Stop Making Sense

Jonathan Demme, 1984 (9.2*)
I guess it helps to be a fan of the rock band Talking Heads to really enjoy this concert documentary, but for any fan of concert filmmaking, this will also be a treat. There have been other good concert films, like Martin Scorsese’s The Last Waltz, documenting The Band’s last concert, but for me this one went a little more over the top.

When I saw this in the theater, there were people dancing in the aisles, and the crowd was a huge range of ages. I was already a fan of the band, so for me it was an unexpected treat that I felt like I was also at this concert at the Pantages Theater in L.A., shot over three nights.

The band had just been a more intellectual punk rock band than most, led by the cerebral lead singer-songwriter David Byrne, known as much for his out-of-sync gyrations as much as songs. Then they added two former members of the Funkadelic-Parliament funk bands, Bernie Worrell (keyboards) and Alex Weir (guitar, vocals) and suddenly discovered rhythm, notably from the James Brown school of funk grooves. This suddenly rejuvenated the band and it’s obvious in this concert; they’re now a fusion of musical influences working together to create something unique. My own favorite here is near the end, “Cross-Eyed and Painless”, and I can’t imagine it without the P-funk connection. Of course there’s the hits, “Burning Down the House” and “Psycho Killer”, but just as good are “This Must Be the Place” and “I Get Wild/Wild Gravity”.

Ironically, Byrne is now best known for wearing the big suit around this era. On a live tv interview (Letterman?), Byrne said "a friend told me 'onstage, you're bigger than life', so I said 'oh, then I need a really big suit'"

If you’re just interested in good rock concert films as well, this is one of the best ever (maybe the best) - along with The Police “Synchronicity Concert” (a live concert, unedited, from the Omni in Atlanta, Ga), and the all-time classic, Woodstock (1970) which did it’s best to record both highlights of three days of concerts and also document the event itself. For these reasons, it will likely forever remain the ultimate rock concert film.

Demme is best known for directing the Oscar®-winning best picture The Silence of the Lambs (1991), for which he also won a directing Oscar®. Demme is currently the 78th ranked director on our top ranked 1000 films compendium of all polls, with 4 titles in the top 1000, with Silence of the Lambs his top-ranked at #47 all-time.

See the full list of top ranked 100 directors here: Top Ranked 100 Directors, 2011 Edition

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Bugville

Aka Hoppity Goes to Town, Mr. Bug Goes to Town
Dave Fleischer, 1941 (8.5*)
Early animated classic from the Fleischer Brothers studio, those animation pioneers who created Popeye and Betty Boop, and also many technical devices that advanced the art to cinematic proportions.

In this story, bugs have a nice community going in a deserted lot near Broadway, where people rarely go by – some that do pose a threat by tossing lit cigarettes or cans, which become housefires and earthquakes for bugville. It’s actually part of an estate that’s seen better days, but is now in the hands of a struggling songwriter, played by Kenny Gardner, but based on songwriter Hoagy Carmichael, who wrote the song “Castle in the Sky” used here. Dick Dickens (yep..) needs to sell this song to keep the house, and those metaphorical lyrics become important to this plot.

Meanwhile in Bugville, Swat the Fly and Smash the Mosquito are the eyes and ears of evil landowner C. Bagley Beetle, who wants everything for himself. They spy on the happy inhabitants which include Hoppity, who’s courting Honey Bee, whom Beetle also desires, and whose dad runs the local Honey Shop, which is the local hangout of all the other bugs. (Ya gotta love a film with Swat the Fly as a character)

Hoppity takes off one day and finds the main house, with a well-tended garden, which he sees as paradise, and returns to the lowlands bugville and convinces the others he’s found a nicer, safer home. Along with garden hoses causing floods, the bugs find many other impediments to finding a new happy home, including climbing a skyscraper, a story which is paralled by the human character Dick, the songwriter.

I saw this long ago as “Hoppity Goes to Town” [see below], and couldn’t understand why it’s not as well-known as the Disney classics. It’s certainly in the classic 30’s animation style, it’s full color, is pretty funny, and has some pretty good music, especially the Castle in the Sky song by Carmichael. Plus it has BUGS! Decades before Bugz, and A Bug’s Life, Antz, and all the others (I’m just making up titles now.. but you get the picture, lotsa varmints in the cartoons..)

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The 5,000 Fingers of Dr. T

Roy Rowland, 1953 (8.2*)
Totally fantastic story by Dr. Seuss, who also provided the set design and some song lyrics. This wonderful spoof of childhood music lessons features Hans Conreid as diabolical Dr. Terwilliker, who is writing the world's first piano concerto for 500 boys on a monstrous serpentine piano of his own creation, hence the film's title - his concerto takes 5,000 fingers.

Tommy Rettig plays one of the music students, who are basically held prisoner, and forced to play rehearse nearly all the time, staying in cells, and with the music school surrounded by an electrified fence. His help comes in the form of a surrogate dad, played by Peter Lind Hayes, who is an amateur inventor with a planned surprise invention for Dr. Terwilliker.

This is a fun movie all-around, it's surprising that it's not better known, given it's Dr. Seuss connection. It's just crazy enough to be an unforgettable children's fantasy.

Just one of the goofy set designs of

Dr. Seuss in 5,000 Fingers

The piano that seats 500 boys

I want one of these hand beanies

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Mary Poppins

Robert Stevenson, 1964 (8.1*)
This film was a lot of family-oriented fun, with nonsense songs and fantastic happenings, all after a magical nanny shows up in the form of Mary Poppins (who floats in using an umbrella), played with energetic gusto by Julie Andrews in a star-making and Oscar®-winning performance. Dick Van Dyke co-stars as a lower-class chimney sweep, who also has a bit of magic and music in his veins. Don't look to deep into this one, but expect lots of family-style Disney entertainment, with some magical animation overlaid over live action, a la Song of the South.

There was more than a little irony on Oscar® night when Andrews won for actress and Rex Harrison won for actor in My Fair Lady, since the two made the London play a hit yet Andrews was snubbed for the film in lieu of big box office draw Audrey Hepburn, whose vocals were dubbed by off-camera specialist Marnie Nixon, who also dubbed vocals for The King and I and West Side Story. (Nixon finally got in front of the camera in The Sound of Music, singing "A Problem Like Maria".) It's a shame that audiences were robbed of Andrews brilliant interpretation of Eliza Doolittle, as she is British while Hepburn is American, and Andrews made the role famous to begin with; the original cast recording will bear out my argument. In the history of major cinema, this remains one of the major casting gaffs ever committed. One can only assume that the Oscar® for Poppins was the consolation prize for the snub of Andrews for the bigger film, which won best picture and seven Oscars® overall.

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Swing Time

George Stevens, 1936, bw (8.2*)
One of the best of the nearly interchangeable Fred Astaire-Ginger Rogers musicals. This one stands out due to some very innovative musical numbers, especially Astaire's tribute in blackface to legendary tap dancer William "Bojangles" Robinson, in which dramatic lighting (or special effects) has Astaire dancing with 3 giant shadows of himself.

In this thin plot, he's trying to get enough money together to marry his fiance, but of course, Ginger Rogers intervenes as usual. Other than The Gay Divorcee, the plots of these musicals are forgettable. Each runs something like this: a musical performer, usually Astaire, who is usually betrothed to some high society girl he actually despises, meets Ginger Rogers, who is either a dance instructor or an out of work chorus girl or singer; right way they dance like seasoned pros together, fall in love, and once Fred is out of his current relationship, he and Ginger happily dance off together into the closing credits. [Astaire later admitted that his favorite dance partner was actually Rita Hayworth.]

The Gay Divorcee had the most original and comedic plot, as Rogers hired a professional corespondent (named Tonetti) to get out of a divorce, meets Astaire, who becomes the new and real reason for a divorce. What may set any of the others apart is the quality and originality of the dance numbers, which is the achievement of Swing Time, not to mention that this one has master director George Stevens (Shane, Giant, Suddenly Last Summer) at the helm.

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The Gay Divorcee

Mark Sandrich, 1934, bw (8.5*)

My favorite of the Fred Astaire-Ginger Rogers musical comedies, because this one is by far the funniest. The absurb plot involved bored Mimi, looking to get out of her marriage, a hired co-respondent Italian named Tonetti ("If you like-a spaghetti, stick-a with Tonetti!", is his professional motto), hilariously played by Eric Rhodes, who was in several with the dance team for comic relief - he was an expert, scene-stealing comic actor. Thanks to a very funny password phrase mix-up about fate, when she goes to meet him at a resort, she mistakes Astaire for the hired beau.

There's mucho dancing, romancing, and running around before the husband is due to arrive, including a monster 15-minute version of "The Continental", the song from this that won the Oscar® that year, beating out Cole Porter's "Night and Day", also from this film. Overall, 5 Oscar® nominations, this is a don't miss for fans of the screwball comedy and the musical era in Hollywood.

Quote: Fate is foolish, take a chance! (Tonetti) This was one confusion of their 'passcode' (of many): Fate is the fool's word for chance.

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Happy Feet

George Miller, 2006 (7.6*)
From the same George Miller that directed The Road Warrior and produced Babe, this animated feature won an Oscar®, a BAFTA, and a Golden Globe. A penguin couple, played by Hugh Jackman and Nicole Kidman, have a newborn called Mumble. While these Emperor penguins all have a song in their heart and attract mates with it, Mumble can't carry a tune but instead has Fred Astaire toe-tapping feet, which baffles the others and makes him an outcast.

The elders, led by Hugo Weaving (The Matrix, V for Vendetta), represent those who worship the "Great Wind" and leave it all up to the whims of nature, the invisible 'deity'. Mumble thinks the humanoids (called "aliens") have messed up their fisheries due to stories about them, so he sets off to find them and let them know they need to stop.

The first part of the film is almost non-stop pop and R-and-B songs, which get old fast. What saves the film is some amazing animation: the ocean, penguins underwater, long shots of thousands of them on glaciers. The story is really pro-environmental propaganda, which is ok but will likely be lost on kids, who are obviously the primary target audience for a film that is 75% pop music.

Robin Williams provides some comedy at least, as Ramon, leader of a gang of Hispanic sounding Adelie penguins, and as Lovelace (named for Linda, star of Deep Throat? now that's just bizarre..), a self-promoting guru who charges pebbles for advice and answers to questions, as these penguins use pebbles to build nests to attract females. Brittany Murphy is Gloria, who is Mumbles love interest. This would be a lot better with more dancing and less singing, but should still be quite engrossing to kids, who seem amazed that animated characters can sing and dance like people.

Happy Feet actually won 14 awards (awards page at IMDB), most for animated feature, and a sequel is due out this year.

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Crazy Heart

Scott Cooper, 2009 (8.2*)

This is a simple yet effective story as old as country music: a jaded country singer is nearing 60 and is tired of life on the road playing bowling alleys and roadside bars for chump change as his best years are behind him. Jeff Bridges was not only perfect in this, doing all his own singing, but finally got a well-deserved Oscar after some near misses (four previous nominations) and a career of impeccable professionalism in his performances. This is as good as my favorites of his: as the cheating best friend in The Last Picture Show, as the jaded supper club pianist with brother Beau in The Fabulous Baker Boys, and as the air crash survivor who loses fear of death in Peter Weir's Fearless.

Maggie Guylenhaal nearly steals this movie with her excellent and believable portrayal of a young music journalist who falls for Bridges' inner man; this has to be her best performance. Colin Farrell, as a young hot attraction who was mentored by Bridges when starting out, actually outsings Bridges in a surprisingly twist to his stellar career - who knew Colin had this voice hidden within? (..but not many male country stars wear two earrings!)

Probably the only thing wrong with this film is what will make it more popular: a plethora of 'soundtrack ready' simple country songs that even Bridges and Farrell can sing, including the Oscar-winning song "The Weary Kind", co-written by producer musician T-Bone Burnett. Great for country fans, but a bit much for those of us who prefer bluegrass, rock, jazz, classical, or something where musicians actually play their instruments well. Thankfully on the dvd you can fast-forward the ones you don't like. Robert Duvall has a near-cameo as a bar owner, and he also produced, a story eerily simliar to his Oscar®-winning performance in Tender Mercies.

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Nine

Rob Marshall, 2009 (7.7*)
Like a Fellini film, this musical tribute to his classic 8½ is a bit surreal and disjointed, but is still entertaining to watch. The cast, featuring no less than seven Oscar®-winning actors, is very good throughout, even though many are here just to perform one musical number each. In particular, Kate Hudson and Penelope Cruz are surprisingly good singers, and Fergie, Nicole Kidman, and Judi Dench are also better than expected. We already knew that the superb Marion Cotillard, understated here, could not only sing but act.

Perhaps the biggest waste is that Daniel Day Lewis doesn't get to display his skills much, and the ageless Sophia Loren is relegated to a minor role as his mother, though she does deliver her song quite well - who knew she could also sing? Lewis plays filmmaker Guido Contini, who has no script but some exciting ideas in his head, which become this film, individually exciting but no cohesion, just like his life.

The best parts of this film are the art direction, the music, and the cinematography, which is partially done in b&w to simulate the look of Fellini films. There's also a touching scene with Lewis and Dench at the waterfront of a small coastal town. Fans of musicals won't be disappointed at all, as this is at the level of a Bob Fosse production. Though shunned by most critics, it received ten nominations from the broadcast film critics, but only four Oscar® nominations, including Cruz for supporting actress.

Find the video for Hudson's "Cinema Italiano" number, which took six weeks of rehearsal, and is terrific - she's even dressed like her mother, Goldie Hawn, a go-go dancer in the 60's, and who only wished she could sing like her daughter.

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Oklahoma!

Fred Zinnemann, 1955 (7.4*)
This musical is so corny that it actually begins with Gordon McCrae as cowboy Curly riding beneath corn "as high as an elephant's eye" as he sings in the opening song 'Oh, What a Beautiful Morning'. Though not a Rodgers and Hammerstein fan myself (too simplistic and childish for me), I'll have to admit that I found myself singing this song for days afterwards, as it's definitely one of their best. In fact, this musical, their first, is probably their best overall, and I'd include 'Surrey With the Fringe on Top' as another of their best songs. Apparently in this obviously 19th century time frame, this was the best transportation available for impressing a woman on a date.

The story here won't hold much examination as it features the odd competition for Shirley Jones' affections (her first role) between McRae and the burly but thick-headed Rod Steiger as farmhand Judd. For some reason, director Zinnemann chose nearly an entire cast of non-singing actors, such as the awful Gloria Grahame (her singing may cause severe spinal pain) and Edward Albert as a traveling Persian salesman - no kidding. An odd choice, given that McRae is perhaps the best musical singer ever - his talent makes the others fairly unendurable, but may give one goosebumps as he hits all the high notes as well.

The pacing is pretty uneven, especially the unending picnic lunch auction-social dance scene, which unnecessarily seems to take up a third of the entire film - a scene which also implies that you can buy a woman for good, given that McRae and Steiger each risk their entire life's fortune for a meal of Shirley's - this also seems to border on the idea of 'women for sale' to the highest bidder. The story would probably have been better if made less serious (such as the final confrontation) and more humorous, for those lighter moments are the outstanding memories of this pleasant if hokey and cornball entertainment. The mouth-watering color in the dvd restoration makes this a must-see for fans of musicals of either the Hollywood or Broadway variety. Winner of two Oscars®

Note: I actually gave this a slightly higher rating than the fans at IMDB, where it's rated 7.1, but by only just over 4,000 viewers. One viewer wrote "a must for fans of Western musicals" - puzzling since the only other one I can recall is the terrible Paint Your Wagon, though I guess one can include The Harvey Girls, and perhaps Seven Brides for Seven Brothers as 'westerns'. Still, it's the tiniest of sub-genres, so this one is clearly tops. "Oklahoma, OK!"

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Together

aka He Ni Zai Yi Qi
Chen Kaige, 2002, China (9.5*)
Perhaps the greatest father-son story yet captured on film. Chen Kaige abandons his customary huge-scale epic costume drama to make a small intimate film about the intensely personal affection of a father and son. A poor worker from a small Chinese city (touchingly played by Peigi Liu) has a talented musician son who wins all the local violin competitions. He decides to take his son to Beijing to find a world-class music professor for his son at his own expense in order to elevate him to the level of professional international musicians.

This is a very engrossing and touching film with just five characters: the son, his father, two different music teachers, and a pretty young woman who befriends the teenage boy, in effect becoming a surrogate mother, and pays him to play privately for her. For me, this is Kaige's most successful story, and also his most innovative direction, which seems to have a very European cinematic style. A must for fans of classical music, especially violin music. Director Chen himself plays the more noted professor.

Note: Kaige is best known for large-scale costume epics such as Farewell, My Concubine and The Emperor and the Assassin

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Jodhaa Akbar

Ashutosh Gowariker, India, 2007 (8.1*)

Update: this just won 11 International Indian Film Awards, 2nd most ever, including picture, director, music, costumes, editing; it's now won 39 awards worldwide (link to its page at Wikipedia)

This has to be India’s Gone with the Wind (only better), an epic 16th century historical tale with beautifully ornate palaces, jewels, costumes – it even effectively mixes in some haunting and entrancing musical numbers (but not many). My favorites were a wedding night song and dance performed by whirling dervishes of the Sufi sect (trance inspiring!), and a beautiful romantic ballad from the second half when the lovers are alone (sensual yet very understated). Some of the dances have camera shots from overhead like a Busby Berkeley musical (only with 300 dancers instead of 30), performing ornate moving mandalas in bright colored costumes.

The stars are both very beautiful, the role of the Muslim Mughal Emperor is Hrithik Roshan (a strong, muscled warrior-king and swordsman), and his reluctant (and Hindu) Rajput Queen named Jodhaa is the breath-taking beauty Aishwarya Rai, in her finest here as a well-jeweled queen; this cements the argument that she is the most beautiful woman in the world (see photo), and she can also sing and dance (see Bride and Prejudice)

The story is multi-cultural and about the religious freedom and unification attempted by Akbar (a title of honor), who allows his Queen to build a Hindu shrine to Kali and maintain her religion. The story is fictionalized regarding the romance, turning it into a fairy tale love story, but the history is generally accurate about the unification of Hindustan. About an hour too long at 3.5 hours (Netflix inaccurately shows 450 minutes, or 7.5 hrs, yikes), with the better drama all in the second half (the first seems rushed and sketchy), and some of the martial arts are a bit slow and clumsy, rated down for these criticisms.

Note: Indian history buffs say that Jodhaa eventually converted to Islam to be totally acceptable to Akbar’s subjects.

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Veer-Zaara

Yash Chopra, India, 2004 (8.0*)
This is a legendary love story, an epic musical-romance in the tradition of Austen and Bronte meets Bollywood. Veer Singh (played by Shahrukh Khan) is an Indian Air Force rescue helicopter pilot, who meets a beautiful young Pakistani woman, Zaara Khan (Priety Zinta), who has come to India to scatter the remains of her loyal servent in her homeland (which is a great scene), when he rescues her from a bus crash on a mountain road. She wants to repay him, so he asks for one day to show her his home village; of course, in a musical-romance, one day is all you need to fall in love for eternity.

Thus begins a three-hour epic with about 10 songs, some of which are needlessly thrown in, but others are perfect for both setting the mood and opening up the culture of this area for filmgoers as well the visitor from Pakistan. I especially liked "This Is Our Land" for that reason, a colorful Hollywoodish outdoor musical number with lots of locations and people. This is a long and evolving story, told as a flashback to a lawyer, with several interesting plot twists, for Zaara is already engaged to an arranged and political marriage fiance (to a bore) in her home town, so the plot immediately gets sticky for the romance.

This is typical of Bollywood films today: three hours, and with 6-8 musical numbers with pre-made videos for tv, a couple are quite exhilirating. It's also a good example of their two styles of film: a light-hearted musical with dancing crowds and vibrant colors, then a long slow drama with serious societal and humanitarian overtones. This film, with an intermission, is pretty much divided that way into two halves, with most of the music and cheeriness in the first half.

This could easily have been done in two hours, with about 4-5 songs, so I'm downgrading it some for that reason, but it's still a classic love story and entertaining musical as well, in the tradition of 50's Hollywood musicals (Sound of Music, Oklahoma, American in Paris).

Winner of 8 International Indian Film Awards, including picture, director, actor, actress (a lawyer, not the lover), story, music director, makeup. The awards page at IMDB, 20 wins, 47 nominations (rated 7.3/10 at IMDB, a reader's poll open to all viewers)

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Meet Me in St. Louis

Vincente Minnelli, 1944 (8.4*)
This is one of the best of the Judy Garland musicals, and it involves a family that enjoys life in hometown St. Louis, around the time of the world's fair in 1903. There's not a lot of story here, but it's also not the old "let's put on a show, let's make a musical" plot either. It's primarily about the family enjoying each others company on holidays, and the girls entertaining beaux, all the noise driving father Tom Drake 'to distraction'.

Margaret O'Brien plays Garland's scene-stealing little sister, especially during one Halloween sequence that involves some pretty delinquent behavoir: bonfires in the streets, dusting residents with wet flour, and later even trying to derail a streetcar with a fake body. These kids were middle-class hoodlums, but all in good fun, like the Our Gang comedies.

The musical numbers include "The Trolley Song", "Have Yourself a Merry Little Christmas", and the title song. Garland was in her prime here, a young woman of 22 who could really belt out a song. The technicolor is absolutely mouth-watering, perhaps a little too intense, but this is a good, fun family film for all ages. In fact, many think it's director Vincente Minnelli's best, along with An American in Paris. #293 on our top ranked films on the net survey.

Garland didn't want to star in this, as a teenager, but Minnelli not only convinced her to, but also to marry him later.

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The Wizard of Oz

Victor Fleming, 1939 (8.4*)
The GOOD news: the remastered colors will blow you away, all fans should see this new dvd version. Toto and the creepy flying monkeys were terrific, having a seemingly gay lion (Bert Lahr's only memorable role) was a stroke of comic genius, Margaret Hamilton was the perfect evil witch, Frank Morgan the perfect wizard, and I hope everyone got the reference to poppies putting them to sleep and snow waking them back up.

Otherwise, everyone's favorite children's fantasy just could be the most overrated film of all time, #18 on our Top Ranked survey (I'd put it about 200th). This actually followed the classic animated Snow White by two years, which makes me wish that Disney had at least had a hand in this. Can you imagine this film if they made it today, with the technology used for Lord of the Rings? My problems began in my own childhood, thinking this was "one giant-sized kid", even bigger than the witch - one would think they had good enough child actors to have cast this movie appropriately. Judy Garland looked like she was in her 20's (though just 17), but this was supposed to be a little girl, maybe ten years old. It always seemed to me that "Over the Rainbow" was just thrown into this movie, didn't fit the rest of the film's music (its certainly not a kid's song), and seems like it should have been in Meet Me in St. Louis instead (a more appropriate vehicle for Garland, imo). Buddy Ebsen was supposed to be the tin man but had a reaction to the metallic makeup and dropped out. Could't they get Donald O'Connor? (Don't get me wrong, I'm a Garland fan since I love great singers, I just prefer her in other roles: St. Louis, and Star is Born; she's miscast in this, it's a popular choice, not an artistic one)

All that aside: This is great fun for kids, with lame humor (unless you're under 10) and very slow scenes, but with the "Yellow Brick Road" refrain to seemingly link it all together and keep it moving. In fact when the film came out, Harvard's awards dubbed it "the worst film of all time". Of course, that was 1939 and they didn't have many films to choose from. For kids and fans only, you know who you are, or if you just need something entertaining!

Update: upon considering the religious implications, I upped my rating a little. Did anyone else notice that the only other American Dorothy sees on her journey has set himself up as "god" in Oz, which rhymes with "Gods" by the way? He rules by fear and intimidation ("dare you question the great Oz?"), using magic (smoke, mirrors, illusions) to convince people he's something supernatural, then sends people on tasks in his name that he hopes will get them killed so he's done with them and won't have to deliver anything material. Then when Dorothy's group succeeds, all he has to offer is homespun advice and common sense wisdom, and they have nothing more than what they already had, only self-realization. This could be nothing but a satire of religion to me (or history of religions), or at least America's version of religion; perhaps the way U.S. politicians use religion to scare and control people, and to get votes. I'm not sure of author Frank Baum's original intentions way back when he wrote this, but it sure seems that this is a clear parody of how we are controlled, even in this 'new millenium'.

[Updated: 7.29.09]

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Gadjo Dilo

aka, The Crazy Stranger
Tony Gatliff, 1997, Romania (8.2*)
Now, when have you ever seen a film that shows the passionate lifestyle of gypsies, and not just the gypsy catfight in From Russia With Love? We finally have one, and it full of music, drinking, dancing, and passion. A young Parisian is seen walking in the beginning, and it turns out that he’s a gypsy descendent, and is in Romania searching for the singer of a song that his father loved to listen to while dying. He finds a great drunken musician named Izidor, who takes him under his wing, and begins to teach him the language, so he won’t be a “gadjo”, or outsider. He also meets the seductive beauty played by Rona Hartner, whose dancing, singing, and eroticism steal the film. Hartner, who also records music cds and does paintings, won two film festival awards for Best Actress for this film. Down a star for some unnecessary violence. Winner of 9 international awards.

Awards: Gadjo Dilo Awards

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A Night at the Opera

Sam Wood, 1935, bw (7.5*)
This Marx Brothers gem features probably their most famous scene: the stateroom on the ocean liner that is a phone booth to begin with (Groucho’s line) and they cram about 15 people in, from stowaways to maids to waiters, who fall out when Margaret Dumont (yes, she's on hand, thankfully) opens the door. However, like kissing scenes in your Saturday westerns growing up (when kids would actually boo in the theater!), this has some lengthy and pointless musical numbers to wait out before the comedic pace returns. Admitted that Chico had a humorous style on the piano and did his numbers in one take, but Harpo on harp is always tedious, and this also has some operetta-like songs and dances that do nothing for the Marx style except slow it down. In the better Duck Soup, the musical numbers were zany and made sense to the plot, “Hooray for Captain Spalding” was actually nominated for an Oscar. Still, one of their best in the comedy parts.
Quote: “That’s the sanity clause” – “You can’t a-foola me, there ain’t no sanity clause!”

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Bye Bye Birdie

George Sidney, 1963 (7.0*)
I recently saw this again in widescreen, first time since it bored me as a child. This time I understood it, and the ws format allow you to see the dancers rather than imagine them offscreen! It’s basically a campy satire of bad Elvis musicals, the story is even about every girl’s favorite heartthrob rock star being drafted! (when I was a kid, only girls liked Elvis, at least after his Sun Records rockabilly days). The music is really all over the map, a little rock, even more ‘boogie woogie’, a little jazz, some of that a little bluesy, and some typical Broadway-style songs. In that regard, it loses a star for not having a very cohesive score; after all, it’s a musical comedy.

The ‘not quite rock’ star is Conrad Birdie (Jessie Pearson, in the film’s weakest performance, too bad they didn’t get George Chakiris from W.S. Story) but before going into the army, he’s making a farewell appearance on Ed Sullivan, and giving a good-bye kiss to high schooler Ann-Margret, head of his fan club. Dick Van Dyke, who does some of his typical silly/stiff dancing (a la Mary Poppins), has written a song for Conrad to sing on tv that he hopes will save his sagging composing career, while his lady, Janet Leigh, in a rare musical dance performance, can’t pry Dick away from his mother, Maureen Stapleton, in a hilarious role that also includes singing.

Meanwhile, star Ann-Margret’s boyfriend Bobby Rydell, added as the only pop music star of the group, is freaking with jealousy over Conrad getting to kiss his girl on national tv. Some of the songs are worth the fast forward, but the musical play introduced the pop hits “Kids (what’s the matter with kids today?)”, sung by the hilarious Paul Lynde, and “Put On a Happy Face”, which is done on film with animation overlays. There also ground-breaking special effects in the opening number, “Telephone Song”, in which gossip gets around the whole town in a musical minute.

The real dazzler, however, is the eight-minute “I’ve Got a Lot of Livin to Do” (photo right), which begins with Conrad singing, then slows to a jazz-blues rhythm for Ann-Margret’s section, then goes uptempo into a jazzy boogie-woogie for Rydell’s comeback to her. It all ends with the whole chorus doing an exhuberant yet goofy modern jazz ‘bunny dance’ - it looks like Jerome Robbins (West Side Story) meets early Bob Fosse, and was so good that I played it three times in a row. It's also a clever parody of the gym dance from West Side Story, even copying the lighting used!

Her dancing and singing garnered Ann-Margret a Golden Globe nomination for Best Actress; she kinda steals the movie, but there’s not much musical competition. This works if you don’t expect much, and get into the ‘campiness’ of the take-off on Elvis’ bad musical movies. Ironically, after this, Ann-Margret starred with Elvis in Viva Las Vegas!, and of course, stole that film as well. See my post on her here, at: Film Goddess. She was actually born in Sweden, and came to the U.S. at an early age.

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How To Succeed in Business Without Really Trying

David Swift, 1967 (8.4*)
Window cleaner Robert Morse, in a career-making musical comedy role, buys a book with shortcut methods to get ahead in the business world and applies them with hilarious success. One of the pointers is to create a name with an initial, so he comes up with J. Pierpont Finch, and joins the poorly run multinational Worldwide Wicket Co.

He starts in the mailroom, then uses the book’s tips to quickly rise to vice president in charge of advertising, and falls for secretary Rosemary Pilkington (Michele Lee). Frank Loesser wrote the songs, Bob Fosse choreographed the dances in this screwball satire of corporate capitalism. Silly, fun entertainment

The Coen Brothers did their own variation of this as The Hudsucker Proxy, without the music, as Tim Robbins is promoted from the mailroom to CEO to drive the stock price down so the board could take over all the shares cheaply.

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The Fabulous Baker Boys

Steve Kloves, 1989 (7.8*)
Jeff and Beau Bridges play two piano playing brothers who have a lounge act playing schmaltzy hits for the cocktail crowd. Jeff would rather be a classical concert or jazz pianist (sometimes plays jazz clubs after hours), while Beau is happy to be paying bills with music. They decide to add a female vocalist to expand their sound and potential, and they hire Michelle Pfeiffer, who does her own fairly amazing singing – in fact, she turns in the most sensual version of “Makin’ Whoppee” in history, and from on top of the piano (in a silky red dress), which I’m sure was smoking afterwards! (I was) Worth seeing for all the classic jazz and lounge standards they cover as a trio, and worth seeing for Michelle in that red dress – it’s unforgettable.

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