This Movie Can Only Be Described With One Word.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Cary Grant and that it contains songs by Cole Porter and a film about him are reasons enough to see Night and Day. For anybody wanting something completely accurate they're better off reading a Cole Porter biography, for Night and Day does gloss over his homosexuality(considering the time it was made though this was completely understandable) and reduces the tragic riding accident that Porter never recovered from.If you however take the film for what it is, which is always a fairer way to judge, you should find some enjoyment out of it. From where I'm standing, Night and Day, despite being formulaic with some at times corny scripting and a few parts that drag a little, is a very nice film. It is beautifully made with ravishing Technicolor, sumptuous costumes and equally gorgeous photography, and Michael Curtiz shows that he was more than up to the job, directing with his usual sophistication and class. Night and Day also features a wonderfully sweeping score that deservedly received an Oscar nomination and Cole Porter fans will be in heaven with the songs, most of them being among his best featured here. Porter's music is some of the best ever written, in musicals and in any kind of music, and Night and Day do them justice, being entertainingly staged(even the slightly bizarrely set My Heart Belongs to Daddy) and well performed by the likes of Mary Martin and Ginny Simms, even Grant doesn't do too bad a job.Night and Day contains parts that are very funny, thank goodness that they didn't gloss over Porter's wit(though they could have had even more of it), and others that are quite touching, like the composition of Night and Day in a French hospital. The story like the script is not perfect, but it's neatly told, entertains and has heart, it also doesn't make the mistake of being dull. The film may be fictionalised, but you're engrossed in the story regardless. The casting's unusual but in terms of performances the cast do a marvellous job. Cary Grant is very charming and enigmatic in the title role, playing the role with sympathy and wit(an important trademark of Porter's and a large part of Grant's overall charm). Alexis Smith is beautiful and elegant and is as sympathetic as Grant and Jane Wyman allures too. Monty Woolley, Mary Martin and Ginny Simms acquit themselves brilliantly too. Overall, a very nice film when taken for what it is. 8/10 Bethany Cox

At Yale University in 1914, wealthy young Cary Grant (as Cole Porter) is fonder of musical theater than his studies. Disappointing his family, he decides to drop out of college and pursue a career in songwriting. He makes it to the top, with a parade of hit songs and Broadway musicals, but tragedy is waiting in the wings. "Night and Day" is a formulaic Hollywood biography, with what would appear to be an odd casting choice in its leading man. Both exude elegance, but having Cary Grant play Cole Porter is strange...Miscast at the onset, Mr. Grant does something with the role. Early on, he kisses pretty blonde Jane Wyman (as Gracie Harris) like she's his sister. Later, attractive Ginny Simms (as Carole Hill) laments Grant has never made "a pass" at her. He's not playing Cole Porter, but Grant is playing a scripted "girl shy" man. Most of the story has to do with Grant's romance with beautifully-figured Alexis Smith (as Linda Lee). Grant's reaction to their first real kiss is telling. And, while most "girl shy" characters in Hollywood come around, this one does not. The last romantic scene between Grant's Porter and Ms. Smith dumps the kiss for a friendly hug...Combined with these tentative love scenes, we have Grant playing Porter as what could, then, have been described as "musical" or "light in the loafers." That Grant, director Michael Curtiz and a team of writers cooperated in sending this version of Cole Porter out to the public in 1946 is interesting. We also have bearded Monty Woolley playing the "real-life" role of Porter's mentor. Some of Porter's most successful songs ("Night and Day", "Let's Do It") were about such obvious subtlety. All that being said, the main story fails because it is still ordinary. However, the musical portions are very well done and flow seamlessly into the script...Of several contributions, Ms. Simms' "What Is This Thing Called Love?" is a highlight. The production numbers reach a peak with Carlos Ramirez and the dancers' "Begin the Beguine". As a bonus, Mary Martin performs her star-making hit version of Porter's "My Heart Belongs to Daddy". A legendary stage performer, Ms. Martin translates beautifully to screen in this appearance. Age prevented Martin from making movie versions of her hit plays later on, but her part in "Night and Day" makes one wish we'd seen more of Mary in the movies.****** Night and Day (7/2/46) Michael Curtiz ~ Cary Grant, Monty Woolley, Alexis Smith, Mary Martin

Despite her dancing and singing talent, poor Alexis Smith was stuck with the thankless role of a long suffering, non-singing or dancing version, of Porter's wife, Linda. The real Linda was considerably older than Porter, not 17 years younger, as in the Grant-Alexis pairing. In this film, we get the impression that, despite their lingering attraction, Linda felt insufficiently valued by Porter, resulting in long separations, possibly suggesting Porter's gay orientation. The real Linda seemed generally comfortable with their non-sexual companion relationship, and often was involved in inspiring his song writing. For a small sampling of Alexis's singing and dancing talents, check out the Errol Flynn western "San Antonio" and the WWII musical revue "Thank Your Lucky Stars". She became Olivia de Havilland's successor as Flynn's most frequent romantic interest in his '40s films, ending as a cattle queen in the '50 "Montana".A comedic scene has Porter meeting Linda by chance after many years separated, and he gets the impression she is married, and has born many children, whereas she is working at an orphanage.We have a number of men and women featured singers and dancers, Thus, this musical takes on the character of a revue. Dorothy Malone, Eve Arden and Mary Martin each are featured for one song, Mary reprising her Broadway role in singing "My Heart Belongs to Daddy". Impossibly cute Jane Wyman is the featured breezy singer for 3 songs from the '20s, whereas the elegantly gorgeous Ginny Simms sings nearly all the songs from the '30s, essentially taking the place of Ethel Merman, who was Porter's favorite singer during this period. Of course, her voice and personality were not remotely like those of Ethel, being much more ethereal. Nonetheless, she was perfect for the role, I much enjoyed her renditions. Ginny was vastly underutilized by Hollywood, both as a singer and actress. For another role in which she sang a few songs, as well as being a major character in the story, see the revue musical "Broadway Rhythm"...You may have been surprised by the choice of Jane Wyman as a singer/dancer. Although she began her public entertainment career as a singer, her singing/dancing talent was very seldom used by Hollywood....Grant sings several songs, most of them among the forgotten ones. Porter reportedly was quite satisfied with the choice of Grant to impersonate him. Cary well fulfills his promise as a suave, low-key version of Porter, without his hedonistic excesses...Bill Days does a fine job singing an abbreviated "Night and Day" on stage....Carlos Ramirez, who was quite a famous singer in his native Columbia, is the featured singer in the elaborate production around "Begin the Beguine". This is, no doubt, the high point of his very limited utilization by Hollywood. In the previous "Two Girls and a Sailor", he did a great rendition of the classic "Granada".The choreography in the 3 main numbers is top rate and the highlight of the film. Each of the 3 main dance performances employed a different dancer or dancing couple, and the dancing styles were quite different. For most of the dancers, this was essentially their only inclusion in a Hollywood film, at least as a dancer. Estelle Sloan was the solo act while Ginny sang "Just One of Those Things", She came across as a mix of MGM's Anne Miller and Eleanor Powell, with her tap dancing, followed by a series a very fast spins: pretty impressive. While Ginny sang "I've Got You under My Skin", Adam and Jane di Gatano were the dance team. They included many lifts of Jane, including a Busby Berkeley-like overhead view of Adam spinning while holding Jane over his head. Lastly, as part of the elaborate production surrounding "Begin the Beguine", George Zorith and Milada Mladova provide a very sensuous dancing couple, with much time devoted to coordinated individual elegant movements. Very impressive! This performance invites comparison with the elaborate performance to the same song, featuring Fred Astaire and Eleanor Powell as a pair, in "Broadway Melody of 1940". Yes, quite different! Astaire and Eleanor emphasized very rapid tandem dance steps, which was their forte, as opposed to the airy often individual romantic expressions in the present film.Wooly Monty Woolley takes on the role of Porter's equally charismatic alter ego, beginning the film as Porter's law instructor at Yale, then popping up periodically throughout the film, as theater director and Porter's confidant. They made a great contrasting pair: physically and personality-wise. Woolley was, in fact, a gay friend of the real Porter. He serves as master of ceremonies in the strange, rather grim, finale Yale tribute to Porter, in which Porter enters the hall with the aid of two canes to support his much operated-on legs, "Night and Day" is once again played(as the theme song for the Porter/Linda relationship) and Porter is once again reunited with Linda, bearing an ominous expression over her shoulder as they embrace. Clearly, he is apprehensive about her reentry into his life. Because of his painful legs problem? Grant's rather cool reception of clear romantic overtures by Jane's and Ginny's characters, ambivalent attitude toward Linda, along with Monty's dominating presence in his life, could well hint at Porter's gay orientation.Henry Stephenson plays Porter's wealthy grandfather, who largely controls his purse strings in his early adult life, and insists on Porter taking a law curriculum at Yale. Stephenson had many such roles in '40s Hollywood films.Despite some much overemphasized minuses by many reviewers, I still rate this as a very enjoyable experience, if much fictionalized history.

Whether or not you get a kick from champagne, you'll definitely get a kick out of "Night and Day", the dazzling 1946 biopic of Cole Porter.Portraying Cole Porter is Cary Grant, who not only charms us with his acting, but also shows a fairly pleasant singing voice. Cast as his wife is Alexis Smith, who, though good, could have been better in her role. But the score is great (featuring hits like the title tune, "You're the Top", "Begin the Beguine", "I've Got You Under My Skin" and many more) and there's a slew of stars singing a song or two like Monty Wooley, Ginny Simms and Eve Arden.Thought not a very accurate account of Cole Porter's life, I think it is better the way it is : a glorious celebration of Mr Porter's great music. A thoroughly enjoyable musical film, great for the whole family.