synopsis – AMG:
Sally Benson’s short stories about the turn-of-the-century Smith family of St. Louis were tackled by a battalion of MGM screenwriters, who hoped to find a throughline to connect the anecdotal tales. After several false starts (one of which proposed that the eldest Smith daughter be kidnapped and held for ransom), the result was the charming valentine-card musical Meet Me in St. Louis. The plot hinges on the possibility that Alonzo Smith (Leon Ames), the family’s banker father, might uproot the Smiths to New York, scuttling his daughter Esther (Judy Garland)’s romance with boy-next-door John Truett (Tom Drake) and causing similar emotional trauma for the rest of the household. In a cast that includes Mary Astor as Ames’ wife, Lucille Bremer as another Ames daughter, and Marjorie Main as the housekeeper, the most fascinating character is played by 6-year-old Margaret O’Brien. As kid sister Tootie, O’Brien seems morbidly obsessed with death and murder, burying her dolls, “killing” a neighbor at Halloween (she throws flour in the flustered man’s face on a dare), and maniacally bludgeoning her snowmen when Papa announces his plans to move to New York. Continue reading
Bing Crosby and Danny Kaye in a song and dance extravaganza.
The 1954 musical White Christmas had the advantage of the biggest selling song of the time for its title, and adding the huge fame of stars like Bing Crosby made it one of the biggest films of the year and a Christmas tradition in many households ever since. The thin romantic comedy plot is overshadowed by the numerous song and dance numbers, making for a sentimental spectacle. Paramount has done an excellent job of bringing this classic to DVD in time for Christmas, and fans of the big Hollywood musicals can rejoice. Continue reading
“In Sight and Sound’s 2002 poll of the ten best films ever made, one musical made the list: Stanley Donen and Gene Kelly’s Singin’ in the Rain (1952). Without denying that film’s considerable charm, a musical released a year later (which failed to receive a single vote in Sight and Sound’s survey) may be worthier of similar hyperbolic citations: The Band Wagon. The films share several points of contact: both are backstage musicals built around songbook catalogues and produced for MGM by Arthur Freed; both have witty screenplays by Betty Comden and Adolph Green; and both feature important roles for Cyd Charisse. One may also see both films as primary examples of what André Bazin called the “genius” of the Hollywood system, in which great films are produced less through a single auteur than through a group of talented individuals working collectively with the sophisticated technical resources of a major studio while simultaneously drawing upon the rich traditions and forms of American popular culture.” Continue reading
The life of Irish tenor Chauncey Olcott is chronicled from his childhood to his days as the toast of New York. In between, his rise to the top is complicated by romances with two women: his true love Rose Donovan and stage star Lillian Russell, who wants to make him a star. Continue reading
Skater musical from Buenos Aires suburb. In this silent black-and-white 4:3 format film, the hypnotising soundtrack drives the images. Love, desire, drama, faces. Perrone, the godfather of Argentine independent cinema, reinvents it in his 35th film.
Argentinian director Raúl Perrone calls P3ND3JO5 (‘pendejos': slang for teen, but also idiot or worse epithets) a ‘cumbia opera in three acts with coda’. Cumbia is rhythmic Columbian music that became immensely popular in Latin America during the 1940s.
The third and definitive film adaptation of L. Frank Baum’s 1900 children’s fantasy, this musical adventure is a genuine family classic that made Judy Garland a star for her heartfelt performance as Dorothy Gale, an orphaned young girl unhappy with her drab black-and-white existence on her aunt and uncle’s dusty Kansas farm.
Dorothy yearns to travel “over the rainbow” to a different world, and she gets her wish when a tornado whisks her and her little dog, Toto, to the Technicolorful land of Oz. Having offended the Wicked Witch of the West (Margaret Hamilton), Dorothy is protected from the old crone’s wrath by the ruby slippers that she wears.
At the suggestion of Glinda, the Good Witch of the North (Billie Burke), Dorothy heads down the Yellow Brick Road to the Emerald City, where dwells the all-powerful Wizard of Oz, who might be able to help the girl return to Kansas.
En route, she befriends a Scarecrow (Ray Bolger), a Tin Man (Jack Haley), and a Cowardly Lion (Bert Lahr). The Scarecrow would like to have some brains, the Tin Man craves a heart, and the Lion wants to attain courage; hoping that the Wizard will help them too, they join Dorothy on her odyssey to the Emerald City. Continue reading
“The film is a melodrama in the high Sirk style (Leander is a cabaret singer in 1840s London who takes the rap when her lover passes a bad check and gets deported to the penal compound that was then Australia), but with a great deal of music, performed by Leander in the wrenchingly emotional style that has made her as much of an icon to German gays as Garland is to the US community.” Continue reading