Michael Morrison Except for Joan Collins, who looked GORGEOUS, and Joanne Woodward, who was just adorable, this movie is really not worth the time.It is terribly disappointing, first because the book was by the great Max Shulman and was therefore, by definition, funny, and, second, because the superlative cast was so badly used by a barely mediocre script, and, third, because we expect so very much more from Leo McCarey, whose directing was not up to his standards and who also must take at least part of the blame for the script.Paul Newman, who gave credible performances probably more often than not, was just not up to his par, either. Jack Carson, obviously in decline, was still pretty watchable.Tuesday Weld was a little overdone, and didn't really look the part, at least not to those of us who've read the book.There was another major error, one I see too, too often in Hollywood movies faking an auto trip on a sound stage: As the Collins character is driving the Newman character home, she spends much more time turned to look at him than at the road. And every time I see this particular bit of stupidity in Hollywood movies, I wonder "Why do directors and editors and even the actors allow this?"If you're desperately bored, you might want to watch. If there is something better on, you'll skip this, which I watched On Demand. Now, having seen it, I can't understand anyone demanding to see this.

classicsoncall My local library picked this up as part of it's own fiftieth anniversary celebration last year, so this week I finally got around to watching it. With Paul Newman and Joanne Woodward in the cast, one would expect so much more, but sadly that's not the case. The film is too farcical to be considered a screwball comedy, and relies too heavily on slapstick and buffoonery to make it's comic points. It's perhaps a tad above your typical beach blanket genre film, but without the girls, except Tuesday Weld who was embarrassingly juvenile. Other reviewers on this board who feel that she stole the show apparently missed the scene where she squealed in delight at Corporal Opie's (Tom Gilson) rendition of 'You're My Boojum'. Boojum, or Boo for short, is a word I've never heard before, and I'm sure never will again, unless I watch this one more time, and that's not likely.It's too bad too, because on the face of it, this vehicle had enough talent to pull off a capable production, but it got frittered away somewhere along the line. Newman comes across as absolutely goofy most of the time, especially in that chandelier/choo-choo escapade with Angela Hoffa (Joan Collins). As his wife Grace, Joanne Woodward is almost lifeless, something the script obviously called for by placing her on every pointless committee in existence in Putnam's Landing. Gale Gordon and Jack Carson portrayed their characters pretty much straight from the play book, but it was disappointing to see Dwayne Hickman as a neutered version of Marlon Brando from "The Wild One". It wouldn't have been so bad if he had tried out his Dobie Gillis TV role, I think that would have been much more effective.Which made it all the more puzzling to view the theatrical trailer on the 20th Century Fox DVD release, where Bob Hope practically rolls on the ground in a fit of laughter while congratulating director Leo McCarey on his cinematic achievement. I would like to have known what Hope REALLY thought. For viewers back in the day, the redeeming feature might have been seeing this one in full color, as the trailer itself for some dubious reason was offered in black and white.

theowinthrop I find that occasionally I recall the time I first watched a film with better clarity than the film itself. I wish this was one of them. RALLY 'ROUND THE FLAG, BOYS! apparently came from a very funny book by Max Shulman, but that I'd expect. From what I've read in the other comments the novel's framework seems to have been kept, but Shulman's witty barbs thrown out. This is frequently the case with Hollywood treatments of good books (i.e.: even if you liked Robert Redford's version of THE GREAT GATSBY, it and the previous one with Alan Ladd can't match Fitzgerald's terrific novel). I first saw this film (I've seen it two times, strangely enough) when it was shown about 1962 or 1963 on Saturday NIGHT AT THE MOVIES on television. Paul Newman was at the then height of his early film career as one of the best of the "Young Turk" breed of actors with Brando and Clift. But while doing well with dramas (SOMEBODY UP THERE LIKES ME, THE YOUNG PHILADELPHIANS, CAT ON A HOT TIN ROOF, HUD, THE HUSTLER, HOMBRE) he failed to register any real success as a comic actor. In the long run it did not matter (it was just the choice of material). Films like BUTCH CASSIDY AND THE SUNDANCE KID, THE STING, THE HUDSUCKER PROXY, SLAP SHOT) all eventually showed he did have a mastery of comedy - but not bedroom farce. Leave that to his contemporary Rock Hudson. Actually I think Newman's first successful comic part (he was not the star of the whole film) was as the second doomed husband (the painter) in Shirley MacLaine's WHAT A WAY TO GO.RALLY, 'ROUND THE FLAG, BOYS! like his other early doomed comedy, A NEW KIND OF LOVE, co-starred his wife Joanne Woodward. Both appeared together (to better advantage) in the more dramatic THE LONG HOT SUMMER, which did have some normal comic sections that Newman did well with Woodward and Orson Welles and Tony Franciosa. But that film blended comedy and drama, and the comic sections emphasized the conniving spirit of Newman's character Ben. Here he is a business executive returning to Putnam's Landing, Connecticut daily from his job in Manhattan. While such a position is not impossible to see Newman in, it is not handled as a similar situation was for Rock Hudson in his last Doris Day romp, SEND ME NO FLOWERS. Hudson's business executive went home with next-door-neighbor Tony Randall, and manages to depress the ebullient Randall with dire personal news. With Newman one imagines he just reads the New York Times on the way home. Woodward is there of course (as Doris was for Rock), but while one sees the sparks of personal chemistry between them, they don't translate to the humor that just sparkled between Doris and Rock on screen.The plots in the movie are three: the trouble of the community regarding a new military base (connected, as it turns out, to the space program) being built near their town; the rocky personal relationship between married Paul and Joanne - especially as local rich witch (what else would she be?) Joan Collins thrown in; and the romance of young Tuesday Wells with Dwayne Hickman, who finds the competition rising - as do his fellow civilian teenage jocks - from the local military looking for relaxation on weekends. Joanne becomes the leading, anti-base spokesperson. She is confronted by base commander Gale Gordon, and his assistant Jack Carson. Given this set-up the viewer knows who is more likely to win.Of the scenes I recall best, Collins and Carson did the most with material. Collins, of course, is an attractive woman (and here she was fantastic to look at), and one shot I recall when she and her target Newman are drinking and dancing together is of them bumping (possibly on purpose by her) derrières. She certainly brought spice into her scenes. Carson did what he could. Only a year before he gave one of his most dramatic performances in THE TARNISHED ANGELS with Hudson, Dorothy Malone, and Robert Stack, and in 1958 he would do yeoman work as Newman's bitter brother Goober in CAT ON A HOT TIN ROOF, but the material there (Faulkner's PYLON and Tennessee Williams' CAT) helped him. Here he is a put-upon middle man taking orders barked out by Gordon and trying to restrain angry impulses of his own towards the townspeople. Yet he did do well, especially in two sequences which were relatively simple: the Thanksgiving pageant (where he keeps slipping on a wet rock supposedly representing Plymouth Rock), and the final shot where he is outsmarted by somebody who shouldn't have outsmarted him. The Thanksgiving pageant has it's moments, with Hickman (as an Indian) leading his fellow "Indians" onto the oncoming "Pilgrims" (the soldiers from the base). And there is also the apparently unheralded capsizing of "the Mayflower", all to the amazement of pageant coordinator and narrator Woodward. Unfortunately even this suffers from comparison to other films. Think of the Thanksgiving pageant in ADDAMS FAMILY VALUES where Wednesday releases tensions at her school by giving the actors playing the Pilgrims a "grim" view of what happened to the Native Americans in the U.S. due to the arrival of the Europeans. She was far more eloquent, and one sympathized with the point of view (even if descended from those Europeans). Somehow that seemed more relevant for consideration in such a situation than whether quiet Putnam's Landing should accept the missile base next to it.So, for the sake of the comic (and sexy) bits I liked, I will give this film a "6" rather than anything higher. Without those it would have been lower.

Greg Couture Leo McCarey, whose credits were certainly nothing to be ashamed of, was a bit past his prime when he directed this minor misfire. 20th Century Fox gave it first-class production values and a cast that could have had a lot more fun had a less cautious approach to the material been allowed to prevail. Leon Shamroy's CinemaScope/DeLuxe Color lensing was, not unexpectedly, a treat for the eyes and a few minor bits (Tuesday Weld squealing with delight as a swain sings "You're My Boojum!" to her; Joan Collins and Paul Newman engaging in an inebriated slapstick sequence that involved swinging from a chandelier, no less) hit the mark. I remember being disappointed that things didn't take off, like the accidentally fired missile in a scene with Woodward and Newman. But anyone who thinks that Joan Collins' only forte is playing a ruthless bitch, as she did on the long-running TV series, "Dynasty," would probably be delighted with her witty romp as Angela Hoffa, for me this film's memorable highpoint.