ReelJewels.com: Reviews Collective

Ahh, the 1940s. Such a great time to be working in the movie musical business. Especially if you worked with feathers or sequins. Ziegfeld Follies has oodles of both. In fact, it’s fun just to watch this movie for the costumes. Who doesn’t get a kick out of Fred Astaire wearing red Chinese pyjamas with white pom poms, Lucille Ball with an enormous tuft of pink feathers sticking out of her head or chorus girls with butterfly bustles?

No? Just me?

It’s safe to say that ZF is a hit and miss affair. It falls into one of the most illustrious and oddest musical sub-genres - the musical revue. Around the time of the advent of talking pictures, most studios churned at least one out to show off the talents of their stable of performers. They quickly learnt that the revue format doesn’t work half as well on screen as it does on the stage. ZF was a splashy and ambitious attempt by MGM at the height of their powers to try revive that tradition.

Perhaps the most stunning feature of ZF is its use of colour - not surprising with Vincente Minnelli directing most segments. The opening musical number is a riot of pink and white (And feathers. And sequins. And hula hoops.), and is one of the highlights of the film. Fred Astaire sings, Cyd Charisse dances, Virginia O’Brien sings an hilarious parody of the number (while sitting on the most unnervingly fake horse I’ve ever seen), and Lucille Ball whips a bunch of catwoman chorus girls into submission. It’s camp, it’s fabulous and it’s a great start to the film.

(Well, really, the film starts with a bunch of creepy puppets re-enacting the history of the Ziegfeld Follies on Broadway. It’s rather disturbing. Then there’s William Powell, playing Florenz Ziegfeld in heaven, tossing up the idea of putting on another show. But he’s dead, of course, so he decides he’ll just have to get Fred Astaire to put it together for him. This makes no sense at all, but we’re in musical revue land now, where the logic is even more convoluted than regular musical land. We’ve just got to roll with it from here on in.)

Following that, in no particular order, is a segment featuring Esther Williams floating around in the water for a while, an extract from La Traviata with the chorus almost collapsing under the weight of their outrageous dresses, and a comedy skit featuring Keenan Wynn trying and failing to place a call through an operator. Listen carefully to the voices he talks to, and you might just hear Audrey Totter and Peter Lawford making their uncredited appearances.

The comedy skits are what really drag this film down. Maybe it’s the fact they haven’t dated well, or maybe they just weren’t funny in the first place. I recommend that you keep the fast forward button handy. Apart from the telephone sketch, keep an eye out for Victor Moore in “Pay The Two Dollars”, Fanny Brice fretting over a lottery ticket, and Red Skelton with his famous gin skit. Of these, I find the Victor Moore sketch the funniest. The appearance of Fanny Brice is a nice link to the original Follies on Broadway, and fans of Red Skelton will adore how he progressively gets drunker and drunker throughout his segment.

Returning to the musical segments, make sure you catch the two dances with Fred Astaire and Lucille Bremer, “This Heart of Mine” and “Limehouse Blues.” The first is probably the best, with Fred playing a jewel thief taking the rich Lucille for a ride. It could have become a classic number if it had just let Fred and Lucille dance by themselves, but someone thought it was a good idea to involve a chorus dancer or twelve. On moving platforms. With sparkly tree branches for decoration. At least Lucille’s costume is pretty, which is more than can be said for “Limehouse Blues.” Both she and Fred are subjected to playing Chinese characters, with makeup that makes poor Freddy look like ET, and red pyjamas that make one giggle and recoil in horror simulataneously.

That said, I love “Limehouse Blues.” Its mini storyline and dream ballet device make it a precursor to later MGM ballets in “Yolanda and the Thief” and “An American in Paris”, so if you’re interested in the development of ballet in musicals, it’s definitely worth your while to watch this one. The ballet here takes place on a huge soundstage decked out to resemble a Chinese painting. There is a gorgeous sequence before the whole set is revealed to us where Fred chases Lucille’s fan through the dark - a wonderfully beautiful and surreal image. A choreographic high point would be the fan dancing, where Fred and Lucille move across the set opening and closing their fans around each other. And if you ever wanted to see Fred Astaire do a cartwheel, this number is for you.

Apart from Fred Astaire, other great MGM performers of the period make an appearance. Lene Horne is at her best in “Love”, overcoming the tacky set, costumes and narrative introduction to the number. It’s definitely a must see, as is Judy Garland’s Interview segment. You don’t want to miss the hand-clapping chorus boys or Judy’s “rap.” It’s a little odd, and most people either hate it or love it, but Judy looks absolutely beautiful and it’s a completely unique musical number.

Then, of course, there’s “The Babbit and the Bromide”, famous for being the only time Gene Kelly and Fred Astaire danced together at the height of their careers (they did perform a few token steps together in That’s Entertainment II in the 70s). The number favours Fred, adapted as it is from the same number he performed with his sister Adele in the 1920s. Still, both dancers get to show off their skills in a challenge dance that also lightly sends up their supposed rivalry. This number should be required viewing for any musical fan. Let me stress that again - even if you have no desire to see this movie at all, you still must watch this number. You absolutely must.

The finale features a few of the usual Minnelli touches we’ve come to expect - beautiful girls lounging around in stylised positions and a stunning use of colour in the sets and costumes. But then there’s THE BUBBLES. When people say Ziegfeld Follies is over the top and overblown, all they have to do is refer to the BUBBLES to prove their point. What we see in the film is Cyd Charisse dancing thourgh a mountain of bubbles, while more bubbles almost engulf the camera. It’s bubble-rama. It’s bubble-icious. It’s bubble-tastic. What we don’t get to see is the attempted dance between Fred Astaire and Lucille Bremer in the bubbles. They came so close to being suffocated by bubbles while shooting that they couldn’t complete the number. Poor Cyd as it is almost loses her way through them. Nevertheless, it’s absolutely stunning. It’s almost a pity to end the finale with Kathryn Grayson warbling out a song about beauty while a sign lights up the title of the film behind her. Because, really, it just can’t compare to the bubbles.

Up until now, most of us have only been able to see Ziegfeld Follies on faded video copies, meaning the full brilliance of the colour has been missing. Hopefully, the upcoming DVD release will rectify this. If you’re a fan of the MGM musicals, it’s definitely worth your while to take a look at Ziegfeld Follies, if only to marvel at the heavyweight star power. Oh yes, and the sequins. And the feathers.

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Norma Shearer has first billing in this movie, but it really belongs to Robert Taylor. He plays Mark Preysing, who is on a desperate search for his mother, Emmy Ritter, in Hitler’s Germany. Mark is given the run around by the government, and finally tries to track down a friend of the family, Fritz Keller (Felix Bressart). Tension keeps mounting as everyone Mark turns to simply cowers in fear. No one can help him for the simple fact that it would put their lives in danger, as well. He happens upon Countess Ruby von Treck (Norma Shearer), an American widow, who becomes the first person to actually give Mark the time of day. She tells him that she will report back to him if she hears any word about his mother. Later in the evening, we find the Countess at home (which she now uses as a finishing school) with her pupils and a Nazi officer. Soon it is revealed that the Countess and the officer have quite the past together, though it seems to me that the Countess is disenchanted by his utter disregard for human life. She questions him about Emmy Ritter, and becomes even more disgusted by his nonchalant answer.

Strangely enough, this film was made a full two years before the U.S. got involved in the war in Germany. It is something one might expect as a propaganda piece during the war, one which demonizes the Nazi party, and rightfully so. I’ve not done my research on the topic, but I can only imagine that the entire cast ended up on Hitler’s blacklist (which included Myrna Loy, who attained the status after calling Hitler out for the mad man he was). As I said before, it is really Robert Taylor’s film, and not only because of on screen time. He did a magnificent job of conveying his frustration to the audience without looking goofy. By that I mean there were no overdramatics, rather it was an unsaid, almost underplayed feeling. This technique also uncovers a theme to the piece, the need to hide all animosity or disagreeance for the sake of one’s own life. As always, Norma Shearer is fabulous. Having been a silent star for so many years, you can read her every emotion in her facial expressions. This works greatly to our advantage, knowing that she cannot speak out against these criminal actions.

This film goes highly recommended, not because it’s a pet favorite of mine. It is truly amazing on all grounds.

–Kayla

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This adaption from Booth Tarkington’s Pulitzer Prize-winning novel contains one of Katharine Hepburn’s best performances IMHO, and the direction by George Stevens to the supporting cast shines. The plot follows the attempts of Alice’s (Hepburn) to break into small-town society, and falling in love with rich girl Mildred Palmer’s (Evelyn Venable) intended Arthur Russell (Fred MacMurray).

While many critics say Kate only played herself, this role proves them wrong, at least to some extent–the trademark dry wit and intelligence are absent, replaced by a simple, almost wistful outlook and awkward chatter in her character’s attempt to impress the “upscale” class. In another actress’s hands Alice could be maddening, but Hepburn pulls it off genuinely, her youthful radiance improving things, too.

George Steven’s direction balances heartbreaking moments with comedy; the two can often be found not too far from each other: a prime example being the well-known dinner scene–despite Hattie McDaniel’s (billed here with an “s” at the end of her name) disturbingly stereotyped maid, it’s still very funny and quietly sad at the same time. 

 MacMurray’s part is skimpy and doesn’t give him an opportunity to do anything remotely interesting–he doesn’t give any indication of what made him a star here. Fred Stone, the vaudevillian, plays Alice’s father, hounded by Alice and her mother (Ann Shoemaker) into setting up a factory with his and his boss’ formula for glue–without asking his boss first, a decision that costs something in the end. Frank Albertson plays Alice’s brother, whose presence seems to have been invented simply to provide another hindrance to the Adams’. Hedda Hopper, who at the end of the thirties was to become one of Hollywood’s leading gossip columnists plays a small role as Mrs. Palmer.

Even though a more realistic (and IMO, probably better) ending that Stevens and Hepburn wanted wasn’t used, it’s still worth checking out for the direction and performances, which elevate the dated material into the realm of Hepburn’s best.

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I’ve been on a quest to see all of Greer Garson’s films and I finally caught Her Twelve Men on Turner Classic Movies the other day. The film was directed by Robert Z. Leonard in 1954. Garson plays Jan Stewart, a widow who decides to teach and is hired by Joe Hargrave (Robert Ryan).

In a lot of ways, it reminded me of a happy-go-lucky version of Judy Garland’s, A Child Is Waiting, which does seem like a stretch, but at the core it’s the same story. A woman wants to figure out what she should do with her life. She becomes a little too close to the kids she’s watching over (in Garland’s case it’s really only one child) and finds herself too involved, tries to get out of the situation–and well, in the end she finds where she belongs.

The story is heartwarming, the kids are relatable; their stories universal for the boarding school experience, and it’s a lot of fun to get internal thoughts from Garson’s character. It’s a light and lovely film.

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Robert Mitchum and Shirley Maclaine star in this wonderful but emotionally heart-breaking romantic comedy.

Mitchum plays lawyer “Jerry Ryan” from Nebraska who arrives in New York after the break up of his marriage. At a party he meets the lovely independent, care-free and fun “Gittel Mosca” a dance teacher played by Maclaine.

After getting to know each other very quickly and learning about their very different personalities and lifestyles they fall in love and begin an affair.

But of course not all relationships run smoothly and they encounter plenty of up’s and down’s along the way.

I was very surprised at how the film ended but it was great and I really loved watching it.

I loved the emotional rollercoaster of their relationship from being in love, having a laugh together to arguing and not trusting one another.

Has anyone else seen it

Nina

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This 1949 film was one of the first to attempt a realistic look at WWII, and it focuses on just how much “maximum effort” men can take. After Col. Davenport (Gary Merrill) cracks under the strain of managing a low-morale Air Force squadron, General Savage (Gregory Peck) takes over, whipping the group into shape, but running himself and those around him into the ground as well with his brusque, disciplinarian tactics. While there isn’t much action, the nuanced, taut acting and direction of the psychological drama makes for a compelling watch. Definitely recommended!

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Well, I just got finished watching this film for the first time. I have to say I was very impressed. I’d like to say a few words about it.

It happens to be a 1937 film, so it goes along with the reviews I’ve been giving on ReelCast. *grin* I tell you… it seems every new movie I’ve watched lately has been from 1937.

I’ve heard a lot about this movie and how great it is, so I really was looking forward to seeing it. Katharine Hepburn is a great favourite of mine, and it’s so fun to see Lucille Ball in obscure little parts in her pre-Lucy days where she often doesn’t even look like the Lucy we all know and love.

This movie had a good solid story backing it, which was great. I love the way it came full circle, and it had a really powerful climax. What a performance Kate gave! It was really moving, and if I had been alone I probably would have shed tears.

It has its lightness and humour, but at the same time there’s a definite edge to the picture. There’s always that feeling that something could go wrong, after all. You worry about the poor girl whose whole heart is wrapped up in playing a part that is hers in a special way. In some ways, it reminds me of Grand Hotel, because “People come, people go, nothing ever happens,” and yet while “nothing” is happening, people’s lives are being dramatically changed.

Definitely give this one a watch. It’s an excellent piece, thought-provoking without being overly heavy.

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A delightful little musical that’s become somewhat forgotten in the past 20 years due to copyrights and such, but still remains as beautiful and fresh as the day it premiered.

Call Me Madam stars Ethel Merman (re-playing her role here from the stage version), Donald O’Connor, Vera-Ellen and George Sanders. The basic plot line is that Sally Adams (Ethel Merman), a rich lady who throws parties in Washington for the upper-class society has been put as the Ambassador for America to a small country in Europe called Litchenburg. She’s supposed to secure a loan to them from America, and ends up bringing her new Press Attache Kenneth (Donald O’Connor) along for the ride. While in Litchenburg, Sally falls for the Forgein Minister, Cosmo (George Sanders) and Kenneth ends up in love with the Princess of Litchenburg, Maria (Vera-Ellen) who is already engaged in a pre-arranged marriage. Cahoots follow as Sally suspects Cosmo’s intentions towards her are purely business and Kenneth and Maria try to dodge her Husbund-to-be while falling in love.

It’s no wonder Call Me Madam won the 1954 Oscar for Best scoring of a Musical - Call Me Madam features some of the most delightful and fun numbers you’ll ever see, and the background music used during some scenes does just the right trick. You’ll love Ethel’s “1913″ number at the Litchenburg Ball as she tries to liven up the party, but the stand-out number (I think) in the film is Vera-Ellen’s solo number, “Dance to the Orcerena”, a cute little folk dance done at the Country Fair. Although the costumes are a little gaudy in this number, it’s scored so beautifully and lively that you’ll want to get up and dance right along to it! Vera is simply wonderful and her dancing could never have been better.

The other musical numbers in the film are 2 versions of “it’s a lovely day today”, one sung by Vera and Donald, and the other is them doing a very Fred and Ginger dance to it out in a beautiful, broken-down castle at the Litchenburg ball. Donald also gets a great solo number called “What chance have I? (with love)” in which he drunkenly dances and sings about being in love with Princess Maria, and directly after he and Vera dance and sing to “Something to dance about”, a fast paced tap-number. There’s also a wide selection of songs sung by Ethel and George, but most of the them are pretty forgettable.

Over all, Call Me Madam is a cute and fun musical, but it does have it’s down points (namely Ethel and George’s loooong scenes). You’ll love it for the great numbers and lovely story line, and really, it’s a Musical that deserves more attention from the public.

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Brought this yesterday on dvd and watched it last night.

Directed by Howard Hawks it stars Rock Hudson and Paula Prentis in this light-hearted fun romantic comedy with plenty of laughs.

Based around a Fishing Tournament Hudson plays Angling expert “Roger Willoughby” who is asked to participate in the tournament by “Abigail Page” a press agent played by Prentis.

But there is one problem Roger has never been fishing in his life so it’s up to Abigail to teach him.

There is a scene with Roger and Abigail’s friend that is taken from Howard Hawks screwball comedy “Bringing Up Baby” when “Susan rips the back of her dress and “David” has to walk behind her to cover her.

Has anyone else seen it?

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I just borrowed this film from the library and just absolutely adored it! This musical romance that stars Fred Astaire and Leslie Caron is somewhat like a dream that you wish would happen to you. It’s much more closer to a musical romance than a musical comedy and has a great many tears but, it’s very beautiful and cute!

Jervis Pendleton (Fred Astaire) plays a rich ‘playboy’ who falls in love with a French orphan girl, Julie Andre, who he placed in a college in America. Julie Andre had never seen the face that put her in college and starts writing letters to “Daddy Long Legs” asking if he can write back or respond or give some idea of what he looks like. Jervis wants to see how well Julie is doing in college so he goes to the spring dance at the college and takes a visit to his neice who is roomates with Julie. Jervis dances with Julie and soon he finds he is in love with her. Julie doesn’t discover that Jervis is daddy long legs until the end of the film and personally, I think that’s the best part!

I think that any musical fan would love this film, it’s got some really great music and songs like Somethin’s Gotta Give (which won an academy award). Fred’s dancing is wonderful and as always, enjoyable to watch. Leslie certainly shows her talent too, she dances quite a lot in this film and she has never been more beautiful and wonderful than in this. I do warn you that if you watch this film, don’t forget the tissue box! You can order this on DVD at amazon.com or of course check out the used and new DVDs. I really recommend this to all and I hope you take a glance at it!

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