Actually, I rather like the "Sign" song--by that time, the movie has become such a mess that it's fun to see Burnett and Finney just goofing off. And it's nice to see a Hannigan/Warbucks duet. Burnett is so perfect as Hannigan she makes nearly all her scenes work.
I agree the movie is criminal, though. To waste and misuse that amount of talent--who thought John Huston was a good idea, anyhow? The same person who gave CHORUS LINE to Richard Attenborough? And Arlene Phillips' choreography is unwatchable (even more so than her career-topping work in the Village People's CAN'T STOP THE MUSIC.)
Apparently it was decided that the material was too much of a comic strip and needed more "reality"--hence Carol Sobieski's hideous script, which comes off as more of a cartoon than the stage version. (Everyone I know who saw it was screaming "Fall! Fall!" at the end when Annie was dangling off the tower.) And it seems every movie musical must force in new songs to differentiate the movie soundtrack from the Broadway cast album--thus the wonderful "N.Y.C." is jettisoned for "Let's Go To the Movies", etc., etc. Aren't almost all of the real Broadway standards butchered on film? CHORUS LINE, GUYS AND DOLLS, GYPSY (Rosalind Russell version), MY FAIR LADY, OKLAHOMA, CAROUSEL, FORUM, LITTLE NIGHT MUSIC, MAN OF LA MANCHA, MAME--the list goes on and on.
I ask in all honesty/What would life be?/Without a song and a dance, what are we?/So I say "Thank you for the music/For giving it to me."