#236 Gold Diggers of 1933 (1933)

***

Director: Mervyn Leroy

Cast: Warren William, Joan Blondell, Aline MacMahon, Ruby Keeler, Dick Powell, Guy Kibbee, Ned Sparks, Ginger Rogers

An imaginative, comedic, and even politically-pointed musical comes in the form of Gold Diggers of 1933. The film is essentially the story of a few young showgirls who are struggling to keep food on the table by any means–stealing milk from the neighbor, begging for jobs, and even canoodling with wealthy men. When one of the girls, Polly Parker (Keeler), falls for the musician across the alley, Brad (Powell), the women are surprised to find he is not only talented and kind, but he also happens to conveniently be from an extremely wealthy Boston family (only in Hollywood, I swear!). Providing music for the girls' latest musical (and even volunteering to be a stand-in when the leading man hurts his back), Brad is able to formally court and become engaged to Polly. When Brad's family finds out about his relationship and on-stage escapades, his brother chooses to intervene.

However, when the brother mistakes Polly's roommate Carol for Polly, he offends the wrong person when he calls showgirls cheap and vulgar. To seek her revenge, Carol enlists their friend Trixie to continue to dupe the brother (and the family lawyer) into falling for their false affections and also into buying them tons of lavish gifts. With Brad and Polly in on the joke, they even trick the brother into thinking he has drunkenly made love with Carol, and to "pay her off," he writes a check for 10k. It's only when Carol's true identity is revealed that we find that these two characters have real affection for one another.

The film includes four extraordinary stage productions, all coordinated by Busby Berkeley. Highlights include a sparkling rendition of "We're in the Money," light-up violins playing "Shadow Waltz," and the sparked-with-politics "Remember My Forgotten Man." Forgotten Man demonstrates the difficulties for the men and women during the depression, taking into account the veteran's of WWI whose owed-admiration was already being tossed aside.

The film is short, funny, and takes drastic plot twists. The musical numbers are quite segregated from the film, though brilliantly directed and performed, and interesting as well for their strong hard-hitting political statements. A light, easy watch.

#234 The Red Shoes (1948)

****

Director: Michael Powell, Emeric Pressburger

Cast: Anton Walbrook, Marius Goring, Moira Shearer, Robert Helpmann, Léonide Massine, Albert Bassermann, Ludmilla Tchérina, Esmond Knight

This film chronicles the story of Victoria Page (Shearer), a girl discovered by a sharp-edged, stuffy ballet director for her raw passion for the art form. When his leading lady announces she plans to marry, Boris Lermontov (Walbrook), seeks his new star. Victoria's rise to stardom happens in tandom with a young composer who Boris also gives a chance, a young Julian Crasner (Goring). Together the trio put on one of the greatest ballets entitled "The Red Shoes,"which tells the story of a young girl's red dancing shoes which once put on, dance her to her death.

Unbeknownst to Boris, however, Page and Crasner fall in love, and it's then that Boris is forced to scheme a way to get back his star (with whom he is undeniably infatuated). The film slips off into a dreamy dance sequence of the ballet "The Red Shoes." It was this inner-film performance that set the stage for so many other films' long production numbers (think An American in Paris)! Beautifully performed, it not-so-surprisingly becomes a foreshadow of the real heroine's demise.

Recently having seen Black Swan in theatres, I can't help but draw a comparison between these two plot structures. Without the sex and special effects, we are taken on a similar ride through the ill-fated course of a great, recently-discovered dancer. Also, over the summer, I read Anna Karenina, which I, again, can't help but draw connections to from this film. The allusions and inspirations preceding and following this film seem endless, and it's not hard to understand why. A must-see for any dancer, but also well-worth anyone's time who can appreciate stage-style performance.

#232 A Star Is Born (1954)

****

Director: George Cukor

Cast: Judy Garland, James Mason, Jack Carson, Charles Bickford, Tommy Noonan, Lucy Marlow, Amanda Blake, Irving Bacon, Hazel Shermet

Esther Blodgett (Garland) is a small-town girl who has worked her whole life toward making it big. When she finally makes it to a touring gig with a live orchestra, she gratefully bides her time while she awaits "the big dream." But her big break comes in a most unexpected form: the famous actor, Norman Maine (Mason), now working his way to the bottom through the habit of heavy drinking, sees something special in Esther. Together, they jumpstart her career into full-on stardom, celebrating their union in marriage along the way.

But while it was a beginning for the duo, it was the end of something else for Norman. As his career continues to plummet, his drinking continues to escalate. When Esther decides to leave her career to be by his side during recovery, Maine takes matters into his own hands.

The film is vibrant and inventive, and Garland's performance of "The Man That Got Away" was something I've been long overdue to experience. (Her 1961 comeback performance of that song has been spun as one of my favorite records for a few years now.) For its time, this film was one of the most expensive ever made by Warner Bros., however, it unfortunately will never be seen in its original form again. While it was released with astounding interest, 30 minutes were evidently butchered out of the film to shorten its run-time at the suggestion of some east-coast moneymen. And though the soundtrack remained in the Warner Bros. vaults, the footage was never recovered. Eventually the film was "restored" with stills and the original soundtrack running... I knew something was fishy when that long stretch of stills and montage ran after the first hour. This portion of the film is actually somewhat awkward and unsettling.

Still, on many occasions, I felt like this film was truly just a stage for Judy Garland to showcase her talents. The surrounding narrative, though at times extremely heavy, at times still seems toss-away against her musical performances.

Frankly, despite Judy's odd facial expressions and over-plucked technicolor look... and despite the somewhat obvious cheap-shots to stick in a song... I loved the film. A great classic musical to rival all others. Judy Garland enthusiasts... must-see.

On another interesting note: this film and the film I watched just prior, Apocalypse Now, both quote the same T.S. Eliot poem within their scripts. In Apocalypse Now, the insane photojournalist via Dennis Hopper quotes, "This is the way the fucking world ends. Look at this fuckin' shit we're in, man. Not with a bang, but with a whimper, and with a whimper, I'm fucking splitting, Jack." In A Star is Born, Mr. Libby quotes the same line when referencing the end of Norman Maine's career, "This is the way the world ends. Not with a bang but with a whimper."

#211 42nd Street (1933)

***

Director: Lloyd Bacon

Cast: Ruby Keeler, Warner Baxter, Bebe Daniels, George Brent, Guy Kibbee, Una Merkel, Ginger Rogers, Ned Sparks, Dick Powell

The film that single-handedly saved Warner Brothers from bankruptcy in the 1930s, and inspiration to one of the most legendary, long-running broadway musicals of all-time, 42nd Street needs no introduction. The black and white musical follows a variety of characters in the leading up to an opening of a new broadway show. There is the high-strung, lay-it-all-on-the-line director, the nervous but adorable stage manager, the dramatic, romantic, diva star, and the doey-eyed newcomer just ready to make her break.

We watch the auditions, meet the finances, attend the rehearsals, and even get all the dressing room dramatics. 42nd Street is a tribute to those who not only love musicals but classic film as well. Delightful.

#209 Les parapluies de Cherbourg [The Umbrellas of Cherbourg] (1964)

***

Director: Jacques Demy

Cast: Catherine Deneuve, Nino Casteinuovo, Anne Vernon, Marc Michel, Ellen Farner, Mireille Perrey, Jean Champion, Pierre Caden, Jean-Pierre Dorat

On a day like today where it literally has not stopped raining for even a moment since I woke this morning, I found it only fitting to finally get to The Umbrellas of Cherbourg. This having been a personal recommendation of a good friend of mine, I was quite excited to see it. Actually, perhaps rather than excited, the word would be 'interested.' I walked into this film knowing that it would be unusually pleasant–even if perhaps at first it stylistically offends. I popped the dvd in, and was not-so-surprised to find the forecast to be true.

The Umbrellas of Cherbourg is entirely a musical, but not in the usual sense. Instead of random outbreaks of song, every single phrase of dialogue is sung in the movie. And even further, there is no repeating melody, no chorus, no predictability. The entire movie rolls along with a symphonic (and sometimes jazzy snazzy) score, and the characters seem to sing out their lines with whatever little melody they please. For the first 30 minutes at least... I have to wholly admit that this is not only alarming, but extremely uncomfortable.

Soon enough, however, you become interested in the 'mood changes' brought on by the background music, and in some ways, the singing makes the French subtitles easier to follow.

The story is of Geneviéve (Deneuve– aka Belle de Jour!), 17-year-old daughter who lives with her widowed umbrella-saleswoman mother (Vernon) in Cherbourg. She falls hopelessly and secretly in love with a 20-year-old mechanic named Guy (Casteinuovo), and when the two make plans to marry, Geneviéve's mother strictly forbids it. When Guy gets drafted and sent to the war in Algeria for two years, the two lovers consummate their relationship, and in the process, Geneviéve conceives. The two lovers promise to wait for one another.

But just three months after Guy's departure, Geneviéve finds herself weak–physically and emotionally. With only discouragement from her mother, she struggles to think about Guy at all. When a wealthy jewel salesman (Michel) claims love-at-first-sight and asks for her hand in marriage, she follows her mother's advice and accepts. She is married only a month or so later–just a short few months after Guy's initial leave!

When he is injured and comes back to Cherbourg early, he is devastated to find the truth about Geneviéve's decisions. In depression, he takes to drinking, sleeping with prostitutes, quits his job, and mourns the death of his Aunt. With the help of his Aunt's former nurse, he comes back to life through successfully starting his own gas station. After marrying her, Geneviéve and Guy find each other for the first time in an unexpected place on an unexpected evening.

The film is separated into three parts: the departure, the absence, and the return. And while the plot doesn't boast anything new, it's all in the presentation that sets Umbrellas apart. The first French musical ever to be shot in color, it's a splendor of a film, albeit one that requires patience and an open-mind. If you have any heart for musicals, guaranteed that you'll catch yourself smiling a few times at the very least... if not secretly captivated by the end.

#191 Gentlemen Prefer Blondes (1953)

***

Director: Howard Hawks

Cast: Jane Russell, Marilyn Monroe, Charles Coburn, Elliot Reed, Tommy Noonan, Carol Channing

An exceptionally comedic, light-hearted musical performance from both Russell and Monroe, playing two showgirl friends on their way to Paris. Lorelei Lee (Monroe) is engaged to be married, and unbeknownst to her and her friend Dorothy (Russell), she is being followed by a private investigator hired by her fiance's father. He wants to make sure she isn't marrying his son for just his money, and well, she just might be. "But is that so wrong?"

The musical numbers are sparkly and are meant to razzle-dazzle you. Monroe is over-the-top and purrs out her lines with unbridled sexuality. Though nothing to take too seriously, the film is a must-see for its most unusual brand of comedy and sex appeal. Russell is absolutely tranny-tastic as Dorothy-- LOVE IT!

#169 Meet Me In St. Louis (1944)

***

Director: Vincente Minnelli

Cast: Judy Garland, Margaret O'Brien, Mary Astor, Lucille Bremer, Leon Ames, Tom Drake, Marjorie Main

This bizarre, Southern technicolor musical is set in the year 1903 in... you guessed it... St. Louis, Missouri. It's the story of an 'average' family filled with young, coming-of-age women both lovesick and ready for mischief. It's a simpler time, of course, when "men don't like girls who kiss before engagement." Judy Garland plays Esther, a middle child who is falling madly in love with her pipe-smoking, sweater-wearing neighbor. She seems to have a steady hand in keeping her family in line-- she plots to marry off her older sister and often is the one to take care of her two mischievous younger siblings (one of which is "Tooti" played by the famous child-star Margaret O' Brien).

The costuming, sets, and songs are over-the-top with color and imagination. The make-up and hair are plastic-perfection! Garland croons, swinging in doorways and off the sides of trolleys. Zing, Zing, Zing goes her heart strings, and the moment I finally saw that scene in its full cinematic context, a bit more of my life was indeed complete.

However, what seems to be the makings of almost a too-perfect, happy family classic somehow takes a dark turn. Long and dramatic interludes are taken into rather morbid subject matters, such as the youngest daughter burying her dead dolls, Halloween ghosts, and a young tortured child beheading her family's snowmen with a bat. Yes. This really happens.

And although it's still a speculation amongst critics as to whether this film is meant to be simply entertaining melodrama or whether it pushes the edge of making comment on familial bliss... it does not matter. Meet Me In St. Louis is by no argument meant to do less than dazzle.

#162 Dancer in the Dark (2000)

*****

Director: Lars Von Trier

Cast: Bjork, Catherine Deneuve, David Morse, Peter Stormare, Joel Grey, Cara Seymour, Vladica Kostic, Jean-Marc Barr

Bjork plays Selma, a Czech immigrant mother working in an American basin factory-- secretly hoarding away money to pay for an operation for her son's eyes. Selma is going blind, but she doesn't want anyone to know. Her friend helps her at the factory, explains what happens in the movies when they go, and she walks along the railroad tracks to get home from her job at night. Her son is destined to the same fate unless she gathers enough money-- and she is so close to doing so.

Finally, she confides her secrets to her landlord and friend who has a secret of his own: he is broke, and he can't tell his spending-happy wife. Stealing the money from Selma, he forces her to kill him to get the money back. A trial, more lies, uplifting moments, and capsizing hope.

The film is a musical, full of self-aware interludes of Bjork performances. The film gains almost a technicolor brightness in fantasy-- the only world where Selma can find refuge from the physical and emotional darkness of her life. The story was so suspenseful that when a song came, I nearly crawled out of my skin with impatience to get back to the film's reality. I wept through the last 45 minutes of the film, quite inconsolably.

Although low budget, shaky, sometimes frustrating, and sometimes even TOO MUCH-- the film moved me in a big way. Not just through story but through artistry as well.

I found it to be brilliant.

#138 An American In Paris (1951)

****

Director: Vincente Minnelli

Cast: Gene Kelly, Jerry Mulligan, Leslie Caron, Lise Bouvier, Oscar Levant, Adam Cook, Georges Guetary

A remarkable, joyful musical starring Gene Kelly as a broke, but hopeful artist who is the joy of his Parisian neighborhood with the company of a talented concert pianist and suave French singer. He hits luck when a beautiful and rich woman decides to sponsor him and look after his career, but he is thrown off course when he falls in love with another woman... another woman who happens to be engaged to his French singer friend.

The end of the film is capped off with an 18 minute ballet choreographed by Gene Kelly himself-- quite spectacular indeed. Although, I must say-- my favorite moment of the film was when Gene Kelly made a crack comment about 3rd year American college students going to Europe to dabble up some culture. Woops.

At any rate-- love this film-- I hope I see it again in the future. My mind has been wandering lately.

#131 Top Hat (1935)

*****

Director: Mark Sandrich
Cast: Fred Astaire, Ginger Rogers, Edward Everett Horton, Erik Rhodes, Eric Blore, Helen Broderick

Here in a classic Astaire-Rogers musical, the two find themselves in an unfortunate misunderstanding: Astaire has immediately fallen for the luscious Rogers, but she has mistaken him for his married friend. Thus, the entire film centers around this misunderstanding-- Astaire pursues Rogers with romantic intentions, and Rogers tries to hold back in fear she is being seduced by a married man. In the end, however, as you could imagine-- the film comes to a delightful close.

It features Cheek to Cheek, as well as a few other splendid classics, and this is the film John Coffey watches right before his execution in the film The Green Mile. I must say, it'd probably be a top contender for the last film I ever see as well.
Loved it.

#130 All That Jazz (1979)

***

Director: Bob Fosse
Cast: Roy Scheider, Jessica Lange, Ann Reinking, Leland Palmer, Cliff Gorman, Irene Kane

Hm. This was interesting. Being a dancer for most of my life, I had a great number of expectations before watching this film. I was hunkering down for a 2 hour long musical full of really amazing choreography-- all centered around dance itself. A self-reflective, self-appreciative movie about the art of theatre and dance. Boy, was I wrong. Instead, it was very much a narcissistic autobiography of Bob Fosse-- not that this is all bad either-- just not what I sat down to watch.

I've heard these songs a million times at dance competitions, and I've seen all the dance moves mimicked about a million and a half times-- brought back some good memories. I enjoyed the first half of the film immensely. Note: why is it so fun to watch other people live recklessly? The second half of the film, however, was far too self-indulgent and far too disco. The final death scene with the 70s strobes put Josh and I over the edge, and we were practically begging for it to end.

As you can see by my extremely scatter-brained review of this film, I have no idea what to make of it. I'm torn between being dramatically disappointed and feeling like I've finally put the puzzle together on all the songs/choreography that is in my past. I gave it three stars because I feel like this film is a must-see for any dancer. I also think that if I were to see this film again, I would appreciate it more than I did the first time, and so on, so forth.