August 2019 Round-Up
TOTAL FILMS SEEN IN AUGUST: 20
(see the film posters at the bottom of the post, arranged in watching order)
NEW-TO-ME: 9
REWATCHES: 11
SEEN ON THE BIG SCREEN: 15
MOST WATCHED ACTOR: Fred Astaire (7 in total)
Flying Down to Rio is known for being the first Astaire/Rogers collaboration. And what a chemistry they already display and what lively and sparkling performances. Ginger shows spunk and Fred is outgoing and cheerful. I like him this young and so boyish. No doubt they are the best part of this film, even when they are not dancing. I have never cared much for Dolores del Rio, and though Gene Raymond starts to grow on me, he's still bland and his character is not exciting either. The story is very flimsy, which is often the case with these B-programmers, but it manages to entertain thanks to Rogers and Astaire. There are also some entertaining show numbers, like the finale where showgirls stand or sit, scantily clothed, on top of aircrafts, strapped to the wings, doing some showy movements. It's not likely I'll be watching this musical again any time soon but I'm glad that I've seen all of the Rogers/Astaire films now.
I was looking for a musical with a short running time and chose I love Melvin. Made after the highly popular Singin' in the Rain this musical stars two of the three lead performers of the aforementioned film. It's of course nothing like Singin' in the Rain, to create something equal would be a too difficult task. But Debbie Reynolds and Donald O'Connor make a cute couple and make this film enjoyable. It also has some nice song and dance numbers. I really like Lady Loves, a Diamonds Are a Girl's Best Friend type of number performed by Reynolds. Also the two duets with Reynolds and O'Connor are very enjoyable (We Have Never Met as Yet and Where Did You Learn to Dance). Little Noreen Corcoran who plays Debbie's sister is cute (she's the sister of Donna Corcoran whom I've seen in Angels in the Outfield and Don't Bother to Knock and who's cute too) and sings Life Has Its Funny Ups and Downs where O'Connor performs a dance routine on roller skates. Gene Kelly would do a tap dance on roller skates two years later in It's Always Fair Weather and I think I prefer this routine here by O'Connor. He's really a great dancer and I should see more of his films, just to see him dance.
I watched Dancing Lady for Fred Astaire as this is his debut film. He has little screen time but has a dancing role and is partnered with Joan Crawford. She started her career as a flapper dancer and no doubt she brought that style to her dancing here. I find her style not so graceful with rather angular movements and next to elegant Astaire she looks quite plump. But the film itself is enjoyable and just to see the electrifying chemistry between Clark Gable and Joan Crawford makes this worth a watch.
This August the Filmoteca, my favourite place in Barcelona, continued the musical special they started in July. I couldn't be happier. There were many great musical titles scheduled but the one I had been looking forward to the most was A Star is Born, also because I had never seen it before and I was really waiting for it to be shown on the big screen. I was a bit disappointed that West Side Story wasn't showing as I thought I had read that they were going to screen it. So I checked the booklet for the 2019 program, and yes, there's a photo of West Side Story with the announcement of the musical special. Since West Side Story is not part of the small musical program of September either, the photo is misleading to say the least.
I saw a total of 20 films this month, of which 15 were seen on the big screen. I felt very fortunate being able to see so many great films at the theater and with some of them I could hardly believe that I was actually watching them on the big screen. 10 of the 15 films were musicals (either part of the musical special or part of the Stanley Donen retrospective) and there were 5 non-musical films (Dr. Jekyll and Mr. Hyde, Kiss Them For Me, Charade, The Searchers and Indiscreet). I will list the 15 films here in watching order:
Royal Wedding (with Fred Astaire and Jane Powell)
Singin' In the Rain (with Gene Kelly, Debbie Reynolds, Cyd Charisse and Donald O'Connor)
The Red Shoes (with Moira Shearer and Anton Walbrook)
The Band Wagon (with Fred Astaire and Cyd Charisse)
Dr. Jekyll and Mr. Hyde (with Fredric March and Miriam Hopkins)
Funny Face (with Fred Astaire and Audrey Hepburn)
Kiss Them For Me (with Cary Grant, Jayne Mansfield, Leif Erickson and Suzy Parker)
My Fair Lady (with Audrey Hepburn and Rex Harrison)
A Star Is Born (with Judy Garland and James Mason)
Bye Bye Birdie (with Dick Van Dyke and Janet Leigh)
Charade (with Audrey Hepburn and Cary Grant)
Oliver! (with Mark Lester, Ron Moody, Shani Wallis and Oliver Reed)
The Searchers (with John Wayne, Jeffrey Hunter, Vera Miles and Natalie Wood)
An American in Paris (with Gene Kelly and Leslie Caron)
Indiscreet (with Cary Grant and Ingrid Bergman)
All rewatches this month were Filmoteca screenings, 11 in total. The new-to-me Filmoteca films were A Star is Born, Kiss Them For Me, Bye Bye Birdie and Dr. Jekyll and Mr. Hyde.
My highest rated Filmoteca films are: A Star is Born, Singin' In the Rain, Oliver!, The Searchers, The Red Shoes, The Band Wagon, An American in Paris, My Fair Lady and Charade.
There were a couple of films that I watched for the second time on the big screen at the Filmoteca: Singin' In the Rain, Funny Face, The Searchers and The Red Shoes.
Let me start with A Star is Born.
Fortunately this film was everything I had hoped for. And maybe more because I finally liked James Mason. The only thing that spoiled my enjoyment a bit was the fact that I was not aware of different versions of this film. The version I watched at the Filmoteca was the 1983 restored (i.e. reconstructed) version of 176 minutes with still images and the soundtrack playing.*) There was also confusion among other spectators and an explanation in Catalan came during the intermission. I understood some of it but had to look up the rest of the information online. It was too bad that I hadn't been aware of the restored version prior to the film's screening, then I would have been prepared. Though the explanation given seemed the most logical one and I had thought of that too, this cut version still left me a bit confused and took me out of the story which had been, up to that point, totally engrossing. Luckily after the intermission there were no more still images and the film continued as normal.
So coming to the actual film .... Great performances from Judy Garland and James Mason! And then Mason in particular. He plays a drunk very well which a lot of actors don't seem to get right. Also Mason's emotional pain while lying in bed and overhearing Garland's conversation with Charles Bickford is so palpable that I had to cry too. (And there was more crying to come, on my part.) The scene where Garland breaks down in her dressing room is great as well, though I have to say she's laying it on a little bit too thick. In comparison, I love the restraint in Mason's emotional moment in bed. There are also some fine musical numbers (Here's What I'm Here For and Lose That Long Face were among the missing scenes, later to be restored) and the cinematography by Sam Leavitt is noteworthy too. And I always love to see Bickford play!
*) The first test screening ran 196 minutes. It was trimmed to 182 minutes by Cukor and the film's editor for its New York premiere. Warner executives drastically cut the film in Cukor's absence and the final running time became 154 minutes. Later the missing footage was reconstructed with production stills and restored dialogue.
All rewatches this month were Filmoteca screenings, 11 in total. The new-to-me Filmoteca films were A Star is Born, Kiss Them For Me, Bye Bye Birdie and Dr. Jekyll and Mr. Hyde.
My highest rated Filmoteca films are: A Star is Born, Singin' In the Rain, Oliver!, The Searchers, The Red Shoes, The Band Wagon, An American in Paris, My Fair Lady and Charade.
There were a couple of films that I watched for the second time on the big screen at the Filmoteca: Singin' In the Rain, Funny Face, The Searchers and The Red Shoes.
Let me start with A Star is Born.
Fortunately this film was everything I had hoped for. And maybe more because I finally liked James Mason. The only thing that spoiled my enjoyment a bit was the fact that I was not aware of different versions of this film. The version I watched at the Filmoteca was the 1983 restored (i.e. reconstructed) version of 176 minutes with still images and the soundtrack playing.*) There was also confusion among other spectators and an explanation in Catalan came during the intermission. I understood some of it but had to look up the rest of the information online. It was too bad that I hadn't been aware of the restored version prior to the film's screening, then I would have been prepared. Though the explanation given seemed the most logical one and I had thought of that too, this cut version still left me a bit confused and took me out of the story which had been, up to that point, totally engrossing. Luckily after the intermission there were no more still images and the film continued as normal.
So coming to the actual film .... Great performances from Judy Garland and James Mason! And then Mason in particular. He plays a drunk very well which a lot of actors don't seem to get right. Also Mason's emotional pain while lying in bed and overhearing Garland's conversation with Charles Bickford is so palpable that I had to cry too. (And there was more crying to come, on my part.) The scene where Garland breaks down in her dressing room is great as well, though I have to say she's laying it on a little bit too thick. In comparison, I love the restraint in Mason's emotional moment in bed. There are also some fine musical numbers (Here's What I'm Here For and Lose That Long Face were among the missing scenes, later to be restored) and the cinematography by Sam Leavitt is noteworthy too. And I always love to see Bickford play!
*) The first test screening ran 196 minutes. It was trimmed to 182 minutes by Cukor and the film's editor for its New York premiere. Warner executives drastically cut the film in Cukor's absence and the final running time became 154 minutes. Later the missing footage was reconstructed with production stills and restored dialogue.
I watched Singin' In the Rain with a very responsive audience (also a lot of young people). After the film there was applause (I'm already used to that since it happens very often that people applaud after a screening) but here there was also applause twice dúring the film after a musical number. It felt like watching a musical on stage. Both were numbers featuring Donald O'Connor, Make 'Em Laugh and Moses Supposes. Moses Supposes is actually one of my favourite numbers of this film and it rightly deserves a big round of applause. Praise also for Jean Hagen, she's absolutely great and elicited many laughs from the audience. And of course Cyd Charisse. I can watch her in the Broadway Melody Ballet sequence over and over again. This musical is one of the most well-known musicals of all time, and there's a reason for it. Most certainly required viewing!
Oliver! was absolutely great to watch on the big screen (in a digital print in widescreen Panavision) because Oliver! has it all. Great (dramatic) performances, a strong story (that's what you get when it's based on a Dickens' classic), interesting characters, wonderful songs (Consider Yourself, I'd Do Anything and As Long as He Needs Me) and dance scenes with a lot of extras, amazing production design and art direction. Everything looks great and Nancy's red dress stands out among the dark and dreary settings. Fagin, the Artful Dodger, Nancy and Bill Sikes are perfectly portrayed by the lead actors. I always found Mark Lester as Oliver to be the weak link but this time I thought his performance was just right. The dramatic part of the film and Nancy's violent death make you forget you're watching a musical. So many moving scenes: the expression on Dodger's face when Nancy gets knocked to the floor by Bill, Fagin looking after his boys and the soft sweet look in his eyes when seeing Oliver to bed, Oliver crying while singing Where is Love. I absolutely love this.
As with previous viewings of The Red Shoes, the first part of the film left me pretty much unaffected and made me wonder again why this is hailed as a masterpiece. But I had experienced before that this film gets slowly under your skin so I was waiting to get fully engrossed in the story and of course this happened. The ballet sequence The Red Shoes is close to perfect, Moira Shearer's dancing is beautiful, the Technicolor cinematography by Jack Cardiff is wonderful, but it's Anton Walbrook who owns this film. His performance as the Ballet's director is nuanced and compelling and the final scene where he announces to the audience that Shearer won't be able to dance is a great piece of acting.
An American in Paris is not one of my fave musicals but I really enjoyed this rewatch and totally understand its artistic merit. Though the love story is pretty silly, the musical numbers are great (I had forgotten how lovely Our Love Is Here To Stay is) and that's what we're here for, especially the famous final 18-minute ballet is amazing! I had never realised before what a great dancer Leslie Caron is. At the beginning there is a dance sequence where she's reading a book and she's stunning in that segment. The only problem I had with this theater screening was the sound quality. It was too loud and shrill. I read afterwards that with the film's restoration they only reprocessed the 18-minute ballet sequence in stereo. So if a theater shows the whole film in stereo, while most of the film is shot in mono, it may result in a raw-edged sound, what we most certainly heard here. Another thing I want to mention: we went to see this film with my elder sister and her friend and they also enjoyed it a lot. But my sister was waiting for Cyd Charisse to appear in a green dress in a dream sequence. Does this sound familiar? (Hint: another famous musical starring Gene Kelly)
Oliver! was absolutely great to watch on the big screen (in a digital print in widescreen Panavision) because Oliver! has it all. Great (dramatic) performances, a strong story (that's what you get when it's based on a Dickens' classic), interesting characters, wonderful songs (Consider Yourself, I'd Do Anything and As Long as He Needs Me) and dance scenes with a lot of extras, amazing production design and art direction. Everything looks great and Nancy's red dress stands out among the dark and dreary settings. Fagin, the Artful Dodger, Nancy and Bill Sikes are perfectly portrayed by the lead actors. I always found Mark Lester as Oliver to be the weak link but this time I thought his performance was just right. The dramatic part of the film and Nancy's violent death make you forget you're watching a musical. So many moving scenes: the expression on Dodger's face when Nancy gets knocked to the floor by Bill, Fagin looking after his boys and the soft sweet look in his eyes when seeing Oliver to bed, Oliver crying while singing Where is Love. I absolutely love this.
As with previous viewings of The Red Shoes, the first part of the film left me pretty much unaffected and made me wonder again why this is hailed as a masterpiece. But I had experienced before that this film gets slowly under your skin so I was waiting to get fully engrossed in the story and of course this happened. The ballet sequence The Red Shoes is close to perfect, Moira Shearer's dancing is beautiful, the Technicolor cinematography by Jack Cardiff is wonderful, but it's Anton Walbrook who owns this film. His performance as the Ballet's director is nuanced and compelling and the final scene where he announces to the audience that Shearer won't be able to dance is a great piece of acting.
An American in Paris is not one of my fave musicals but I really enjoyed this rewatch and totally understand its artistic merit. Though the love story is pretty silly, the musical numbers are great (I had forgotten how lovely Our Love Is Here To Stay is) and that's what we're here for, especially the famous final 18-minute ballet is amazing! I had never realised before what a great dancer Leslie Caron is. At the beginning there is a dance sequence where she's reading a book and she's stunning in that segment. The only problem I had with this theater screening was the sound quality. It was too loud and shrill. I read afterwards that with the film's restoration they only reprocessed the 18-minute ballet sequence in stereo. So if a theater shows the whole film in stereo, while most of the film is shot in mono, it may result in a raw-edged sound, what we most certainly heard here. Another thing I want to mention: we went to see this film with my elder sister and her friend and they also enjoyed it a lot. But my sister was waiting for Cyd Charisse to appear in a green dress in a dream sequence. Does this sound familiar? (Hint: another famous musical starring Gene Kelly)
Two other great musicals seen as part of the Filmoteca musical special were My Fair Lady and The Band Wagon.
I had seen My Fair Lady many times before but I have never liked this film better than with this viewing on the big screen in CinemaScope (remastered version) with great sound. The production design and costume design by Cecil Beaton are amazing. Especially the Ascot scene is great to look at, with the beautiful dresses and hats. I had never caught all details before but I came close now, seeing everything enlarged. I was also never more aware of the fact that Hepburn's performance was worthy of an Oscar nomination and she was right to be upset about the fact that she was left out. Her cockney accent is great and I love her in her vulnerable and hurt moments. But the best scene is Eliza's first public appearance at the Ascot race. This also evoked many laughs from the audience. I don't really like Rex Harrison (even less after having read rumours about him being possibly involved in Carole Landis' suicidal death) but he deservedly won the Oscar for Best Actor because his performance is great and the role suits him perfectly. The songs are also memorable and fortunately Hepburn's voice is dubbed. My fave songs: I Could Have Danced All Night and On the Street Where You Live.
It was also really special to watch The Band Wagon at the movie theater. Girl Hunt Ballet and Dancing in the Dark belong to my fave musical numbers ever and I tried to be fully aware of the fact that I was actually seeing them on the big screen and it almost moved me to tears (especially the beautiful Dancing in the Dark). For me this film is memorable for its iconic musical numbers but I also love the story line between Fred Astaire and Cyd Charisse and Charisse looks beautiful here.
Both Royal Wedding and Funny Face are enjoyable musicals as well. But if I have to choose between the two, I'd choose Royal Wedding. I grew up with that film and saw it many times already but to see it on the big screen was a new experience and it was really great. Wonderful Technicolor! I love the sibling relationship between Fred Astaire and Jane Powell and their individual characters. Also Sarah Churchill's father, played by Albert Sharpe, made more of an impression now and I love his scenes with Astaire. Jane Powell was actually a fine dancer, I never noticed it before. Especially during the song with the longest title in the history of the musical film How Could You Believe Me When I Said I Love You When You Know I've Been a Liar All My Life her dance performance is great and she pairs nicely with Astaire.
It was also really special to watch The Band Wagon at the movie theater. Girl Hunt Ballet and Dancing in the Dark belong to my fave musical numbers ever and I tried to be fully aware of the fact that I was actually seeing them on the big screen and it almost moved me to tears (especially the beautiful Dancing in the Dark). For me this film is memorable for its iconic musical numbers but I also love the story line between Fred Astaire and Cyd Charisse and Charisse looks beautiful here.
Both Royal Wedding and Funny Face are enjoyable musicals as well. But if I have to choose between the two, I'd choose Royal Wedding. I grew up with that film and saw it many times already but to see it on the big screen was a new experience and it was really great. Wonderful Technicolor! I love the sibling relationship between Fred Astaire and Jane Powell and their individual characters. Also Sarah Churchill's father, played by Albert Sharpe, made more of an impression now and I love his scenes with Astaire. Jane Powell was actually a fine dancer, I never noticed it before. Especially during the song with the longest title in the history of the musical film How Could You Believe Me When I Said I Love You When You Know I've Been a Liar All My Life her dance performance is great and she pairs nicely with Astaire.
I used to love Funny Face more than I do now, probably because I used to be a big Audrey Hepburn fan. The romantic relationship here between Audrey and Fred Astaire is not very believable. This has nothing to do with the age difference because Audrey does have chemistry with the much older Cary Grant in Charade and théir romance is believable. The scene with Fred and Audrey dancing on the church grounds (Hepburn in wedding dress) elicited laughs and chuckles from the audience. I agree it's corny, the Hamilton soft-focus look and the ducks and birds joining the pair, and I always have to laugh a bit too. Though the Gershwin songs are memorable, Hepburn seriously lacks in the singing department. Fortunately she is better at dancing. I love her solo quirky dance in a beatnik cafe and also her dance with Astaire in the dark room. More than anything, this film is great to look at and I love the vibrant colours and Hepburn's beautiful costumes by Edith Head and Hubert de Givenchy and her lovely face.
Bye Bye Birdie is a musical I would never have seen if it wasn't for the screening at the Filmoteca. I read some good reviews of this so thought it might be worth an outing to the theater. Though hysterical and crazy, this film is colourful and energetic and at times really funny (like the scene where the conductor is speeding up the orchestra and the ballet). The dance sequence with Ann-Margret in a pink outfit dancing with a big group of teenagers is actually rather good and nicely choreographed. Janet Leigh, with a horrible Rita Moreno-type dark hairstyle/wig, shows some pretty dance moves during the rather weird Sultans' Ballet wearing a yellow dress. The songs are not memorable at all (I like One Boy the most), some are even quite bad. Though not worth a second watch, I still had fun with this viewing.
Of the 5 non-musical films seen at the Filmoteca The Searchers is my highest rated film and Kiss Them For Me my lowest.
Of the 5 non-musical films seen at the Filmoteca The Searchers is my highest rated film and Kiss Them For Me my lowest.
The first time I saw The Searchers at the Filmoteca the screening was in the small room and it was not the best of prints. Now it was shown in the big room and the print was a digital one so the experience was so much better. The cinematography by Winton C. Hoch is amazing and the scenery of Monument Valley is stunning. John Wayne's character is probably the most interesting and unlikeable one of his career and he plays it well. With this viewing I paid more attention to the relationship between Wayne and his brother's wife, played by Dorothy Jordan. I love how their deep affection for one another is displayed in a subtle way and how nothing is expressed in words, just looks and small gestures. I also love the first scene with Dorothy Jordan opening the front door and looking out in the distance where Wayne's character Ethan appears. John Ford's use of implication (the unspoken love between Wayne and Jordan) makes this opening sequence so poignant.
Cary Grant was the only reason why I went out to the Filmoteca to watch Kiss Them For Me. I had already read some pretty bad reviews of this film so I wasn't expecting anything (my sister didn't even want to come along). Luckily the print was very good and the fact that it was in CinemaScope also helped to enjoy this film a little bit more. Because it sure is a mixed bag. Not funny with laugh-out-loud jokes, nor giving any depth to the drama part of it. It all fell flat real quickly and the story is just not interesting enough and the performances and characters are superficial. Jayne Mansfield is annoying and Suzy Parker can't act but fortunately they both look good in colour, even though I don't really like either of them. I prefer Grant in black and white, because in colour he always looks so tanned. His performance feels uninspired and his romance with Parker doesn't come across as believable. There are some funny lines scripted by Julius Epstein and the San Francisco views are nice but I won't be watching this again.
Three more non-musical Filmoteca viewings and all three were very enjoyable.
Cary Grant was the only reason why I went out to the Filmoteca to watch Kiss Them For Me. I had already read some pretty bad reviews of this film so I wasn't expecting anything (my sister didn't even want to come along). Luckily the print was very good and the fact that it was in CinemaScope also helped to enjoy this film a little bit more. Because it sure is a mixed bag. Not funny with laugh-out-loud jokes, nor giving any depth to the drama part of it. It all fell flat real quickly and the story is just not interesting enough and the performances and characters are superficial. Jayne Mansfield is annoying and Suzy Parker can't act but fortunately they both look good in colour, even though I don't really like either of them. I prefer Grant in black and white, because in colour he always looks so tanned. His performance feels uninspired and his romance with Parker doesn't come across as believable. There are some funny lines scripted by Julius Epstein and the San Francisco views are nice but I won't be watching this again.
Three more non-musical Filmoteca viewings and all three were very enjoyable.
We all know the story of Dr. Jekyll and Mr. Hyde written by Robert Louis Stevenson. I read it a long time ago but had never seen an adaptation of it. Fredric March as the evil Mr. Hyde looks a bit laughable but still, the special effects of the transformation from Jekyll to Hyde are well done for its time. But it's too bad Mr. Hyde is not more scary. March and Miriam Hopkins are both well cast and perform well. March even won an Oscar for Best Actor for his dual role. There is some great photography by Karl Struss (especially the opening scenes shot from a narrator's point of view) and the film is rich in atmosphere. Since this is a pre-code film, we see some naughty moments with Hopkins undressing and revealing a naked back. Also her leg dangling seductively from the edge of the bed and the fact that Mr. Hyde is shown as a sexual predator is proof that we're in pre-code times.
I also tried to watch a good amount of musicals at home but with all the theater viewings and life in general getting in the way I only saw a total of 5 films. Though disappointed with the small number, I'm glad I can tick a couple of Astaire films off my list.
The home viewings are:
In Charade Audrey Hepburn's facial expressions are priceless and for the first time I was aware of how old Cary Grant is. Maybe seeing this on the big screen contributed to that realisation. Not that the age difference bothers me because Audrey and Cary have great chemistry. And don't get me wrong, Cary still looks good despite the advanced age. Anyway, I had fun with this and the wonderful dialogue. Often hailed as the óne Hitchcock film Hitch didn't make, it's funny that a song and dance man should have directed a film like this. Stanley Donen ventured out into other genres as the popularity of the musical dwindled down and he actually made some nice films (notably this one and Two For the Road). Also great score by Henry Mancini.
The love story in Indiscreet is a bit cheesy, though the leads Cary Grant and Ingrid Bergman make it believable and enjoyable to watch. But the highlight of this movie is the finale where David Kossoff as Carl poses as Bergman's lover. It is hilarious and I still find it funny after multiple viewings. The audience also laughed out loud with that particular sequence. Grant looks so very handsome and distinguished in a suit. And the way he looks at Ingrid ... They have great chemistry and I like the fact that they were also good friends in real life.
So much for the theater viewings. Again, I felt very fortunate to be able to watch so many wonderful films on the big screen and at times couldn't believe my luck.
The love story in Indiscreet is a bit cheesy, though the leads Cary Grant and Ingrid Bergman make it believable and enjoyable to watch. But the highlight of this movie is the finale where David Kossoff as Carl poses as Bergman's lover. It is hilarious and I still find it funny after multiple viewings. The audience also laughed out loud with that particular sequence. Grant looks so very handsome and distinguished in a suit. And the way he looks at Ingrid ... They have great chemistry and I like the fact that they were also good friends in real life.
So much for the theater viewings. Again, I felt very fortunate to be able to watch so many wonderful films on the big screen and at times couldn't believe my luck.
I also tried to watch a good amount of musicals at home but with all the theater viewings and life in general getting in the way I only saw a total of 5 films. Though disappointed with the small number, I'm glad I can tick a couple of Astaire films off my list.
The home viewings are:
Flying Down to Rio (with Fred Astaire, Ginger Rogers and Gene Raymond)
I Love Melvin (with Debbie Reynolds and Donald O'Connor)
Dancing Lady (with Joan Crawford, Clark Gable, Franchot Tone and Fred Astaire)
Three Little Words (with Fred Astaire, Vera-Ellen and Red Skelton)
Second Chorus (with Fred Astaire and Paulette Goddard)
Dancing Lady (with Joan Crawford, Clark Gable, Franchot Tone and Fred Astaire)
Three Little Words (with Fred Astaire, Vera-Ellen and Red Skelton)
Second Chorus (with Fred Astaire and Paulette Goddard)
Flying Down to Rio is known for being the first Astaire/Rogers collaboration. And what a chemistry they already display and what lively and sparkling performances. Ginger shows spunk and Fred is outgoing and cheerful. I like him this young and so boyish. No doubt they are the best part of this film, even when they are not dancing. I have never cared much for Dolores del Rio, and though Gene Raymond starts to grow on me, he's still bland and his character is not exciting either. The story is very flimsy, which is often the case with these B-programmers, but it manages to entertain thanks to Rogers and Astaire. There are also some entertaining show numbers, like the finale where showgirls stand or sit, scantily clothed, on top of aircrafts, strapped to the wings, doing some showy movements. It's not likely I'll be watching this musical again any time soon but I'm glad that I've seen all of the Rogers/Astaire films now.
I was looking for a musical with a short running time and chose I love Melvin. Made after the highly popular Singin' in the Rain this musical stars two of the three lead performers of the aforementioned film. It's of course nothing like Singin' in the Rain, to create something equal would be a too difficult task. But Debbie Reynolds and Donald O'Connor make a cute couple and make this film enjoyable. It also has some nice song and dance numbers. I really like Lady Loves, a Diamonds Are a Girl's Best Friend type of number performed by Reynolds. Also the two duets with Reynolds and O'Connor are very enjoyable (We Have Never Met as Yet and Where Did You Learn to Dance). Little Noreen Corcoran who plays Debbie's sister is cute (she's the sister of Donna Corcoran whom I've seen in Angels in the Outfield and Don't Bother to Knock and who's cute too) and sings Life Has Its Funny Ups and Downs where O'Connor performs a dance routine on roller skates. Gene Kelly would do a tap dance on roller skates two years later in It's Always Fair Weather and I think I prefer this routine here by O'Connor. He's really a great dancer and I should see more of his films, just to see him dance.
I watched Dancing Lady for Fred Astaire as this is his debut film. He has little screen time but has a dancing role and is partnered with Joan Crawford. She started her career as a flapper dancer and no doubt she brought that style to her dancing here. I find her style not so graceful with rather angular movements and next to elegant Astaire she looks quite plump. But the film itself is enjoyable and just to see the electrifying chemistry between Clark Gable and Joan Crawford makes this worth a watch.
With Three Little Words the first thing that struck me as pleasant and surprising was the fact that Red Skelton didn't annoy me. His role is without all the exaggerated comical stuff he usually does, but here his performance is restraint and often endearing. Astaire also has a meatier role than normal and gets to show his dramatic side. This musical has some nice musical numbers (Mr. and Mrs. Hoofer At Home) and it's great to see the wonderful Vera-Ellen dance.
Second Chorus is considered to be Astaire's worst film by Mr. Astaire himself. And yes, it's definitely one of his minor films. I was supersleepy while watching this so I didn't pay full attention. Still, there's something adorable and disarming about young Freddy here and the tone and mood of the film is light and fluffy. Best thing about this musical are the two dance numbers: Astaire's duet with Paulette Goddard (I Ain't Hep To That Step But I'll Dig It) and his solo dance where he is conducting the orchestra. And there's also a lovely song Would You Like to Be the Love of My Life.
The end! That was some round-up. Hope to watch more films next month.
NOTE: I don't log documentaries on Letterboxd but I also watched That's Entertainment! on the big screen which was absolutely great. There were even more musicals scheduled at the Filmoteca that I wanted to see but I couldn't make Give a Girl a Break (with Debbie Reynolds, Marge and Gower Champion), Damn Yankees! (with Tab Hunter and Gwen Verdon) and Deep in My Heart (with José Ferrer, Merle Oberon, Gene Kelly, Cyd Charisse, Jane Powell). The film Song Without End about Franz Liszt was also showing but I didn't want to see that one anyway due to the negative reviews. I also chose not to watch It's Always Fair Weather and The Grass is Greener because I had already seen both at the Filmoteca and I didn't really care about seeing them for a second time on the big screen. On their scheduled times I decided to take a break.
PHOTOS/GIFS IN THIS POST FROM TOP TO BOTTOM:
*A Star Is Born (1954) with Judy Garland;
*A Star Is Born (1954) with Judy Garland and James Mason;
*A Star Is Born (1954) with Judy Garland and James Mason;
*Singin’ in the Rain (1952) with Gene Kelly and Donald O'Connor; *)
*Oliver! (1968) with Jack Wild and Mark Lester;
*The Red Shoes (1948) with Moira Shearer;
*The Red Shoes (1948) with Moira Shearer;
*An American in Paris (1951) with Leslie Caron; *)
*An American in Paris (1951) with Gene Kelly; *)
*An American in Paris (1951) with Leslie Caron; *)
*My Fair Lady (1964) with Audrey Hepburn and Rex Harrison;
*My Fair Lady (1964) with Audrey Hepburn;
*The Band Wagon (1953) with Fred Astaire and Cyd Charisse; *)
*The Band Wagon (1953) with Fred Astaire and Cyd Charisse; *)
*Royal Wedding (1951), behind the scenes with Fred Astaire and Jane Powell;
*Royal Wedding (1951) with Fred Astaire; *)
*Funny Face (1957) with Audrey Hepburn;
*Funny Face (1957) with Audrey Hepburn and Fred Astaire; *)
*Bye Bye Birdie (1963) with Ann-Margret;
*The Searchers (1956) with John Wayne and Dorothy Jordan; (screenshot by me)
*The Searchers (1956) starring Monument Valley;
*Kiss Them for Me (1957) with Cary Grant and Suzy Parker, photographed by Milton Greene;
*Dr. Jekyll and Mr. Hyde (1931) with Fredric March and Miriam Hopkins;
*Charade (1963) with Audrey Hepburn;
*Charade (1963) with Audrey Hepburn and Cary Grant;
*Indiscreet (1958) with Cary Grant and Ingrid Bergman;
*Flying Down to Rio (1933) with Fred Astaire and Ginger Rogers;
*Flying Down to Rio (1933) with Fred Astaire and Ginger Rogers;
*I Love Melvin (1953) with Debbie Reynolds and Donald O'Connor; *)
*Dancing Lady (1933) with Fred Astaire and Joan Crawford;
*Three Little Words (1950) with Vera-Ellen and Fred Astaire; *)
*Second Chorus (1940) with Fred Astaire and Paulette Goddard; *)
*Second Chorus (1940) with Charles Butterworth, Fred Astaire, Paulette Goddard, Artie Shaw and Burgess Meredith.
*) GIF made by me
The end! That was some round-up. Hope to watch more films next month.
NOTE: I don't log documentaries on Letterboxd but I also watched That's Entertainment! on the big screen which was absolutely great. There were even more musicals scheduled at the Filmoteca that I wanted to see but I couldn't make Give a Girl a Break (with Debbie Reynolds, Marge and Gower Champion), Damn Yankees! (with Tab Hunter and Gwen Verdon) and Deep in My Heart (with José Ferrer, Merle Oberon, Gene Kelly, Cyd Charisse, Jane Powell). The film Song Without End about Franz Liszt was also showing but I didn't want to see that one anyway due to the negative reviews. I also chose not to watch It's Always Fair Weather and The Grass is Greener because I had already seen both at the Filmoteca and I didn't really care about seeing them for a second time on the big screen. On their scheduled times I decided to take a break.
PHOTOS/GIFS IN THIS POST FROM TOP TO BOTTOM:
*A Star Is Born (1954) with Judy Garland;
*A Star Is Born (1954) with Judy Garland and James Mason;
*A Star Is Born (1954) with Judy Garland and James Mason;
*Singin’ in the Rain (1952) with Gene Kelly and Donald O'Connor; *)
*Oliver! (1968) with Jack Wild and Mark Lester;
*The Red Shoes (1948) with Moira Shearer;
*The Red Shoes (1948) with Moira Shearer;
*An American in Paris (1951) with Leslie Caron; *)
*An American in Paris (1951) with Gene Kelly; *)
*An American in Paris (1951) with Leslie Caron; *)
*My Fair Lady (1964) with Audrey Hepburn and Rex Harrison;
*My Fair Lady (1964) with Audrey Hepburn;
*The Band Wagon (1953) with Fred Astaire and Cyd Charisse; *)
*The Band Wagon (1953) with Fred Astaire and Cyd Charisse; *)
*Royal Wedding (1951), behind the scenes with Fred Astaire and Jane Powell;
*Royal Wedding (1951) with Fred Astaire; *)
*Funny Face (1957) with Audrey Hepburn;
*Funny Face (1957) with Audrey Hepburn and Fred Astaire; *)
*Bye Bye Birdie (1963) with Ann-Margret;
*The Searchers (1956) with John Wayne and Dorothy Jordan; (screenshot by me)
*The Searchers (1956) starring Monument Valley;
*Kiss Them for Me (1957) with Cary Grant and Suzy Parker, photographed by Milton Greene;
*Dr. Jekyll and Mr. Hyde (1931) with Fredric March and Miriam Hopkins;
*Charade (1963) with Audrey Hepburn;
*Charade (1963) with Audrey Hepburn and Cary Grant;
*Indiscreet (1958) with Cary Grant and Ingrid Bergman;
*Flying Down to Rio (1933) with Fred Astaire and Ginger Rogers;
*Flying Down to Rio (1933) with Fred Astaire and Ginger Rogers;
*I Love Melvin (1953) with Debbie Reynolds and Donald O'Connor; *)
*Dancing Lady (1933) with Fred Astaire and Joan Crawford;
*Three Little Words (1950) with Vera-Ellen and Fred Astaire; *)
*Second Chorus (1940) with Fred Astaire and Paulette Goddard; *)
*Second Chorus (1940) with Charles Butterworth, Fred Astaire, Paulette Goddard, Artie Shaw and Burgess Meredith.