Showing posts with label dvd musical. Show all posts
Showing posts with label dvd musical. Show all posts

Pin-Up Girl (1944) Review

Pin-Up Girl (1944)
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It is WONDERFUL that FOX is releasing some Betty Grable movies once again...and finally on DVD!! "Pin Up Girl" was primarily a
follow up to the release of millions of copies of her famous pin up picture in 1943. It is a typical Fox Musical...with a large dash of vaudeville (roller skating specialties) and Our Betty playing a secretary (watch her take off her glasses and WOW just about everybody!)...who pretends to be a musical comedy star. There is A BIG NAME BAND and Betty dances with
Hermes Pan! O.K....we watch Betty because she is a great entertainer (and by popular demand, A PIN UP)...her films are
bright and colorful light entertainment. Betty suffers the
embarassment of plots that bring on migraine, but Betty is a
trouper. Bottom line: you will LOVE BETTY...not the movie. We can hope that this will triger the release of some of Betty's
films that have never been on video of any kind. I would really prefer to buy my Betty Grable movies from Fox than from mysterious people on e-Bay and I sincerely hope that this means we will soon be able to do that! Please bring us "Coney Island", "Sweet Rosey O'Grady", "The Dolly Sisters", "Mother Wore Tights"....and everything she made between 1950 and 1955.
Betty Grable was a wildly popular star. Some of her plots are
a little threadbare by now...but BETTY will always be THE WOMAN WE WON THE WAR FOR and a phenomenal popular entertainer. Thanks for bringing her back to us. THREE stars for the movie.
For BETTY: a THOUSAND!!

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Cats - The Musical (Ultimate Edition) (1998) Review

Cats - The Musical (Ultimate Edition) (1998)
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The `Cats' DVD is a cinematic record of the Andrew Lloyd Webber stage musical as performed on the London stage in, I believe, 1998 starring Elaine Paige in the `lead' role of Grizabella, although the only aspect of her role which warrants calling it the starring role is the fact that this character sings the `show-stopper' song, `Memory' which, if you are to believe writer / director Kevin Smith's bit in `Jersey Girl', has become a real Broadway cliché. The show is the most truly `ensemble' performance I can think of. Few characters stand out for more than the length of a single piece, yet practically all characters are on stage for over 50% of the two-hour performance. Aside from Paige, the only character / actor who is remotely familiar to me is John Mills who is on for but two scenes and who is more of a prop than a character.
I make a strong point of the fact that this is a recording of a stage performance rather than a conversion of the play to a more realistic environment. This conversion is done for most Broadway plays turned into movies, especially for big musicals such as `Oklahoma', `The Sound of Music', `My Fair Lady', and `Chicago'. But this conversion is not always successful. That is, the very big realistic setting is not always an enhancement. My best evidence for this is the film done of `The Fantasticks' with a cast including such high powered talent as Joel Gray and others. As someone how has seen the play done on the live stage three times with three different interpretations, including a performance by the New York City cast, I can say that the movie failed to breath any life into the classic minimalist staging it gets in intimate little theaters. The movie was simply not as good as the live performance. This is clearly not the case with this DVD record. It gives us the stage fantasy that needs practically no embellishment with a real ally or cinematic whiz-bang.
Like `The Fantasticks', I have seen `Cats' on the New York stage sitting in a mezzanine seat about 4 rows from the back of the Winter Garden theatre. And, while there is something about a live performance that simply cannot be recorded, I will say that this DVD (and VCR) recording is quite as good a record as you can get.
My most important criteria for evaluating a movie on DVD or VCR is whether or not the work wears well after the second or third or fourth viewing. For example, `Chicago' was fun to watch once, but I have no burning desire to watch it again. On the other hand, `Singin' in the Rain' I can watch about once a year and still find the time well spent. I will say with great conviction that I can watch this recording of `Cats' once a year and enjoy every minute spend with the experience, because I have done so over the last few years. The performance and its record are so durable that my second most important criteria for a DVD, a good commentary track, becomes unnecessary. And, the commentary track is basically a waste of time for a musical anyway, especially a musical based on famous poems written 65 years ago by the most notable poet, T. S. Eliot in `Old Possum's Book of Practical Cats'.
The play has the thinnest of plots based on a once a year selection of one Jellicle cat to ascend into some state of grace, presumably at the conclusion of their legendary nine (9) lives. The only other plot twist involves the kidnapping of the head cat, Old Deuteronomy, thereby preventing this feline apotheosis from being carried out.
This accounts for four or five out of the nineteen numbers. All the rest are based directly on fourteen out of the fifteen poems in Eliot's little book.
One may think that this work has but a single hit song and, therefore, the remaining musical numbers are second rate. This is certainly not the case. I find myself tapping my toe to all numbers, with especial pleasure coming from `Jellicle Cats', `Mungojerrie and Rumpleteaser', and `The Pekes and the Pollicles'. These are much more like stories in song than a simple ballad with easily remembered refrain.
Very highly recommended for anyone with a taste for musicals and worth a try for anyone who likes fantasy.


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Can-Can (1960) Review

Can-Can (1960)
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Shirley MacLaine and Frank Sinatra kick up their heels in CAN-CAN, the sparkling film adaptation of the Cole Porter musical comedy.
The setting is the Montmatre district of Paris, circa 1896. The can-can dance has been ruled as immoral and scandalous by the polite society, but that doesn't stop Simone Pistache (Shirley MacLaine) from performing the routine at her cafe. She is helped by her boyfriend--crooked lawyer Francois Durnais (Frank Sinatra). Simone's happy existence comes crashing down when she's arrested on the orders of the new district judge, Philipe Forrestier (Louis Jourdan).
Francois decides that the best way for Simone to continue her activities is to seduce Philipe. Pretty soon, Simone has well and truly fallen for his charms, but the hilarious love triangle has only just begun!...
This version of Cole Porter's 1953 Broadway musical is a very enjoyable, breezy viewing experience. The costumes from Irene Sharaff are lavish, and the art direction is flawless. MacLaine and Sinatra (continuing the screen partnership they had established with "Some Came Running") have a very fun rapport. Maurice Chevalier and Louis Jourdan switch on their Gallic charm to maximum effect here.
The original Cole Porter tunestack was augmented with "You Do Something to Me", "Let's Fall in Love", and "Just One of Those Things"; whilst several extra character numbers were deleted ("If You Loved Me Truly", "Allez-Vous-En", "Never Give Anything Away"). The score was lushly arranged and conducted by Sinatra's frequent collaborator Nelson Riddle.
Choreography from Hermes Pan is full of colour and excitement. MacLaine (with the help of a life-sized dummy) is thrown and throttled in a precision-drilled "Apache Dance", and leads the troupe in the "Garden of Eden" Ballet. Juliet Prowse, as Claudine, offers a top performance, too.
TRIVIA: During her early Broadway days, Shirley MacLaine briefly considered applying for Gwen Verdon's understudy in "Can-Can".
The brand-new 2-disc DVD from Fox's "Marquee Musicals" series presents a beautifully-restored print, in complete Roadshow length with overture, intermission and exit music sequences. Extra features on the second disc include "A Leg Up: The Making of Can Can" which delves into the history of the Broadway musical (and features some superb rare footage of Gwen Verdon from the original production). "The Classic Cole Porter" offers a brief glimpse into the life of the celebrated composer. "Book by Burrows" is a salute to CAN-CAN's original author Abe Burrows with reminisces from his children.
The "Restoration Comparison" allows to you see the new DVD master with the earlier 1993 video/laserdisc release-print, and it's quite evident that the good people at Fox have gone above and beyond to restore CAN-CAN to it's original brilliance. There are also some still galleries plus the trailer. In addition, Fox has packaged a set of four postcard-sized lobbycards in the DVD case!
The new edition of CAN-CAN is a must for all fans of the classic musicals.

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A 1890's Montmartre Dance Hall Owner Constantly Raided For Performing The Illegal Can-Can Has To Use Her Own Resources When An Elderly Judge Is Replaced By A Younger More Serious One. Based On Abe Burrow'S Play. Music By Cole Porter.

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On Moonlight Bay (1951) Review

On Moonlight Bay (1951)
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By 1951 Doris Day had become one of the most valuable assets at Warner Brothers. She was their number one female box-office draw and as a follow-up to her hugely popular 1950 musical with Gordon MacRae, "Tea for Two" the pair were teamed up again (their 3rd teaming in fact) in the technicolor "On Moonlight Bay".
Loosely based on the "Penrod" tales by Booth Tarkington, "Bay" is a nostalgic, lovingly created look at small town Americana, a world that might not have existed quite as it is depicted but a place we'd like to believe really was.
Doris Day is a tomboy, more at home on the baseball field or fixing a car than in a dress. The arrival of the boy next door changes some of that, though not all. Her precocious brother Wesley is the devil incarnate. Mom and Dad spend a lot of time scratching their heads in bemused wonderment at their youngsters antics, and the family maid is erascible but likeable. It's all tied up with gorgeous technicolor photography and a lot of lovely music.
Some critics have carped that it's Warners version of "Meet Me in St. Louis" but "On Moonlight Bay" can stand on its own merits thanks to a great cast and some genuinely sweet and funny moments.
Doris is perfect as Marjorie, effectively balancing the tomboy and blossoming young lady elements of her character and singing in that gorgeous voice that is distinctly her own. Gordon MacRae is stalwart as the object of her affection and it's obvious that the two have a genuine feeling for one another. They remained good friends until his untimely passing. Their rendition of "Till We Meet Again" is outstanding.
It's easy to believe that the cast is really a family. Leon Ames and Rosemary DeCamp as the parents are warmly winning. In 1984 I had the pleasure of joining Miss DeCamp and her husband, a retired California Judge at an awards dinner and we talked about this film among others and she glowed as she discussed the on-set atmosphere and interactions of the cast.
Bill Gray (of "Father Knows best" fame) is delightful and funny as Wesley, and who could have played the family maid better than Mary Wickes. This was the 1st of 4 on-screen roles opposite Day who was a lifelong friend. In addition Wickes did a very funny guest shot on Day's CBS Television series in 1969.
"On Moonlight Bay" was such a huge success for Warners that two years later they reteamed most of the cast for an equally popular sequel, "By the Light of the Silvery Moon".
Take a sail on Moonlight Bay and you'll be surprised at how much you enjoy the trip.

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sical about a family that moves to a small Indiana town and their tomboy daughter who begins a romance with the neighbor across the street, who bears radically unconventional views on love and money.

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Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999) Review

Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999)
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The 1999 London production of "Oklahoma!", directed by Trevor Nunn with choreography by Susan Stroman, was the first major departure ever from the original Joshua Logan-Agnes De Mille production of 1943. It was a gamble that paid off big, for the performance recorded for posterity on this DVD is absolutely brilliant--funny, riveting, and deeply poignant. The dancing is astonishing, and the beloved Rodgers & Hammerstein songs have never sounded so good. Nunn and Stroman know how to stage each number for maximum dramatic effect, so that the songs come across less as songs than as dramatic monologues in music--which is, of course, exactly what Rodgers & Hammerstein wanted.The cast of this version is so wonderful that it is impossible to talk about them in anything but superlatives. (I might make a slight, regretful exception for Vicki Simon as Ado Annie, who is merely very good whereas everyone else is spectacular.) As Will Parker, Jimmy Johnston--an endearing if improbable cross between Will Rogers, Russ Tamblyn and Jack Black--barrels through his big number, "Kansas City," with infectious glee and astounding athleticism, including a dandy exhibition of trick roping. Some reviewers have pointed out that Peter Polycarpou's accent as Ali Hakim is shaky, but there's no quibbling with his singing or his comic timing; in appearance and talent, he reminds me more than a little of Tony Shalhoub. Maureen Lipman is a perfect Aunt Eller, tough as an old birch tree, plain-spoken and drily witty as she dispenses tough love to the residents of Claremore, Okla. Josefina Gabrielle is an earthier Laurey than we're used to, but she's a good singer and an exquisite dancer, and she makes Laurey's confused longings as painful as a punch in the gut. The real acting honors, however, must be divided between the romantic rivals--Hugh Jackman as Curly and Shuler Hensley as Jud. This production launched Jackman's international career, and no wonder--from the first few bars of "Oh, What a Beautiful Morning," you can't take your eyes off him. He is visually perfect as Curly, he dances well and sings beautifully, and--above all--he exudes charisma from every pore. Hensley combines a rich, operatic baritone with a brooding, menacing stage presence; he makes Jud a classic monster, evoking both pity and terror. His solo number, detailing both his pitiful loneliness and his doomed love for Laurey, is one of the most riveting pieces of dramatic singing I've ever seen or heard.

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OKLAHOMA - DVD Movie

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