Posted by Greg Ferrara on February 26, 2017
If you have ever been to the theater, you know the exhilaration of watching actors perform live onstage. There’s something about it that’s completely unique. There is no equivalent in the cinema. By the same turn, the awe and grandeur of the cinema produces a different level of exhilaration, completely separate from the stage. When we watch the Death Star explode, or Popeye Doyle race beneath the elevated subway tracks of New York City, or Chief Brody get a big hello from a hungry shark, we know that’s something that can never be replicated on a stage and have the same impact. On the stage, simply seeing a person sing a song in front of you, or dance, or reveal their deepest fear or greatest joy, is a moment all its own. Pina (2011), directed by Wim Wenders, is one of the few films I have ever seen that replicates the stage experience and provides the best argument yet that cinema/stage fusion can indeed work.
Posted by Nathaniel Thompson on December 7, 2016
With the unabashed love letter to director Jacques Demy La La Land now hitting theaters, there couldn’t be a better time to hone in on a singing and dancing delight from the French filmmaker himself: The Young Girls of Rochefort (Les demoiselles de Rochefort) (1967). If you can’t afford to take a tour of France, Demy’s films are probably the next best thing as he had a knack for highlighting its cities over the course of his career, from his hometown of Nantes to the one film that overshadows them all, The Umbrellas of Cherbourg (1964). The Young Girls of Rochefort is usually regarded as a kind of also-ran to that legendary, Oscar-nominated milestone, but it’s really best if you just set aside any comparisons and watch it on its own terms as a buoyant, Gallic take on classic MGM musicals, made obvious with the importing of Gene Kelly and West Side Story’s George Chakiris as two of its stars. [...MORE]
It is one of Hollywood’s most revered myths—the talented yet undiscovered starlet from some flyover backwater, desperate to make it big in the city. Forget The Voice, this stuff goes all the way back to the dawn of mass media. You could be forgiven for wondering which was more numerous: the wanna-be stars or the movies made about them.
Posted by Susan Doll on October 20, 2014
A few years back, I was teaching the musical comedy when a male student remarked that he did not care for musicals because they were like chick flicks—too focused on romance and too filled with music that was old-fashioned. He did not find the production numbers with Fred Astaire from Top Hat to be particularly impressive; while he recognized that Astaire was good at his craft, anyone can take lessons and learn to dance, or so he claimed. For the next class, I came armed with a clip of the Nicholas Brothers performing their famous staircase dance from Stormy Weather (left). The class was dutifully impressed, and the student who dismissed musicals begrudgingly admitted that he liked the Nicholas Brothers whom he compared to athletes. The incident came to mind because today is Fayard Nicholas’s birthday, and it seemed fitting to acknowledge the talents of the Nicholas Brothers.
Posted by R. Emmet Sweeney on August 12, 2014
The durable Step Up franchise released its fifth entry over the weekend, a giddy 3D extravaganza subtitled All In. In these Rob Marshall-marred times, the series is the closest thing we have to the spectacular musicals of the classical era. That is, they hire people who know how to dance…and let them dance. No celebrities here, just kids who can move. Producer Adam Shankman said, “What’s nice about these movies is, they don’t need stars. They just need people who can do everything.” This keeps costs down and has the added benefit of promoting young talent. Channing Tatum started off his career in the first Step Up, and Summit Entertainment is now placing their bets on Ryan Guzman, a Mexican-American actor who comes from a modeling and MMA background. Guzman adapted his cage fighting agility to the dance floor, and while he may never develop Tatum’s natural charisma, he has effortlessly meshed with the pro hoofers on the set. And the directors have respected their movements. All In was directed by Trish Sie, a dancer and choreographer who has worked for Pilobolus and those OK GO music videos (the lead singer’s her brother). She takes a distanced approach, allowing the performances to take place almost entirely in long master shots, privileging the dancers and the choreography of Dondraco Johnson, Christopher Scott, and Jamal Sims. Sie shows great faith in her dancers and collaborators, as well as the intelligence of her audience. The result is a joyous mix of old-school craft and angular modern dance styles.
Posted by medusamorlock on February 16, 2013
Those of us who can’t resist a good MGM musical are no doubt now and again thinking about the great screen dancer Vera-Ellen, a sparkling screen presence in an number of films yet someone whose memory is overwhelmed by the passage of time and a peculiar lack of the proper respect paid to her accomplishments. On the occasion today of the 92nd anniversary of her birth on February 16, 1921, and although I wrote about her once already (way back in 2007, check out the post by clicking here), and though she’s been gone for over thirty years — she passed away from cancer on August 30, 1981 at only 60 years old – it’s a perfect time to remember again this most charming and talented actress.
Posted by R. Emmet Sweeney on November 9, 2010
The Film Society at Lincoln Center is wrapping up its superb Stanley Donen retrospective this week, and beyond the established masterpieces like Singin’ In the Rain lie charming curiosities like 1978′s Movie Movie. I missed the screening, but fortunately it is available to purchase from Amazon On Demand for $9.99. Structured like a 1930s Warner Bros. double bill (the on-screen production company is “Warren Brothers”), it pairs two hour-long features: the boxing melodrama “Dynamite Hands” and the backstage musical “Baxter’s Beauties of 1933″. Scripted with loving exaggeration by Larry Gelbart (still cranking out MASH episodes at the time) and Sheldon Keller (a veteran TV writer who started with Sid Ceasar), it’s both a parody of and an homage to the Golden Age of Hollywood. Complete with faux flyboy trailer for “Zero Hour” (“War at its best!”), it’s a similarly nostalgia-soaked recreation of past movie-going experiences as Grindhouse, with an equally poor reception at the box office.
Posted by medusamorlock on May 21, 2009
Talk about the great time-waster. Nothing does it like YouTube for me. Here I was, researching something — I can barely remember what — and then I get distracted by clips of the amazing Kay Thompson. Understandable, as she’s dynamite in 1957′s Funny Face, directed by Stanley Donen, giving a huge dose of “Bazazz” (her own word) to the witty romantic musical. Thompson was mostly a behind-the-scenes wizard in Hollywood, making many MGM musicals of the 1940s — Ziegfeld Follies, The Harvey Girls, The Pirate and many more — into the perfect classics of the genre that they are. She was also the bestselling author of the Eloise books, about the little girl who lives in a posh NYC hotel. But I like her best performing, where she’s a force of nature that’s snappy, sly and sophisticated.
Posted by Susan Doll on May 4, 2009
Many movie-goers and reviewers find remakes of hit films automatically unworthy, assuming the decision to remake was merely a case of cashing in on past successes. Especially in the current film industry, in which franchises, sequels, film versions of hit TV shows, and remakes rule, the mature audience’s tolerance for remakes must be at an all-time low. But, remaking or reworking old material has always been a part of Hollywood’s strategy to lure viewers to the box office, and a new version of an old film doesn’t necessarily mean it is without merit or interest. I recently watched all three versions of Chicago, which have their origins in a 1926 play, and while each movie uses the same plot, they all have different themes and subtexts.
Posted by Pablo Kjolseth on March 15, 2009
I’m listening to a Sonic Youth-mix cassette-tape I made back around 1990. It reminds me of Hal Hartley, due to one singular sequence in Simple Men (1991) – which remains one of my favorite Hartley films. Kool Thang plays on the jukebox as first Elina Lowensohn, Dennis McCabe, and Martin Donovan dance to it at a semi-abandoned bar (we later see Karen Sillas and Robert Burke enter the frame as the song plays on). I met Hartley in 2000 when he came to the Denver premiere of Kimono. It was a simple introduction with no time for idle chatter. I remember this: he was thin, crazy tall (6′, 6″), soft-spoken, and very polite. It just goes to show that still waters still run deep, no matter how much Bubble Bath you pour into it. [...MORE]
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