It is difficult to rate this DVD, because the play is solid--full of one-line zingers and genuine laughs; the music is top-drawer Porter; the acting, singing, dancing are splendid; the costumes and settings are gorgeous, and the film is well-worth watching. Something about it doesn't quite work, however, on DVD.
I was lucky enough as a kid to see this film in 3D. "Kiss Me, Kate" literally jumped off the giant screen; it was truly spectacular--especially the dance numbers, which were staged upon a modernist forced-perspective De Chirico-like set, with Bob Fosse and Carole Haney, who went on to "Pajama Game" in 1954, leaping and twirling their way to fame. Also memorable were Katherine Grayson's "I hate men!" and Howard Keel's "I come to wive it wealthily in Padua!" And Keenan Wynn and James Whitmore, the stage-struck hoods, stole the show as they brushed up their Shakespeare and hoofed their way off stage and out of the lives of the characters whom, through a set of mistaken circumstances, they had come to apply their brass knuckles.
Like Shakespeare's "Taming of the Shrew," which is a play within a play, "Kiss Me Kate" is played onstage before a large "audience." When one saw the film on a large screen in 3-D, one overlooked details, such as the utter lack of reaction by the on-screen audience. Without the excitement of a real audience reacting at the special effects, the play becomes static, and one notices the silence where laughs from the on-screen "audience" would be natural.
The extras are interesting, with comments about the production by Ann Miller, Katherine Grayson, and Howard Keel. They also give you a glimpse of some of the 3D effects (allowing you to fill in the blanks with your imagination). There is also a rather tedious Fitzpatrick travelogue on Manhatten, which is nevertheless of historical interest since it was shot in grainy color before the UN was built in New York City.
With all its faults, including the grainy color transfer, "Kiss Me Kate" should be in your library, as it demonstrates the excellence to which the old Hollywood musicals could strive, and will likely never achieve again.