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Archive for the ‘Oscar Levant’ Category

The Barkleys Of Broadway

23 Jun

The Barkleys Of Broadway – directed by Charles Walters. Musical. 109 minutes Color 1949.

★★★★★

The Story: A renowned Broadway dance couple bicker beautifully until she decides to act in a legitimate play.

~

Charles Walters was one of our best director of musicals. One would say he has no personal style, but his presence is effective in releasing performances in female stars. Judy Garland in Summer Stock, Girl Crazy, Ziegfeld Follies, and Easter Parade. June Allyson in Good News. Leslie Caron in Lili and The Glass Slipper.

What you have here is Ginger Rogers’ return to screen musicals, and this is her last. She’s 38. She’s been playing a lot of tennis. She’s no longer the girl of 22 when she started dancing with Astaire. She’d entered movie stardom as a teenager and she had made many movies; he only a few. She’d been an experienced vaudevillian and had a smash in Girl Crazy on Broadway. She did a great Charleston, but she had no tap, jazz, or comic dancing experience. But she learned so fast she got to make it look easy.

And she sure does so here. But what’s amazing about her is not just her beautiful and flexible back, and her finished porte de bras, or the fact that she had that perfect female movie star figure of broad shoulders and no hips.

What is remarkable about her here is how funny she is.

Keep in mind that musical comedy means that most of the dances and songs of a musical are going to be comic. We think of Rogers and Astaire as dancing those lyric masterpieces of ballroom romantic movement in which they were unsurpassed. But actually, most of the dance in musical is comic dance.

Such as we have here in Astaire’s playing a cobbler whose shoes come alive, in the manner of The Sorcerer’s Apprentice, and dance him almost to death. And we also have Rogers dancing with him two light comic numbers. First is taken in rehearsal clothes, and the second is the famous “My One And Only Highland Fling.”

Yes, watch her dance. But also take in her lightening responses to Astaire and to the situation. And watch this while she isn’t dancing.

Behind her skill as an actor is its basis, unusual in a top female star, which is that she is willing to look absurd, to make a fool of herself, to make herself odd. She enjoys herself doing this, and it’s infectious. As much as anything, her gaiety and fluidity of emotion carry the film – a film which is an MGM gem from The Freed unit, its book written by Comden and Green who gave us On The Town, The Bandwagon and Singin’ In The Rain; its music by Harry Warren and Ira Gershwin; and also by Khachaturian and Tchaikovsky – for Oscar Levant is found here for some reason playing The Sabre Dance and The First Piano Concerto.

It’s a wonderful part for Ginger Rogers, because she is playing a married woman, Astaire’s dancing partner and wife. This gives her comic latitude. She doesn’t have to play sardonic hard-to-get, which was the case with their first movies together. Here she is already gotten and so she is open to the wide range of comic response of a woman who knows her man as well as Rogers in their 10 movies together managed to get to know what she could dare with Astaire.

It’s a must-see musical, the only they ever did together in color. A delight.

 

The Band Wagon – more

10 Nov

The Band Wagon – more — directed by Vincente Minnelli – a backstage musical in which a fading movie hoofer resumes his Broadway career, except with a director of Orson Wellesian pretension, except, as well, with a snooty ballerina! – 112 minutes 1953.

* * * * *

The Greatest Musical Ever Made? Don’t answer. I’ve been watching it again in the DVD re-release, color restored and in stereo now. Two discs of background and outtakes, and three versions all of which I could not help watching in one day, the other two being a commentary by Liza Minnelli and Michael Feinstein and a monaural version, which I actually preferred, because that’s what I saw when it first came out in 1953 while I was in basic at Fort Dix. Those soldiers who appear in the Shine On My Shoes number were like me, headed for the Korean War. I went back to the post movie house and saw it all over again, just as I did yesterday. The Lisa Minnelli and Michael Feinstein version is worthwhile because Michael Feinstein is a gentleman and has useful information about the musical contributions of Adolf Deutsch, Roger Edens, and the arranger Conrad Salinger, while Liza Minnelli jackasses herself with moronic sentimentality punctuated with a coarse laugh. Her nostalgia is not even her own — she is nostalgic not for her father but for his work, which, however, is before us, and which speaks for itself. Vincente Minnelli was famous for his color sense, and the colors are not modest. He hired two newcomers, Michael Kidd, to do the choreography, and Mary Ann Nyberg to do the costumes. Nyberg does two unusual things with Cyd Charisse. The first is to put her in green twice, not a forgiving color for humans, except her. The second is to frame the film with her costumes, red and green at the start, then red and green at the end. In It’s Always Fair Weather, Charisse, in the boxing match dance, will wear two almost matching greens, and she has already proven she can carry the color in the great Louise Brooks finale of Singing In The Rain where she wears a green flapper dress with short flyaway skirt. Now, first seen in the en pointe ballet, Charisse is in bright red. Next when she enters to meet Astaire, she is in a black spangled lace dress over midnight green petticoats so dark you can hardly see the green, with bright green gloves. At the end, Nyberg puts Charisse in the red spangled dress for the Girl Hunt ballet and then for the That’s Entertainment finale she puts Charisse in green khaki satin. For the simple and justly famous Dancing In The Dark number in Central Park, Nyberg, in a tour de force choice, has Charisse and Astaire both in white, he in three tones of white, she in a $22 shirtwaist with a trillion pleats. White, the color of truce – for, having come to a truce in life, they are out to discover whether they can find a truce in dance. The unity of their performance is created in part by the unity of that color, to make “Dancing In The Dark” the most moving romantic dance ever filmed. (Watch: Charisse actually leads it; the focus is actually given to her.) The other newcomer is Michael Kidd. You will find what he starts out to do in the “Louisiana Hayride” number he will not long after complete in Seven Brides For Seven Brothers. But what he mainly does is remove Astaire from his usual tropes. So there are no great big tap dancing numbers and such. What we have is the amiable affair of the shoeshine dance and the jazz dance of “The Girl Hunt Ballet”. That is to say, Astaire’s dancing is technically simple, and this is rare for him, for it does not resemble even big splashy jazz numbers like “Stepping Out With My Baby” from Easter Parade. It’s a new Astaire, and it is possibly the most satisfying and relaxed he has ever been in dance. To make up for it, he sings a lot, and sings well. Watch also the chiaroscuro of Minnelli’s use of extras and bit players as they populate, move around, pass through, come forward, and then retreat into the background dark, as does Thurston Hall as the moneybags backer and the stagehands and manger. Compare “Girl Hunt” here with the similar but barely populated “Broadway Rhythm: Gotta Dance” finale of Singing In The Rain, to feel Minnelli’s genius as a colorist with chorus, with casts, with people, with extras, all of whom he instructed individually and personally as to their tasks and motivations. This makes it a musical of great warmth. Easy and essential. Singing In The Rain and The Band Wagon are the apogee of Hollywood musicals. Don’t miss them.

 

O’Henry’s Full House

03 Feb

O’Henry’s Full House – directed by Henry Hathaway, Henry King, Henry Koster, Howark Hawkes, Jean Negulesco  — Comedy. Five of the master’s tales. 117 minutes, black and white 1952.

* * * * *

Marilyn Monroe — there she for a full two minutes, yet for all time — with that figure and the air of a dream-mistress and the hurt of a molested 12 year old asking for more and asking for no more at the same time. She is child-like appealing in the moment when she says, “He called me a lady,” after she listens to Charles Laughton. He is tip top as the grandiose bum who seeks to spend the winter in a cosy jail rather than on a desolate park bench. David Wayne does a terrific crazy derelict with just the right hat. Richard Widmark  reprises his Johnny Udo from Kiss of Death, which is super to see again. He was never a subtle actor, so this is perfect for him, and I place you in his competent evil hands. I saw this picture when it came out, and was bored, but that was the era when Marlon Brando was emerging, so I found it old fashioned. But now I enjoy that it is old fashioned, for that was its intention, and I ask: would these costume stories work in modern dress? I think not. For their entertainment value is high, but their value is the entertainment of antiques. Put this in your Antiques Film Road Show and enjoy — O’Henry really knew how to tell a story: The Gift of the Magi, The Ransom of Red Chief, The Clarion Call, The Cop and the Anthem, The Last Leaf.

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