MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Gene Kelly caught the eye of Hollywood studios who were impressed by his athletic American style of dancing, as well as his talent as a choreographer. Seeking to capitalize on his talent, MGM studios offered him a contract. This led them to task him to choreograph, dance and star in the studio’s next planned musical – “Anchors Aweigh”. The film was yet another one of MGM Studios penchant for musicals. It would be the first of three “Buddy” films, which teamed Gene Kelly with Frank Sinatra. Production was assigned to Joe Pasternak with a budget of $2.6 million, Natalie Marcin was hired to write the story, with Isobel Lennart writing the screenplay, and George Sidney was tasked with directing. For the cast, Frank Sinatra would star as Clarence “Brooklyn” Doolittle, Gene Kelly as Joe Brady and Kathryn Grayson as Susan Abbott.

The story is set during WWII and shipmates Clarence and Joe are on shore leave. Joe wants to spend time with his girlfriend Lola but is repeatedly sidetracked by his shy buddy Clarence who asks him for lessons on how to be successful with girls. Their plans go awry when they become involved with a street kid named Donald who aspires to join the navy. Well, after a series of adventures Clarence meets and falls in love with aspiring actress from Brooklyn, while Joe hooks up with a new gal named Suzie. The film ends with José Iturbi conducting a choir singing the title song as our two couple’s kiss. The film was a huge commercial success loved by the public and critics alike. It turned a profit of $2.12 million and earned five Academy Award nominations for Best Picture, Best Actor, Best Cinematography, and Best Song, winning one award for Best Music Score.

George Stoll was MGM’s Musical Director and a proven master in supporting musicals. As such he personally took on the score the film and brought in Jule Styne to compose the songs, with lyrics provided by Sammy Cahn. He understood that for musicals, the score was the glue, which binds together the numerous song-dance vignettes into a harmonious soundscape. Styne was cognizant of the young Sinatra’s peerless baritone vocals and Kathryn Grayson’s remarkable coloratura soprano voice, and so composed melodies to showcase them. Also important was to support Kelly’s kinetic dancing, which required the songs for his dance numbers have matching energy.

To ‘anchor’ his soundscape, Stoll utilized the U.S. Navy’s Anthem, “Anchors Aweigh” (1906) by Charles A. Zimmermann as the titular song as well as a recurring Main Theme. Eleven songs were chosen with Styne and Cahn creating ten original songs. Two love themes graced the film based on the song melodies of “All of a Sudden, My Heart Sings” for Susie, and “I Fall in Love Too Easily” for Clarence. For Joe’s girlfriend relates Lola, whom is never seen, an alluring, sultry saxophone offers a jazzy, seductive musical narrative. To further enhance the soundscape with the requisite cultural sensibilities, several traditional Mexican dances and songs, as well as classical pieces were also used, including; “Jarabe Tapatío – The Mexican Hat Dance” by Felipe A. Partichela, “La Cumparsita” by Gerardo Matos Rodríguez, “Jesusita en Chihuahua” by Quirino Mendoza, “El Relajo” by Jesús Castillón and L. Leyes, “Chiapanecas – While There’s Music There’s Romance” by Albert Gamse, “Hungarian Rhapsody No. 2” by Franz Liszt, “Waltz from Serenade for Strings in C major, Op. 48” by Pyotr Ilyich Tchaikovsky, Tonight We Love, music from “Piano Concerto No. 1 in B-flat minor, Op. 23” by Pyotr Ilyich Tchaikovsky, and “Largo al Factotum Della Città” from “Il Barbiere di Siviglia” by Gioachino Rossini.

“Main Title” offers an inspired score highlight, which perfectly establishes the tone of the film. It supports the MGM studio logo and roll of the opening credits, which display against an ocean blue background with gold nautical symbols. We open with heraldic horns energico, which usher in at 0:12 a maestoso rendering of the U.S. Navy’s anthem “Anchors Aweigh”. The anthem gains vital energy and we flow at 0:30 into a vibrant orchestral rendering of the “I Hate to Leave” song melody. At 0:47 we flow into a waltz rendering of the song “I Fall in Love Too Easily”. At 1:22 we flow into the film proper atop sailors pounding field drums, which launch a sequence of choruses proudly declaring the A Phrase of the Anchors Aweigh anthem; trombones, saxophones and then trumpets. José Iturbi is seen conducting the Navy band in the shape of an anchor atop an aircraft carrier flight deck. At 2:02 choruses of tuba and piccolos unleash the anthem’s more lyrical B Phrase. We then conclude with a rousing return to the anthem’s A Phrase.

(*) “Silver Stars” reveals the admiral awarding Joe and Clarence the silver star for meritorious service. Stoll supports with a reverential rendering of the “Anchors Aweigh” anthem. The two heroes are then granted shore leave and they depart carried by a celebratory rendering of the anthem. Below deck they rub it in with their crewmates which have to remain on ship. As Joe relates his intent to pair up with his gal Lola, a sultry saxophone offers her seductive theme, leading a jazzy musical narrative. We flow into the song “We Hate to Leave” with vocals provided by Frank Sinatra, Gene Kelly and Chorus. It’s a happy go lucky and playful song, yet it is also, sardonic as Joe and Clarence crow their good fortune and rub it in on their shipmates as they depart.

(*) “Arrival” reveals Joe, Clarence and hundreds of sailors arriving ashore on a transport boat. Stoll propels the arrival with a martial rendering of the “We Hate to Leave” song melody. As Joe talks to Lola on the telephone, a sultry saxophone supports with her theme. (*) “Hollywood” reveals Joe and Clarence arriving by bus to Hollywood, which Stoll supports with “Anchors Aweigh” emoting a sparkling musical narrative. On the street Donald, a young boy dressed in pajamas, bath robe and sailor’s cap, sings the anthem with an off-pitch untrained boy’s voice. A policeman finds him and for his safety, takes him to the police station. As Joe walks the street, Clarence trails behind. Stoll propels the scene with a cocky, strolling melody full of confidence. A spritely tune by chattering woodwinds animates Clarence who continues to trail Joe, who discovers him, yet keeps on walking. A comic musical narrative unfolds as they stop, wave and keep walking several times until Joe races away carried by strings energico. He hides around a corner, catches Clarence and asks why he is following? He asks Joe what is the best way to hook up with girls?

(*) “Joe Helps Clarence” reveals him deciding to help his hapless shipmate and Stoll supports with a musical narrative, which is both comic and sardonic. They practice pick-ups with Joe playing a dame supported by a comic, exaggerated feminine strut. Clarence is too polite and Joe repeats his feminine strut only to receive a disapproving stare empowered by sardonic woodwinds from a passing man. In (*) “Arrested”, a policeman arrives and takes Joe and Clarence to the station over their protests. The captain persuades them that perhaps they as sailors, they can get the boy Donald to disclose his home address. Joe agrees to help. A child-like musical narrative unfolds, interrupted by child-like trumpets militare as he orders Donald to attention. As the child-like rendering of the anthem unfolds, Joe uses his rank to get the boy’s full name and address. As Joe looks at the Sergeant, a sardonic bassoon crowns his victory. Joe then explains that to join the navy, a letter from your parents is needed, but Donald says he is an orphan living with his aunt. A sad, sentimental musical narrative supports the moment.

In (*) “Joe is Trapped”, Donald insists that Joe convince his aunt to write the letter and grabs his arm as the policeman takes them all to Donald’s home. The policeman flees as he has a date, and Clarence and Donald’s whining keep Joe from leaving. Joe calls Lola to explain why he is late and her sultry theme permeates the conversation, as we see him clearly aroused. (*) “Concert/Susie Returns Home/Donald Goes to Bed” reveals Susie attending an opera, which features a performance of Rossini’s Largo al factotum della città from “Il barbiere di Siviglia”. Afterwards she returns home and she and Joe get off on the wrong foot, while Clarence is smitten. She convinces them to stay for Donald’s sake. They convince Donald to study hard as the Navy requires sailors be able to read and write. They then accommodate his request to take him to bed. Stoll supports tenderly and child-like gentility as Donald rides Joe upstairs, the music shifting to Joe singing “Anchors Away” as they put Donald to bed.

In “Brahms’ Lullaby” – vocals by Frank Sinatra, Donald insists that Clarence sing him to sleep as he opens a music box, which plays Brahms’ Lullaby. Clarence sings the song with warmth and tenderness; In (*) “Clarence and Susie” Clarence leaves the sleeping boy and joins Susie downstairs for coffee and sandwiches. A romance for strings supports Clarence, who remains smitten with Susie. Joe then joins and insists they leave, as he is still intent on seeing Lola. Bubbling woodwinds of delight carry their departure, and the romance for strings returns as Clarence informs Joe of his feelings for Susie. He refuses his request to help him with Susie and they depart as Susie gazes at Clarence from her open window. (*) “Lola Turns Joe Down” reveals Joe calling Lola to explain while he is still late and she informs him that it is now too late. She tells him to come by in the morning at 12 noon and he hangs up disappointed. Stoll supports the conversation with her alluring and sultry jazz theme. Afterwards, vibrant, playful woodwinds support Clarence sucking down a strawberry milkshake at the bar. Joe agrees to help hin with Susie tomorrow and they leave to go find a place to sleep. On the way out the policeman enters with a blonde bombshell supported by sardonic woodwinds as Joe and Brooklyn gaze in covetous amazement.

“I Begged Her” – vocals by Frank Sinatra and Gene Kelly, reveals Joe telling his fellow sailors, who he is bedding down with in a hotel ballroom, how the night went with his gal. Stoll supports the lead up to the song with the orchestra offering of its hopeful, swaying rhythms. The aspirational love song is supported with big band style. At 1:41 Joe and Clarence begin an athletic synchronous dance routine and the supporting big band music becomes much more kinetic, ending with a horn flourish. (*) “Joe Oversleeps!” reveals Clarence humming Brahms’ Lullaby with the clock displaying 1:15 pm as Joe sleeps. Joe wakes and discovers he is over an hour late and an orchestral stinger supports his alarm. A frenzied accelerando of the “I Begged Her” song melody propels his run to the pay phone. Woodwinds sardonica support his discovery that she has left. He becomes angry, and the women on the other end, hangs up on him. He glares at Clarence and mocking woodwinds initiate a pursuit furioso as Joe chases him around the room. Clarence is saved by the entry of several hotel waitresses who have brought up lunch. After the waitresses leave the sardonic woodwinds return as Joe poises to pounce, but Clarence convinces him to return to Donald as he promised, and to also help him with Susie.

(*) “Joe and Clarence Visit” reveals the two sailors walking up to Susie’s house carried in a silly musical narrative by plodding, woodwinds comici. Inside she relates that she is an aspiring actress and singer, and Joe paves the way for Clarence with Susie agreeing to go on a date. She is late for an appointment and a romance for strings emote the “I Fall in Love Too Easily” melody as they exit. As they begin to walk away a nerdy Hollywood executive arrives carried by a comical musical narrative as the guys look on with disapproval. Joe convinces him that he has to intervene to stop this guy before it’s too late. They return to the house and a sardonic rendering of the love song supports their play acting. When the man introduces himself as Bertram Kraler, comic, the mocking musical narrative becomes more pronounced. As they intimate that she is very popular with sailors, a mischievous rendering of the “I Hate to Leave” song melody supports. When Bertram says that she seemed like such a quiet girl, Joe says that they even have a song about her. Bertram demands to hear it, and Joe puts Clarence on piano and improvises with a playful, spoofing performance “If You Knew Susie” – vocals by Frank Sinatra and Gene Kelly. Well, Bertram is now offended and departs as he will not socialize with such a girl. When Susie finds out, she is distraught as she was noy dating Bertram romantically, but instead to secure connections for her singing. This leads Joe to apologize and to formulate a new plan by exaggerating Clarence’s musical relationship with conductor José Iturbi. In (*) “Dinner” they all go out to dinner together in the Mexican district where a mariachi band sings the classic “Cielito Lindo” as they stroll. As they toss coins in a wishing fountain, carnivalesque music joins. In the restaurant, Suzie agrees to pay for the food and then departs saying that she will show them how she will get the money. She is introduced and launches into singing the song “Jealousy” vocal by Kathryn Grayson. Her virtuoso coloratura soprano voice is stunning, as she sings the romantic ballad with Mexican flair. We also see that Joe has been taken captive, unable to take his eyes off her. Back at the table source music plays as Clarence and Susie finally get time alone to get acquainted. Joe returns and offers a dance to Suzie supported by the song melody “What Makes the Sunset?” rendered as a danza messicana. Alone at the table, Clarence castigates himself for being a coward with Susie. His self-questioning ushers in the song “What Makes the Sunset?” – vocal by Frank Sinatra.

The song abounds with romantic longing and Sinatra’s vocals creates a beautiful confluence. He is joined by a waitress who loves his voice, they discover they are both from Brooklyn, and begin to banter. But on the dance floor we see that Joe and Susie have succumbed to mutual attraction, now dancing amorously cheek to cheek to an instrumental rendering of “Cielito Lindo”. As the three walk home together happily, they La-La-La the song’s melody. After an awkward goodbye, she agrees to join Clarence for Dinner and gives both men a good night peck on the cheek as the Love Theme “I Fall in Love Too Easily” plays softly underneath the dialogue. Upstairs, as Susie covers Donald with a blanket, she begins to sing the love song “All of a Sudden, My Heart Sings” – vocal by Kathryn Grayson. She sings the song, which speaks of the joy of love and is full of yearning, with a tender pop rendition. The confluence of vocals, acting and song are just beautiful.

On the MGM Studios lot, a spirited musical narrative supports Clarence’s multiple attempts to see Mr. Iturbi, each of which are thwarted. On the recording stage, Iturbi leads his orchestra on the piano in a recording of the festive “Donkey Serenade”, which features dazzling virtuoso piano playing, a beautiful clarinet solo and big band energy. With a cut back to the studio gate, Clarence again tries to convince the guard to let him pass, the futility supported by woodwinds sardonica. In a scene change, Joe goes to see Donald at his school, where he finds him telling tall sailor tales to his classmates. The kids swarm him and demand he tell them a tale, which he does – how he got his medal.

“The Worry Song” offers a fantastic score highlight! The choreography and synchronization between Kelly and a cartoon character was phenomenal and when joined with the happy go lucky song, it achieves a wonderful cinematic confluence. The cue contains dialogue. We open with an idyllic prelude, which ushers in playful woodwinds and strings felice as we see Joe joyously walking and leaping on a tree lined path set against skies with sunset auras. At 1:00 a descent motif supports his fall into a deep hole, which ushers in an ominous musical narrative. As he walks in a long tunnel towards the light, the music warms and becomes welcoming. He enters a storyland setting with a castle. He calls out and at 1:53 scurrying strings and bubbling woodwinds of delight bring a retinue of rabbits, squirrels, chipmunks, a fox, skunk, lamb, blue birds and turtle to his side. At 2:05 he begins to play a piccolo, but is shushed by the animals. He asks, “No Music?” and the music sours as the birds shake their heads, no. He asks if he can dance, and woodwinds tristi support a fawn shaking her head, no with a tear. A chipmunk jumps on his shoulder and says “It’s the Law!” and a descent motif carries his run away. At 2:46 Joe sings; “I’ll sing and dance whenever I will, No law on Earth can keep me still.” He then begins dancing while playfully playing a piccolo. At 2:58 a dour bassoon joins as an owl counsel that the king forbids us to sing and dance. Joe decides to visit the king and sets off up the path singing with determination.

He plays a spritely piccolo as he dances up the long castle path, giving way to a string led accelerando as we seeing him running up the path, replete with soaring leaps as he jumps up onto a window ledge and sees a mouse with a crown sleeping on a throne. We see he is sad, turns down cheese, and a sad musical narrative unfolds. Playful woodwinds join as Joe enters, and gets the king to admit that he is lonesome. The music becomes sad as he admits that he passed the law as he cannot sing or dance. Joe coaxes the king to give singing and dancing a chance and at 4:54 breaks into the happy go lucky “Worry Song”. Vocals are by Gene Kelly and Sara Berner as Jerry Mouse. The song is performed with Jerry Mouse answering statements made by Gene Kelly.

The teacher returns, says recess is over, and Joe departs. Donald follows and thanks him for getting Susie her audition, which Stoll supports with sentimentality. Joe realizes he is in trouble and heads to the studio where he links up with Clarence. Joe cons his way in and the two set-off to meet Mr. Iturbi. In (*) “The Chase” the guard sees Clarence and a frantic-comedic chase begins propelled by strings spiritoso. Clarence eludes the guard, and hides in a soundstage supported by comic woodwinds. Meanwhile, Joe finds Mr. Iturbi’s office, enters and is asked to wait. In (*) “Joe and Susie”, Susie then enters and Joe escorts her out with a fabrication as he has not yet secured her audition. He tells her it is now Saturday and to be patient. At a soda bar she probes as to what kind of girl he likes as we see she is interested in her, yet Joe hides his feeling and deflects for Clarences’s sake. Stoll’s music however speaks true, as he supports their true feeling with the Love Theme softly playing under the dialogue.

(*) “Brooklyn Meets Iturbi” reveals Iturbi entering the soundstage and doing a practice run of Tchaikovsky’s “Piano Concerto No. 1 in B-flat minor. He joins, and tells him he knows that song and joins his vocal offering the pop song version of the melody. (*) “Clarence and Brooklyn” Iturbi departs amicably and Clarence arrives at the Mexican restaurant supported by classical Spanish guitar as the waitress from Brooklyn looks on and then joins him. He is nervous as he has a one-on-one date with Susie. Brooklyn coaxes him with compliments. She play acts with him and are joined by two Spanish guitarist who offer a prelude for a song highlight, the molto romantico ballad “The Charm of You” – vocal by Frank Sinatra. We see her melting, her heart surrendered to him, overcome by his sweet singing and romanticism. Yet she knows how she feels is unrequited, and leaves as Susie arrives. (*) “Clarence and Susie” reveals that he is distracted and we see that she appears more interested in Joe. Soft source music supports under the dialogue. folk songs support as we see Joe strolling through the streets and making a wish in the fountain. He then gifts a coin to a little Mexican girl. As he peers through the restaurant window, he sees the two of them dining supported by Mariachi music. The waitress Brooklyn comes by and purposely spills soup on Clarence, and the lures him to the kitchen to dry off by the oven. They begin to bond, the moment shattered by the manager ordering her back to work. Outside in (*) “Chiapanecas” we are treated to a dancing highlight! Joe again bumps into the little girl and he decides to dance with her, to the romantic Mexican ‘Clap Hands” song. After a while he sets her on the ledge, and then begins energetically dancing a montage of different virtuoso dance styles of the song; a festive rendering, a playful dance version and a big band up tempo version. She rejoins him for a happy-go-lucky jump-rope version, followed by a very spirited polka version. After she sits down, Joe again dances playfully until he looks into the restaurant. A sad romance for strings brings his dancing to and end as we see him walk away forlorn.

The next day in (*) “The Hollywood Bowl” horns maestoso herald the monument as we see Joe and Clarence walking the grounds. Tremolo strings dramatico support a guard denying them entry to see Mr. Iturbi. Inside he practices Liszt’s festive Hungarian Rhapsody No. 2 for a presentation by fifteen pianos. Well, they arrive too late and Iturbi has already left. Clarence decides to take responsibility in letting Susie know their plan failed and will meet Joe later at the bar by her house. However, there is a lot that is unspoken after Joe leaves as we see that it is Brooklyn, not Susie who has captured Clarence’s heart. On the piano he sings the molto romantico Love Theme, “I Fall in Love Too Easily”, a rapturous musical highlight that graces us with a perfect joining of Sinatra’s vocals and a song melody.

In (*) “Clarence and Brooklyn” a celebratory rendering of the Love Theme supports Clarence’s runs to Brooklyn at the restaurant. The theme softens, and warms tenderly as he kisses her, confesses his love, and proposes. Before responding, she confesses that she purposely spilled soup on him to get him away from Susie. He is touched and thankful, but they both realize they need to stop Joe trying to fix things up with Susie. (*) “Joe Confesses to Susie” offers a musical and dance highlight. Joe finally expresses the love he feels for Susie against a fantasy backdrop of she dressed in a white Spanish Contessa gown on a balcony, as he comes to her as a dashing Zorro-like figure. A molto romantico musical narrative unfolds with Paso Doble auras to support as he performs a sword dance passionately with his red cape used artfully like a matador. He abandons his red cape and proceeds to passionately dance the sensual tango “La Cumparsita” in a virtuoso performance for the ages. A crescendo appassionato carries his bold, athletic ascent to her balcony, cresting in a romantic climax as she melts in his arms as the embrace and kiss. A swirling descent by strings ends the fantasy as the camera descends to the courtyard, where strings romantico blossom as we see our lovers in a kissing embrace.

(*) “Joe and Clarence” reveals the two struggling to come clean about the girls they love as free-flowing jazz plays in the background. Joe downs a double Scotch for courage, but it is Clarence who spills the beans, that he has hooked up with the waitress. Joe is overjoyed, and Clarence figures out that he loves Susie. He wryly asks if he was going to propose before or after he informs her that the audition was a hoax. (*) “Joe Visits Iturbi’s House” reveals that Joe is desperate and they decide to go to Iturbi’s home on a ldesperate gamble. No one is home, they fall asleep on the front entrance and muted horns sardonica support the milkman morning delivery of milk, which wakes them. The butler answers the door and advises that Mr. Iturbi will be returning to the studio from Bakersfield. Joe is forlorn and resigned to his fate as he goes to give Susie the bad news carried by a sad musical narrative. The music brightens as he meets Donald outside the house, who tells him that she left to go to the studio. They sit on the steps and a sad rendering of “Anchors Aweigh” support Joe’s request that Donald tell her “That he is very sorry it had to end this way.”

In (*) “Susie Gets Her Chance”, Susie meets Iturbi at the diner counter. She soon realizes that he knows nothing of the audition Joe and Clarence setup. She is embarrassed, starts to cry and turns to leave, but is stopped by Iturbi. A sad rendering of “All of a Sudden, My Heart Sings” supports her heartache. Iturbi is sympathetic, and schedules an audition, which offers a magnificent song highlight where Grayson’s virtuoso operatic vocals are brilliantly showcased! “From The Heart of the Lonely Poet” offers a romantic ballad abounding with the joy of love. Back on the ship Joe mopes to Clarence, and they are shocked when Mr. Iturbi descends with the captain to a quote of the “Anchors Aweigh” theme. Comic woodwinds support their incredulity when he tells them to come up as he has something to say to them. He brings them to a packed onshore venue where he tells Joe to wait here as Brooklyn grabs Clarence. Iturbi introduces “A beautiful singer discovered by the U.S. Navy” as we see Susie walk out on stage. She sees Joe, runs into his arms and Iturbi launches into a rousing rendering of “Anchors Aweigh – Finale” sung by men’s chorus. We close the film with both couples enjoying a kissing embrace. (*) “End Cast” is supported by a rousing reprise of the “We Hate to Leave” song, which burst into a big band mode, that culminates in a bold flourish!

It is rare, but I cannot recommend this album recording in good conscience. The audio is archival, has dialogue, and is very incomplete, with songs and a significant amount of the score missing. The audio in the film was in fact, superior. MGM was the premier studio for producing musicals, and it is no surprise that this one earned five Academy Award nominations, with one win for Best Musical Score. The song team of Styne and Cahn masterfully crafted songs, which showcased Sinatra’s and Grayson’s sterling vocals, but also offered wonderful comedic entertainment. The Love Songs “All of a Sudden My heart Sings” and “I Fall in Love too Easily” are cinematic classics, which elevated this musical’s romantic narrative. The songs “We Hate to Leave”, and “The Worry Song” were crafted to create a wonderful synergy with Kelly’s dancing prowess. As to the score, I believe Stoll merited his Oscar win, turning in a masterful, well-conceived and executed score. The songs comprise just under thirty minutes for this two-and-a-half-hour film, so Stoll carried a significant burden bridging the musical and dance vignettes, but also propelling the film’s narrative storytelling. I believe he masterfully captured the romance and comedy of this musical, and kept up the film’s pacing. Folks, this is a musical with a fun score, wonderful songs, great dance numbers and a feel-good story. Until such time as we get a quality rerecording, I highly recommend that you take in the film using the YouTube link below.

For those of you unfamiliar with the score, I have embedded a YouTube link to the film; https://www.youtube.com/watch?v=kDaR4mjtef8

Buy the Anchors Aweigh from the Movie Music UK Store

Track Listing:

• Main Title – Navy Band (2:45)
• We Hate to Leave (written by Jule Styne and Sammy Cahn, performed by Frank Sinatra, Gene Kelly and Chorus) (1:42)
• Lullaby (written by Johannes Brahms, performed by Frank Sinatra) (1:32)
• I Begged Her (written by Jule Styne and Sammy Cahn, performed by Frank Sinatra and Gene Kelly) (3:07)
• If You Knew Suzy (written by Joseph Meyer and Buddy De Sylva, performed by Frank Sinatra and Gene Kelly) (1:59)
• Jealousy (written by Jacob Gade and Vera Bloom, performed by Kathryn Grayson) (3:20)
• What Makes the Sunset? (written by Jule Styne and Sammy Cahn, performed by Frank Sinatra) (1:59)
• All of a Sudden My Heart Sings (written by Henri Herpin and Harold Rome, performed by Kathryn Grayson) (1:48)
• Donkey Serenade (written by Rudolf Friml and Herbert Stothart, performed by Jose Iturbi) (2:18)
• The Worry Song (written by Sammy Fain and Arthur Freed, performed by Gene Kelly) (3:01)
• The Charm of You (written by Jule Styne and Sammy Cahn, performed by Frank Sinatra) (2:11)
• I Fall in Love Too Easily (written by Jule Styne and Sammy Cahn, performed by Frank Sinatra) (1:36)
• Anchors Aweigh – Finale (written by Charles A. Zimmerman, performed by Frank Sinatra and Chorus) (1:12)

Running Time: 28 minutes 30 seconds

Classic Soundtracks SFILMCD009 (1945/2005)

Music composed and conducted by George E. Stoll. Original songs by Jule Styne and Sammy Cahn. Orchestrations by Axel Stordahl, Carmen Dragon, Ted Duncan, Robert Franklyn and Joseph Nussbaum. Additional music by Calvin Jackson. Recorded and mixed by Pete Decker, Frederick Herbert, M. J. McLaughlin and William Saracino. Score produced by George E. Stoll. Album produced by Martin Moritz.