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Kaye's rise to pugilistic glory coincides with the newfound career success of his goody two shoes girlfriend Polly (Virginia Mayo), who like Vera-Ellen, is also a showgirl. (This allows both to have several musical numbers, where Vera-Allen also displays her first-rate gams). Will Danny Kaye win the love of Polly? Will he become the next middleweight champ? Will he make a fool of himself? Is the voice of Virginia Mayo dubbed? Could the answer to all these questions be yes?
How others will see it. This is a movie that only classic film fans (in general) and Danny Kaye worshippers (more specifically) could love. The basic story (a skinny dufus with no boxing ability becoming champ without realizing that his fights have been set up) doesn't merit further comment. The dual romances (Kaye-Mayo, Vera-Ellen-Cochran) are the stuff of Hollywood fiction (none of these four grown and attractive people were married or dating when the story picks up?).
But if it fails as a romance, misses as a comedy, and is lukewarm as a musical, does it still have an audience? Surprisingly, yes, since many classic movie fans have the ability to look through the artifice and focus on the mechanics: actors playing a character, delivering lines, and simply performing. But there are plenty of good films out there that provide all this without insulting your intelligence. Those are recommended instead.
How I felt about it. It should be clear by now that I dislike The Kid from Brooklyn. Partly, it is because Kaye departs from character to do a stand-up routine involving Russian dancer Pavlova. Partly, it's because Agnes' baby horse never seems to grow any bigger despite the passing of six months. Partly, it's because Kaye's comic schtick is less effective than Jerry Lewis' screeching and Lou Costello's howling. Which is not intended as a compliment for either Lewis or Costello.
But, the real reason why The Kid from Brooklyn is such a tedious Danny Kaye vehicle is because the comic parts aren't funny, and the musical parts aren't as charming as they try so hard to be. The film begins with the Goldwyn Girls (i.e. "B" movie cuties) confirming the rural version of "Surf City." Two girls for every cow. And all are smiling so wide that their faces have gotta hurt.
The one worthy number is "I Love An Old Fashioned Song," which works because of its set-up and simplicity: a cop and a girl are mooning, but not for each other. They both idolize Josie, a famous showgirl of a generation ago who presumably has passed on.
Beyond this number, there's little too look forward to except for Walter Abel's shameless huckster. Eve Arden plays his overly jaded special other.