Orchestra booked on a cruise to Puerto Rico. Eleanor gets snookered into transporting a new magnetic mine stolen by enemy agents. She then gets suspected herself of being an enemy agent by two collaborating pulp fiction writers, Red Skelton and Bert Lahr. The whole plot of Ship Ahoy is everyone trying to figure out who is on whose side.

Silly plot, but it's really there for a framework for all the acts involved, not the least of which is Frank Sinatra who was the vocalist for the Tommy Dorsey Orchestra at the time. He gets three songs to sing in Ship Ahoy not the best, but it's Sinatra. Dorsey also featured drummer Buddy Rich in a couple of numbers as well. Back in the day Sinatra and Rich did not get along at all.

Eleanor Powell dances well and Red Skelton and Bert Lahr are what you expect from them. Both are funny individually, but as a team they don't quite mesh. It looked like they were trying to top each other. Perhaps had a film been done especially for them and without the wartime contrivances, both would have been better served.

Ship Ahoy is a fun, but dated relic from World War II.

Tallulah Winters (Eleanor Powell) is a star dancer with the Tommy Dorsey Orchestra. They are boarding a cruise to Puerto Rico to perform. She is recruited by government agents to transport a model of a magnetic mine. Unbeknownst to her, they are Nazi agents trying to smuggle out the stolen prototype. They got the idea from a cheap magazine story written by Merton K. Kibble (Red Skelton) who happens to be going on the cruise.

This is a rather light weight wartime fare. The bit of espionage story is almost forgotten for much of the movie. This is really an excuse for some song and dance and some very light humor. In that sense, it may be more notable for a young Ole blue eyes Frank Sinatra doing some singing with the Tommy Dorsey Orchestra. This is the earliest I have seen him. Apparently, he was in one earlier movie doing mostly the same thing with Tommy Dorsey. This is fine light weight entertainment during dire times.

Premise as old as the hills: we got a war goin' on; let's put on a show!

Second-rate, super-dull bandleader Tommy Dorsey. The very epitome of boring white American pop culture. Trots out his flunky Frank Sinatra singing one of those super-dull tuneless crooner songs from before the war. Leaving that band of stiffs might have been the greatest career move in American history.

Eleanor Powell doing second-tier choreography. Some of it was so bad I had to cover my eyes. Well, at least until she got to the parts where we saw her legs.

Red Skelton delivering non-funny cracks and doing unfunny pratfalls. And what's with his buddy. He's about 65 years old and chasing after cigarette girls. Creepy.

Lucky for us a lot of Hollywood stars stayed stateside to make legitimate movies, instead of this kind of drivel.

Priceless vehicle for showcase of contemporaneous Tommy Dorsey, Buddy Rich and Frank Sinatra. Also Bert Lahr, the cowardly lion out of costume. The price to be paid is you have to look past, way past, Red Skelton. This movie doesn't seem to know itself if he's the comic foil, bad enough, or leading man. Most grievously at one point Sinatra is interrupted in performance of Poor You in favor of an unfunny serenade of the number by Skelton to Eleanor Powell. The expected and yearned for return to Sinatra doesn't happen, and the tedious Skelton antic goes on and on. There are plenty of classic numbers by the otherwise great performers on hand, but Skelton, sadly, never goes away. Your fast forward and rewind button will get a workout but will be well worth it.