Reviews (47)

Great movie and the DVD Transfer is Crystal Clear!
I don't think I've ever seen a good print of this film till I bought the DVD, which is fabulous! I'm not a die-hard Audrey Hepburn fan, but she is very charming and looks fabulous in the fashions. I love the ability to skip the numbers I don't like with the DVD since I find this a very uneven film. When it is good it is nearly flawless (and that's most of the time--opening credits, Think Pink, Funny Face, Bonjour Paris, The Photo Shoots, S'Wonderful, the final fashion show) but when it is bad it is horrid (a 60 year old Fred Astaire trying to be a beatnik, Fred's unending "matador" dance number, the whole plot with the Professor, Clap Yo'Hands). I was disappointed in the additional features--the original trailer is ho hum and the Paramount "documentary" is really just an extended sales pitch with bad stock footage. Where's an interview with the great Stanley Donen? Still, overall well worth purchasing.

A Marvelous Movie!
Fred Astaire and Audrey Hepburn together on screen. Just that alone makes seeing this movie worthwhile. However, this film has a lot of other things going for it. To begin with, this film gives the fabulous Gershwin score a first class treatment. Astaie's version of the title song is definitive, and while no singer, Hepburn's rendition of "How Long Has This Been Going On" has a sensitivity and power that is quite hard to find in many musicals. Next, The lush Paris locales are simply beautiful. After decades of musicals that were done entirely on soundstages, it is a breath of fresh air to see the realism and freedom of space that on location shooting can bring to a film. Then, there's Kate Thompson. While Fred and Audrey are glorious, it's Ms. Thompson who's the real scene-stealer as the bossy magazine editor. She transforms "Think Pink" into a delightful Showstopper, and always gets the best lines. Enugh talk. Go see this movie. It's a treasure you won't soon forget.

P.S. If your wondering why I took off a star, it's because of the age difference between Astaire and Hepburn. Astaire was in his late 50's when he made this film, and Hepburn was not yet 30. I simply don't believe that their romance is reasonable. After a few great song and dance numbers, it's not really a big deal, but it's worth a star.

Where Was MArni NIxon?
Funny Face has just about everything going for it. Audrey Hepburn, Fred Astaire, Stanley Donen, great Gershwin tunes, a terrific rare glimpse of the incomparable Kay Thompson and above all some of the most exciting visuals and overall art direction ever caught on film. So what happened? The sad decision to let Hepburn do her own singing. That's not to say her voice is bad. It's very... nice. But for a full blown musical of this scale, the audience is yearning for Hepburn's character to really give out with a great set of pipes. Perhaps not quite to the extent of Kay Thompson, an actress perhaps better suited for the stage than the intimacy of the screen. Yet while the movie does not fulfill its promise, it's still well worth seeing. The transformation of Hepburn from mousy bookstore clerk to haute couture model is as wonderful as her similar transformation in "Sabrina". The modeling sessions with Astaire directing Hepburn are delightful and above all the VistaVision presentation of late 50s gloss can not be matched, (the opening credits nearly make up for the entire movie). With Richard Avedon and Suzy Parker's influence the movie almost makes you forgive its failings. Still by the last frame the audience is left with only one thought: "Where's Marni Nixon when you need her?".

The Ultimate Fashion Musical!
Anyone who loves Breakfast at Tiffany's and Roman Holiday knows that Audrey Hepburn is one of the most magical women ever captured on film. But there is something special about Funny Face. It captured a part of the real Audrey -- part book worm, part great dancer, part reluctant star. The "On How to be Lovely" scene with Patricia Neal is one of the most glorious moments in film. You just cannot help but smile when they start singing that song. It will make you fall in love with Audrey over and over again!

Isnt bad. Far from Great.
Fred Astaire, the greatest movie star of all time (Along with Chaplin of course) paired with Audrey Hepburn in this enjoyable, but still slightly dissapointing romantic musical set in France.

If your expecting this film to have great dancing, then dont. It hasnt. What you get however is a very colourful movie with a few decent songs, but others can be questionable.

The basic story is, Fred Astaire is a photographer who discovers a girl (Hepburn) who works in a bookstore and makes a model out of her (Check other reviews for more on the story).

Overall, not too bad a movie. Could have been better, but recommended for fans of either Astaire or Hepburn. ... Read more

Amazon.com essential video

Disaster movies used to work because there was little certaintyas to who would survive. Not so in this film, really an amalgam of twooriginal stories, about a group of well-to-do celebrants at the top floor of askyscraper. Cheapo electrical wiring and bad construction managementcause an enormousblaze at the lower floors, steadily rising to consume the revelers. Newman'san architect, McQueen a firefighter, and Fred Astaire a kind oldgentleman, for which he was Oscar-nominated. O.J. Simpson plays asecurity guard who rescues acat. Now that's a disaster. --Keith Simanton ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Reviews (42)

An excellent movie, of it's own era.
I suspect that the reason so many ... customer reviews of On the Beach are negative is that the expectations of today's audiences, particularly younger audiences, are entirely different from when this movie was released, in 1959.

The movie is based quite closely on Neville Shute's excellent novel, with just a few differences. The rather strange denial of impending death, shown by most of the characters in the book, has been wisely omitted from the movie. The scientist, John Osborne, has had his name changed to Julian in the film, and is given more depth, beautifully played by Fred Astaire.

I think today's movie goers have difficulty relating to this movie because it is not an action movie and it is not a science fiction movie. Yes, it deals with the last survivors of a nuclear war as they await their own deaths. But the genre of science fiction films requires that the heroes and/or heroines confront the Problem and conquer it, whether that Problem be giant ants, invading Martians, or mutant carnivorous plants. In On the Beach, it is made plain from the beginning of both the book and the movie that there will be no triumph or escape. Instead, the theme is the maintaining of human decency and integrity in the face of imminent death. This is not the sort of stuff for young audiences raised on Bruce Lee movies.

I think it is important, too, that today's young movie-goers watch this movie with the idea firmly in mind that people in 1959 believed that they might very well be the last generation of human beings, before a nuclear holocaust wiped us all out. I was nineteen when I first saw the film, just after its release to theaters and long before the advent of VHS and home video. It was powerful stuff back then, and I don't think there's any doubt that it was an important element in the nuclear disarmament movement.

I highly recommend this movie. The acting and direction are excellent, and it deals with powerful themes. But keep in mind that you'll be watching a film from another era, when books and movies were deliberately slower paced and the depth of characterization was considered to be much more important than fast paced action.

Brilliant Human Story
To me, the poignance of On The Beach lies not in it's anti-nuclear war message, which mercifully was proved wrong by events in the real world (Julian's speech railing against the idea that nuclear weapons could keep the peace is the one dated part of the film. It's now evident that the reason why there never was another ground war horror on the order of WWI and WWII was *because* of the atomic bomb) but in it's human elements, and exploring how people react to the reality that life is fast coming to an end for all of them. In this instance, a nuclear war is simply a convenient duex ex machina to see how ordinary people react to the trauma facing them. There are fine performances all around, but to me the real strength of the movie is Ava Gardner's touching performance as Moira Davidson. Indeed, there is an almost eerie autobiograhic quality to it since Gardner had many things in common with her character.

I think sooner or later, people will look back on "On The Beach" and realize that it's timelessness lies in it's exploration of the human condition and not it's political statements which in my opinion are no longer relevant to the real world.

Worth viewing, even if not realistic
On the Beach fails the realism test in two ways: scientifically and behaviorally. The first is forgivable; 40+ years ago, there was less understanding of what nuclear war would do the planet. But the second aspect -- human behavior -- is where the story fails. The idea that people would get up, wash and shave and dress, go to their jobs, peacefully obtain their rations of food and so on, with a cloud of certain death getting closer every day... it just doesn't ring true. Looting, pillaging, murder, and general anarchy seem much more likely.
Nevertheless, the movie -- while very melancholy (or depressing, as many reviewers have said), is worth watching. (Especially, as some have noted, for Astaire's performance).

the ultimate Cold War film
This is the film that for me captures the terror I felt as a child, growing up at the height of the Cold War; it is bleak and intense, with scenes that are forever etched in my mind. It's one of the great films of that era ("Seven Days in May" and "Fail Safe" are others) that I can watch repeatedly, and their power and impact are never diminished.
Based on Nevil Shute's best seller, and brilliantly directed by Stanley Kramer, the use of sound effects combined with Ernest Gold's Oscar nominated score is very effective. Sometimes the simplest noise set against complete silence is ominous, and gives the feeling of the desolation of empty cities.
As time runs out, people try to avoid the "morbid discussion" of what awaits them, and some make the most of those precious days, weeks and months, like the elderly scientist Julian (in an exceptional performance by Fred Astaire), who completes his dream of being a race car driver.

Both strong and tender, Gregory Peck is fabulous as Dwight Towers, the commander of a submarine, who has trouble accepting that he is alive, while his family are victims of the "monstrous war". The woman who falls in love with him is Ava Gardner, who has spent far too much time being consoled by a bottle of brandy. The plot is filled out by Anthony Perkins and Donna Anderson, a young couple facing the fact that their baby has no future.
In the late 50s and early 60s, the scenario in this film was all too real; we face other dangers now, but there was something truly chilling about those Cold War years, and this film vividly brings back the memory of them. Total running time is 134 minutes.

The end of the world as we know it...
An unforgettable movie that is as important and as powerful today as when it was first released.

Shute took his title from a stanza from T S Eliot's The Hollow Men:-

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river...

The tumid (swollen) river is metaphorical, as is the beach, given that Eliot's bleak, desolate landscape is a spiritual one, as in his classic work, The Wasteland.

Shute's movie is utterly compelling all the way through, partly due to the subject matter, helped along by a stunning cast, and very capable production and direction.

The scene in which the Sub arrives in the US to check on the erratic morse signal was actually shot in Australia, as they could not obtain permission to film it in the US.

There was a very creditable 2000 Showtime version with Rachel Ward and Armand Assante, which was truer to the book, although set closer to present time, but the Peck version is still the definitive one.

You cannot top this movie for dramatic content, brilliantly delivered by Peck, Gardner, Perkins and Astaire above all.

Yes, this could still happen, and yes, nuclear deterrence may well have worked so far, but I always remember a line from Bob Dylan's "If God's On Our Side", which goes...

If God's on our side,
He'll stop the next war...

Maybe he did.

Peace y'all. ... Read more

Amazon.com

One of the most famous tap numbers in film history distinguishesBroadway Melody of 1940, the fourth and final installment in MGM's Broadway Melody series. When Clare Bennett (Eleanor Powell, who had appeared in Broadway Melody of 1936 and 1938) needs a new partner for her hit Broadway show, small-time hoofers Johnny Brett (Fred Astaire in his MGM debut) and King Shaw (George Murphy) get their big chance.But due to a case of mistaken identity, King, rather than the more talented Johnny, gets the job, and the girl. Astaire and Powell can't match the chemistry he had with Ginger Rogers at RKO, but she was the best technical dancer he was ever teamed with, and the sense of fun they share is infectious.Their above-mentioned tap duet to Cole Porter's "Begin the Beguine" is legendary, but there are other fine moments as well: Astaire and Murphy's duet "Please Don't Monkey with Broadway," Powell's athletic number with a chorus of sailors "I Am the Captain," Astaire playing the piano and singing "I've Got My Eyes on You," and his and Powell's high-velocity duet "Jukebox Dance."--David Horiuchi ... Read more

Reviews (17)

INCONSISTANT IMAGE QUALITY - A REAL LET DOWN!
"Broadway Melody of 1940" was MGM's final film in a series that began with the original Oscar-winning movie from 1929/30. After nearly a decade of big time hits with Ginger Rogers, Fred Astaire made the trek from RKO to MGM to star opposite the best tap dancing lady of them all - Eleanor Powell. The two hoofers are ably assisted in the comedy portion of this fun-loving movie by costar George Murphy and the inimitable Frank Morgan (the wizard from "The Wizard of Oz"), here, playing a bumbling Broadway producer. The plot, generic by any standards, has Astaire mistaken for Murphy and falling in love with Powell. What sets the production apart is a series of mind-boggling dance routines capped off by a mesmorizing set piece to the tune of Cole Porter's evergreen hit, "Begin The Beguine".
Warner's DVD suffers from an inconsistently rendered picture. The opening credits are clear as a bell. So is the opening musical number "Please Don't Monkey With Broadway". But then we get into scene upon scene of low contrast, bad shadow and shutter flickering that creates a distraction impossible to overlook and made all the more evident by more than a hint of edge enhancement and shimmering of fine details. Contrast levels are particularly bad during Astaire's solo "I've Got My Eye On You" as well as Murphy and Powell's art decco dance number "I Concentrate On You". The one saving grace on this disc is that none of the above mentioned problems intrudes on the film's climactic show stopper "Begin The Beguine". It remains an untainted spell-binding display of tap dancing from two professionals at the top of their game. The audio on this disc is mono, as originally recorded, but extremely well represented with low background hiss and little distortion.
Extras: A toss-away featurette hosted by Ann Miller and a theatrical trailer are the only things worth mentioning.
Bottom Line: Disappointing - considering Warners usual sterling efforts for classic movies on DVD. Let's hope that this disc, along with "High Society" and "Kiss Me Kate" are flukes and not what is going to become the norm for a studio with such a rich film heritage, worthy of great pains in preservation.

Nice story, great dancing, good movie.
I admit to being no fan of overblown musicals, but I love this film.

A wonderful little movie, with some big production numbers, Broadway Melody of 1940 revisits the old 'mistaken identity' premise. Our hero Johnny Brett (Fred Astaire) briefly assumes his partner, King Shaw's identity (George Murphy) and misses the opportunity of a lifetime to dance with the wonderful Claire Bennett (Eleanor Powell).

When King is chosen to star in the big new Broadway show instead of Johnny, he gets only support from his slighted partner.

Will Ms. Powell and Mr. Astaire get together in the end? I leave that for you to find out. Look for Frank Morgan (The Wizard of Oz) as Bennett's skatter-brained talent agent, and great dance numbers from all the principals.

A feel good-er, and it's timeless.

The only teaming of the King and Queen of Tap!
One of the last, big B&W musical extravaganzas, BROADWAY MELODY OF 1940 is a joy from start to finish. The incomparable Fred Astaire and the unforgettable Eleanor Powell only made this one film together, but it's one for the ages!

Terrific tunes by Cole Porter make up a nifty score, which comes to a thrilling conclusion featuring Fred & Eleanor's amazing BEGIN THE BEGUINE.

A must-have for film musical fans!

Underappreciated
The art direction in this movie is incredible. It is one of the ultimate "New York as nightlife fantasyland" films (like the 1936 Melody, and Astaire's own "Swing Time"). The DVD replicates the silky B&W images just fine, especially the finale, which looks incredible on a big screen TV. Though Astaire tended to blow this off as "one of those big Metro things", it is a fun movie with a cool Big Band feel and a dream soundtrack, and Eleanor Powell is a revelation--it's too bad she isn't as well known today. Though the silly harlequin ballet doesn't really belong, I'll still take this over the pretentious MGM musicals of the 50s.

if you have a tapper at home; don't miss this movie
Right after watching this, my wife and I called our (now) 14 yo dancer in to see it. She in turn had her dance buddies watch it the next time they were over. The look of amazement on ALL of our faces as we watched some of the best there ever was worth the price of admission. Like the commercial says; DVD player; $200, DVD; $15, Watching your daughter work ten times harder on her tapping-priceless. ... Read more

Reviews (13)

A delightful musical
Cyd Charisse, Fred Astaire and Janis Paige star in the film version of the Broadway musical SILK STOCKINGS, based on the comedy NINOTCHKA.

Cyd is captivating as Ninotchka, a Russian Communist who is sent to Paris to retrieve three wayward Communists (Peter Lorre, Jules Munshin and Joseph Buloff) from a capatalist fate.

She meets the 'decadent' American producer (Fred Astaire) and the beautiful movie actress Peggy Dainton (Janis Paige).

Soon, however, she warms to capatalist ideas and dresses in silks and satins, and falls in love.............

A beautiful musical that will delight and amaze you.

Featuring the songs 'Fated To Be Mated', 'All Of You', 'Satin And Silk', 'Josephine', 'So Good To Be Bad', 'Stereophonic Sound', 'Red Blues' and 'The Ritz Rock And Roll'.

RITZY LOOKING TRANSFER OF A GREAT MOVIE MUSICAL
In hindsight "Silk Stockings" proved to be one of MGM's last great musical acheivements and Fred Astaire's final appearance in a musical worthy of his inimitable talents. Astaire plays, Steven Canfield, a rotten capitalist and movie producer who butts heads with communist, special envoy, Nina Yoshenko, who has been sent from Moscow to Paris to apprehend a wayward Russian composer. The cast also includes Janis Paige in a hilarious and campy lampoon of an 'Esther Williams-type' actress attempting to play Napoleon's Josephine in a musical remake of "War and Peace". Peter Lorre and Jules Munshin are at their comedy best as two communist sympathizers wooed by the pleasures of Paris.
AT LAST - a transfer worthy of the elegant Mr. Cole Porter. Warner Home Video gives us a rich looking, robust sounding DVD that really celebrates the performances in this memorable musical. Colors are deep, rich, gorgeous and consistant throughout. Contrast and shadow levels are outstanding. Fine details are amazingly sharp. Edge enhancement, shimmering and aliasing are practically non-existant. There is no pixelization or film or digital grain to speak of, for a thoroughly smooth but sharp visual presentation that will surely please. The audio has been remixed to 5.1 and is marvelous, rich sounding and fully realized within the confines of its dated characteristic.
Extras: Another Cole Porter/making-of featurette that is really a throw away, save the few glimpses of Cyd Charisse and Janis Paige that we get. Theatrical trailer and cast bios and a couple of short subjects - not anamorphically enhanced, even though the film (thank heaven) is!
Bottom Line: This disc is a must have and the only DVD of the Cole Porter bunch worthy of your hard earned money. BUY IT TODAY!

Unersappreciated
Yes, this is one of the last of the MGM musicals. Tis a pity. Now that CHICAGO is such a hit, they must release other MGM musicals just as good as this. THE BAND WAGON...THREE LITTLE WORDS...EASTER PARADE and SUMMER STOCK, just to name a few. SILK STOCKINGS is a remarkablly good film for it's genre. Nothing could beat CYD and FRED dancing, even if the plot isn't strong. Too bad there wasn't more of JANIS PAGE as one of her numbers seems to have been given the short shift. Otherwise, the film is a standout and a must for musical lovers. Any left? I think so. Give this one a try as well as the other Cole Porter releases. Thanks for these, but we want more!!!

"I Like the Looks of You..."
I love this movie. It is absolutely hilarious. Though I know the tradgedy and horror that existed in Communist Russia, this film still made me burst out laughing. The songs are beautiful and alluring. However, the dancing steals the show. Cyd and Fred look swell together. Fred and Janice Paige's number about modern films is hilarious. I also like "We Can't Go Back to Moscow." I find myself singing it every day.
The plot is relatively good and has a cute love story. As always, love conquers all, even the iron curtain.

Great Film - Poor Quality Master!
Received this great musical on DVD the other day to enhance my collection and was disappointed to find the picture quality substantially inferior to my identical television recording and only a slight improvement upon an old video tape of the same film. Digital enhancement would appear to be needed in this particular case. ... Read more

Reviews (9)

OUTSTANDING TRANSFER OF A SPARKLING MUSICAL!
After their resounding success in "You'll Never Get Rich" it remained kismet that Fred Astaire and Rita Hayworth would reunite for another glossy film musical. The project; "You Were Never Lovelier" is a valiant successor to the aforementioned and, in truth, excels beyond the expectations of their previous venture. Astaire plays a penniless hoofer from New York who, through a series of mishaps, comes to the attention of Senior Acuna (Adolph Menjou) while on a vacation in Buenos Aires. Acuna has just married off his oldest daughter and, as his family tradition dictates, the rest of his daughters must get married in sequential order. The two youngest daughters are already fixed with a pair of tennis beaux, but the eldest unmarried daughter, Maria (Hayworth) is not only an ice princess of the highest order, but refuses to marry under any circumstance. That is, until she begins receiving orchids from an unknown admirer. The score by Jerome Kern is magnificent; the poignant 'Dearly Beloved', the jazzy 'Shorty George' and the classy 'I'm Old Fashion'. The latter two songs are danced by Astaire and Hayworth with such polish and finesse that it's impossible not to marvel at their grace and style.
THE TRANSFER: Outstanding. While "You'll Never Get Rich" suffered from an overall dated appearance, "You Were Never Lovelier" appears to have been the benefactor of a digital restoration at some point. It's black and white picture is stunning and smooth. There are brief and minor occasions where fine details slightly shimmer, but these do not distract from your visual pleasure. Fine detail is fully realized. There is a resounding absence of age related artifacts. Digital anomalies are not an issue. The audio is mono but exceptionally well balanced - at times sounding very close to having a stereo spread.
EXTRAS: Sorry, none!
BOTTOM LINE: "You Were Never Lovelier" has certainly never looked more lovely than in its DVD incarnation. An absolute must have for your library!

Classic Hollywood musical
A delightful comedic pairing of the ever-babilicious Rita Hayworth and the ever-dashing Fred Astaire... A followup to their earlier hit, "You'll Never Be Rich." The pacing on this film is great -- it hardly drags at all, has a great ensemble and some genuinely funny routines. The action is set in Argentina (although there's nary a bad accent to be heard in the entire film), and Latin bandleader Xavier Cugat provides all the musical backup. He also gets a BIG speaking part -- if you really want to see Cugie in full swing, this movie is the one to check out! His vocalist, the renowned Miguelito Valdes is also featured in a number at the film's start... Astaire, of course, is also a wonder to behold; these songs aren't his best, but he still shines while performing them! Recommended.

One of the very best musicals ever!
I bought this film on laser disc years ago & have watched it at least a dozen times & never tire of watching it - from beginning to end. Starting with Jerome Kern's exquisite melodies (Dearly Beloved is one of those classics that was covered by just about every great jazz group), it's crammed with the finest talent Hollywood, in its prime, had to offer. Astaire never danced better - solo or with Rita. The number with the cane in Acuna's office is absolutely thrilling - hair-raising in its virtuosity & dexterity. I've repeated the Shorty George dance track a dozen times in a row. It gets better each time. Makes you want to dance. Rita really was never lovelier (no one was) - how could one woman be so regal & beautiful & sexy & a sensational dancer all at the same time? What else? Cugat's funny, his band is fabulous & you get to see him do one of his signature caricatures (of Menjou - another one they broke the mold of). It just doesn't get any better than this.

Lush & elegant in B&W.
I think many people were surprised to learn that Hayworth, one of the screen's most beautiful pin-up girls, began as a dancer herself (and under a Latin name, yet). They were probably further surprised to learn that after Astaire and Rogers' stellar partnership, he would be able to find further success following the whirlwind RKO cycle. This movie, a Columbia baby rather than an RKO, comes awfully close to the same light and airy style of the earlier series- right down to the silky b/w photography. And the mistaken identity plot (SPOILER?!) does have an original flavor regarding the gimmick behind nightclub owner Adolphe Menjou: Hayworth plays his gorgeous daughter- the second oldest of four but the only one unattached, and the father's rule is that the girls marry in order of age. The oldest has just married, and Rita is next to be, but by refusing to fall in love under duress, she upsets the matrimonial apple cart. (The whole notion of her being 'frigid' or 'cold' is utter nonsense, but that was the Hollywood stereotype of an alluring and independent woman back then.) Enter Astaire, and some beautiful dance duets- including the tap-happy "Shorty George" and the stunning ballroom turn "I'm Old Fashioned (radiantly staged in a moonlit garden and showing Hayworth off in a fluid black evening gown.)" Hayworth certainly echoes the title of the film, and she and Astaire made for beautiful music in this second of their two films together.

A really good musical!
I highly recommend this film. It has romance, drama, and some comedy. Also the dance number done by Fred Astaire and Rita Hayworth are so beautiful. It's well worth seeing. ... Read more

Reviews (47)

GREAT LITTLE CHILLER!
People have been dumping on this movie ever since its first release. I think these folks are comparing the film to the book of the same name and not judging the movie on it's own merits. We had the same problem with "The Shining." Well, I haven't read the book and I've always thought that this was a neat little chiller from the first time I saw it on tape years ago. The DVD, in widescreen, looks even better. It moves along quite briskly and the cast do a good job. The plot? Five old men get together from time to time and tell ghost stories....but don't mention that many years ago, when they were young men, they accidentally killed a beautiful woman friend after a drinking binge. Now the girl has come back to get them one by one. I love it! Not big on special fx but what there is is adequate...and the atmosphere is great! So if you like Kubrick's "The Shining", I think you'll like this creepy little gem from Universal Studios.

Novel: Excellent, Film: Not!
First, let me say that Straub's novel is one of the finest ghost stories ever written. It's terrifying, too, as good ghost stories should be. Hence, I had high expectations of this film. The fact is the film is dreadful! It's almost nothing like the novel, and the only reason I give it two stars is due to some atmosphere. The cinematography looks good. That's about it. Spend your money, sure, but spend it on the novel and you'll spend many dark evenings in your reading chamber casting furtive glances at those darkened corners.

SENIOR SCARES
When I first saw GHOST STORY on its initial release, I found it to be an entertaining, if not faithful, adaptation of Peter Straub's frightening novel. Now, some 20 years later, I found the movie less entertaining. The main problem I think is the enigmatic nature of the ghost, Eva Galli or Alma Mosely. Was she evil or supernatural prior to her death? And why doesn't she kill Donald as she did his brother? Was she really alive when she went down in the car? And what in the world do the Bates have to do with anything? And the classic "I am You" line is powerless without an explanation.
John Irvin's direction is also lackluster and sober. Of all the classic actors involved, none of them showed the power they have possessed in other roles. Although a talented actor, Craig Wasson was woefully miscast. Only Alice Krige as the ghostly Alma and Jacqueline Brookes as Astaire's wife bring any luster or poignancy to the film.
It's not a bad film by any means, and it does have some frightening moments with a wonderful score by Phillipe Sarde. I wish someone would remake it, however, and bring out more of the wonderful scariness of the novel.

Guaranteed To Keep You Awake Late Into The Night ... ...
Universal plans to re-release Ghost Story on September 7, 2004
just in time for Halloween. Most likely this re-release won't have any extras, although we can always hope. I have always enjoyed this film and although the story line does'nt quite gel with the book's, who cares. This movie is genuinely creepy.
Anyway, all of us fans of this film can start the countdown. Til' then, enjoy.

No - No - No - No - No
This is the way you film a very poor adaptation of a well writen and very scary novel.
Here's the problem: Only a very small piece of the storyline from the book made it to the movie. Ordinarily I would have no issue with this. Except in this case hints of the rest of the plot from the book are included without explanation. Why does Alma say to Don "I am You"? What does that mean in the context of the story on film? It's not explained and doesn't make any sense at all. It is fully explained in the novel, and very well.
Why are Gregory and Fenny Bate even in the movie? They don't need to be to further the story. Especially because of the great side story told by Sears about them in the book.
This film has too many holes, too many unanswered questions and Lawrence Cohen's adaptation of Peter Straub's novel is nowhere near the great job he did with Stephen King's "Carrie".
Do yourself a favor - read the book. You will be much more satisfied. ... Read more

Reviews (3)

This DVD is the Top !
'You're the Top' is a short, but worthwhile trip through the turbulent life of a 20th Century Icon. A great deal of depth and insight is communicated by sharp editing and carefully selected film clips. Originally this was an hour long Television special. Don't let that put you off, the word 'special' is very appropriate here. Why should you buy this Documentary? To appreciate and enjoy his musical talent chiefly by a bewildering number of rare excerpts from films and TV shows (notably a Kinescope of the original cast of 'Kiss Me Kate') and see the ironies of someone who lived a private life very different from his public persona. Even today, the classy image of Porter as generated by his timeless songs and music hide a veil of a tragic and melancholy man, who was born into success, but died unhappy. His story is not just of music, but of a struggle against life itself. What makes this a special event is that the combination of good interviews with contemporaries, the relaxed and adult approach make for repeated viewing and a thirst for more. Whether you are a Porter fan, or have never heard of him, you will gain something special from this documentary, and perhaps learn a little in the moral sense of the pitfalls and unhappiness that can come, even with great wealth. What lives on is his music, which history will never erase. Watching this Documentary will leave you feeling better for the experience.

I want more!
This is really a wonderful treat for fans of Cole Porter or those who know little about him. It has a nice mix of rare and familiar songs mixed with thoughts and recollections about Cole by various friends, musicians, and performers. You get a nice sense of what his life was like along with a decent overview of his music.

If you have never heard of Cole (or know very little about him), you will probably be a fan after viewing this. Even if you are very familiar with Cole, you still will find some interesting tidbits in the DVD. My only complaints with this are the length (only an hour) the lack of additional material. It would seem that so much additional material could have been placed easily on this DVD; but the only additional material is a listing of the songs on the DVD (without any information about them) and quick list of his musicals. How about fleshing out some of that information?

Definitely recommended.

Informative but limited
This dvd was informative as a standard biography, however there is not much in terms of extras on the disk. The DVD format provides an opportunity for a topic such as this to be covered richly. Unfortunately that is not the case with this disk. ... Read more

Amazon.com

The Band Wagon (1953) marked the culmination of a series of near-autobiographical pictures Fred Astaire made for MGM following his return from premature retirement in the late '40s. Astaire plays Tony Hunter, a fading film star (his big hit: Flying Down to Panama) who decides to return to his former glory, the Broadway stage. (In 1931, Astaire had starred on Broadway with sister Adele in The Band Wagon, a revue that lent some of its songs to this film.) His playwright-songwriter friends (Nanette Fabray and Oscar Levant) hook him up with Broadway's hottest director, Jeffrey Cordova (a nicely hammy Jack Buchanan), who proves that the "new" theater traditions can be an awkward fit with the old. Hunter also finds himself at odds with his prima ballerina leading lady (Cyd Charisse), one of his chief worries being that she seems a little tall. Along the way, producer Arthur Freed, director Vincente Minnelli, choreographer Michael Kidd, and songwriters Howard Dietz and Arthur Schwartz treat us to some quintessential MGM numbers: Astaire's solo ode "By Myself," the flashy arcade romp "A Shine on Your Shoes," Astaire and Charisse's romantic duet "Dancing in the Dark," the faux-German drinking song "I Love Louisa," the manic trio "Triplets" (with Astaire, Fabray, and Buchanan in matching baby outfits), the Mickey Spillane-esque "Girl Hunt Ballet," and the classic show-biz anthem "That's Entertainment." Even if its ending and obligatory romance fall a little flat, The Band Wagon is one of the classic backstage musicals, a grandiose MGM spectacle that also manages to poke some fun at how grandiose MGM pictures had become. --David Horiuchi ... Read more

Amazon.com essential video

Don Hewes (Fred Astaire) is devastated when his longtime dancing partner, Nadine Hale (Ann Miller), breaks up the team to set out on her own. Determined to prove that he can succeed without her, Astaire vows that he can pick any random chorus girl and make her a star. Fortunately for him, the chorus girl he picks happens to be one of the greatest entertainers of the 20th century, Judy Garland (playing Hannah Brown). Easter Parade turned out to be the first and only collaboration between the two screen legends. Garland made the 1948 film despite ongoing health problems then had to pull out of a planned follow-up, The Barkleys of Broadway (Ginger Rogers replaced her); Astaire had retired following Blue Skies in 1946 but was brought in for this film as an emergency replacement after Gene Kelly broke his ankle playing touch football. Fortunately, Easter Parade always feels like an Astaire film rather than a Kelly film, from its Pygmalion-esque plot (which helps explain the principals' 23-year age disparity) to its score of Irving Berlin standards (some new, some recycled from earlier films). The film capitalizes on the strengths of both stars, Astaire in dance solos, including "Drum Crazy" and "Steppin' Out with My Baby" (MGM's take on Astaire's earlier, persona-defining "Top Hat, White Tie, and Tails"), and Garland in vocal solos, including the torchy "Better Luck Next Time." The stars especially shine, however, when they perform together in their vaudeville numbers, most notably the persona-defying hobo routine "We're a Couple of Swells." Watch this classic every Easter. --David Horiuchi ... Read more

Amazon.com

A funny thing happened to Finian's Rainbow in between its debut as a Broadway musical in 1947 and its appearance as a film in 1968. After 21 years, its theme of racial tension in the American South was no longer cutting edge, and the fact that its heroes are a group of sharecroppers called the Rainbow Valley Tobacco Cooperative dates it even further. Add a number of subplots and the heavy hand of a 29-year-old Francis Ford Coppola directing his first and only musical, and the two-and-a-half-hour running time feels bloated. Hermes Pan (best known for the classic Astaire-Rogers movies) is credited with choreographing the overbusy musical numbers, but he was reportedly overruled by Coppola at every turn. Still, there is a lot to enjoy in this movie, most notably Fred Astaire in his last lead role in a musical. Fred plays Finian McLonergan, an Irishman who has traveled to America in hopes of planting a pilfered pot of gold near Fort Knox and watching it grow. Even at 69, Fred shows he is still capable of a sprightly step and warbling "Look to the Rainbow." Another plus is the casting of '60s pop icon Petula Clark as his daughter, as she sings with an unaffected loveliness. Finally, the score by Burton Lane and E.Y. Harburg includes two of the best Broadway songs ever written--"Old Devil Moon" and "How Are Things in Glocca Morra?"--as well as the comic ditty "When I'm Not Near the Girl I Love." --David Horiuchi ... Read more

Reviews (30)

GREAT SCORE, WEAK SHOW
Forget the jelly beans. Toss the chocolate bunnies.And, please, not a peep out of those inedible marshmallow peeps.
There's only one way to spring into spring ... and that's by giving it the ol' soft shoe. Such moves by easier than unwrapping one of those foiled-encased candy eggs, thanks to the fine folk at Warner Home Video who have made this holiday "eggs-xtra" special by releasing five must-have movie musicals. It's a mixed basket of treats --- hits and misses, yet still a library of must-haves, each with enough extras to fulfill the wildest fanatic's dream. Between the audio commentaries, vintage newsreels, star-studded premieres, cast bios and alternate takes, we can all feel like Fred Astaire. Or Cyd Charisse. Or at least Robert Osborne.
Let's begin with Easter Parade (1948). We'd be satisfied with the 17 Irving Berlin tunes, the thrilling digitally remastered color print and the knock-out performances of Ann Miller, Fred Astaire, Peter Lawford and Judy Garland. But Warner has added an entire second disc bursting with bonus material: a new documentary about making the movie musical,the triple Emmy-winning American Masters program Judy Garland: By Myself and the musical outtake, "Mr. Monotony." This is Americana at its finest, from Fred and Judy singing and swinging, to Annie Miller Chasing the Blues Away to the final walk down Fifth Avenue's during the Easter Parade.
Fred Astaire also stars in Finian's Rainbow (1968), his last musical lead. Unfortunately, as talented as co-stars Petula Clark and Tommy Steele are, their more modern style seems to grate against the texture of the Burton Lane and Yip Harburg score.Whimsy is a difficult thing to capture, and Francis Ford Coppola, whose starkly realistic films include The Godfather and Apocalypse Now, may not have been the ideal director. This fantasy about racism was wildly ahead of its time when produced on Broadway in the late `40s, but by the time it was filmed two decades later, the story comes across as antiquated and uncomfortably old-fashioned. Still, nothing can tarnish the score, a lush one that includes the poignant "Look to the Rainbow," "Old Devil Moon" and "How Are Things in Glocca Morra?"
Van Johnson, Cyd Charisse and Gene Kelly gently romp through Brigadoon (1954), the pre-My Fair Lady Lerner and Lowe fantasy. The magic of a village that exists only one day each century --- but exists in the hearts of lovers forever and always --- translates to the screen very well under the helm of Vincente Minnelli. The score is just as magical as the dream-like color and sets, with Almost Like Being in Love and Heather on the Hill especially charming.
Judy Holliday recreates her role in the Broadway hit Bells Are Ringing (1960) with a certain degree of success, but the episodic, troublesome book remains, as well as the charmless characters and costars, including, if not especially, Dean Martin, wildly miscast as a successful playwright. Written and adapted from their successful stage show by Betty Comden and Adolph Green, and tailored especially for their long-time friend Holliday, the movie is strangely distant and incomplete, too stagy and stale. Holliday looks ill-at-ease at times; six years after the film was made, she died, two weeks shy of her 44th birthday, of cancer. Hal Linden has a bit role (blink and you will him) as a nightclub performer with a penchant for gold lame; he reminisces on a bonus track that reminds us just how warm and wonderful Holliday was off-screen.
The Band Wagon (1953) is the gem of the collection, and not just in terms of the sparkling digital transfer, nifty commentary by Michael Feinstein and Liza Minnelli, musical shorts and outtakes.However, like Easter Parade, the proof is in the pudding, and what a delicious dish this is!The Band Wagon is the ultimate backstage show, a musical masterpiece about creating ... a musical masterpiece! Fred Astaire (who, in 1931, starred on Broadway with sister Adele in The Band Wagon, a revue that lent some of its songs to this film) and Cyd Charisse are the temperamental stars, Nanette Fabray and Oscar Levant play the harassed authors (looking strangely like Betty Comden and Adolph Green, the real authors) and Jack Buchanan plays the genius hired to create the masterpiece.Alas, he creates a musical version of Faust. When Faust flops, they all go back to the drawing board and create what the audience really wants: entertainment!The show's most famous tune, "That's Entertainment," has become an anthem of all things amusing and animated; other classic songs include "Dancing in the Dark," "By Myself" and that wonderfully silly homage to Hollywood and film noir "Girl Hunt Ballet."
Trust us. These are Easter treats that are as satisfying as they are song-filled. We've been gifted with an enviable collection, and even a semi-clunker, a miscast lead or a misguided director can't really dull the sheen of this sparkling collection. All together now: "Oh the clown/With his pants falling down ..."

NICE RESTORATION FOR ASTAIRE'S LAST MUSICAL FILM
I've been waiting to see a decent print of FINIAN'S RAINBOW for sometime.Though not an all-time favorite, I do like the score, and I'm a huge Petula Clark fan.Other video versions I've seen were poor pan-scan versions with horrible color and bad sound.Warners has done the film justice.Widescreen, 5.1 Surround and a trip down memory lane with Francis Ford Coppola, the director.

An interesting note, this is the first time I am aware of where the lead actress in the film has dubbed the foreign language track.Petula Clark, being a marvelous singer in several languages, had a huge French-language career going at this time, parallel to her English-language one.Also being an actress from childhood, she fits perfect as Sharon here.However, this is the first time I've heard her French vocals of the score, as well as the dialog.The male leads are other artists (one doing a bad Chevalier for Astaire), but it is definitely Petula in French, as well as the original English soundtrack.This is an absolute treat and collectible for all Petula fans around the world.

Recommended!

odd, in a good way
it takes a special kind of person to watch the entire movie without developing a migraine, but if you go the distance, you'll love it.it's quirky, silly, goofy, insert synonym, and it sticks with you.I first saw it when i was 10, and it's one of my favorite movies.i often find myself singing the songs, especially "Look to the Rainbow" and "When I'm not Near the Girl I Love."

Let's see YOU dance at age 69!Go, Fred!
Yes, Finian's Rainbow is a bit outdated and quirky.It had a director who should be forever banned from doing musicals (did you SEE 'One From The Heart?!' I Worked on it and it Sucked!).BUT...Fred Astaire!That's all you need to know!If you insist on more--'Old Devil Moon,' 'Look To The Rainbow,' 'If This Isn't Love,' as well as the other classic numbers already mentioned in previous reviews.Sadly, it is not yet available on dvd ('Doom and Gloom!')...happily I have a laser disc version of it and can make my own dvd! Hmmm....I think Ebay is calling me! ('When The Idle Poor Become The Idle Rich!')
^^X^^

A Real Classic
WHAT A GREAT COLLECTION OF PERFORMERS/ACTORS AND SUBJECT MATTER. IN MANY WAYS, AHEAD OF ITS TIME. ... Read more

Reviews (8)

You'll never get rich
The best of two pairings of Astaire and Hayworth on film. Though Astaire and Rogers claim primacy amongst dancing partners, it is hard to imagine any actress who generates more heat and incandescent charm onscreen than Hayworth. As lovely as he is talented, she holds her own surprisingly well in a film that finds Astaire spending most of his time in a stockade for going AWOL or somnabulent mishaps and mayhem. His centerpiece number "since I kissed my baby goodbye" by Cole Porter might be his greatest solo number of the 40's, beginning as a sly and ingenious bit of improvisation. The film also benefits from a superb supporting cast with Robert Benchley as Astaire's unctuous boss who attempts to pursue Hayworth while covering his adultery by passing off an unwilling (bold plot device for the breathing world) Astaire as her boyfriend. Astair e was eager to work with Hayworth due to his friendship with her father (a fellow choreographer) and it's not at all hard to discover why. A goofy mid-war comedy well worth using to stave off any rainy day.

Definitely worth a look or two
I'm one of those for whom a second tier Fred Astaire film is still more enjoyable than just about anything without him. And there is no question that Fred is at his best in this one. Unfortunately, he just isn't given first-rate musical material around which to wrap his massive dancing abilities. His partner is the extraordinarily capable Rita Hayworth, who spent her teenage years as her father's dance partner in the years when she was both abused by him and when she looked completely Hispanic (plastic surgery, skin lightening, and dying her hair transformed Rita Cansino into Rita Hayworth). They really do make a nice couple, though Fred had the rare ability to make almost anyone look like they were born to dance with him.

The plot is fairly silly, but anyone who loves thirties and forties movies knows when to cut a film a bit of slack. The cast is not outstanding beyond Fred and Rita, with the notable exception of Robert Benchley. This was actually a crucial point in Benchley's career. He had throughout the thirties maintained a dual movie career as the star of a string of hysterically funny one reelers, in which Benchley instructed the public on "How to" do things, such as "How to Vote" or "How to Read." He actually made one of the first talking shorts still to be seen occasionally, "The Sex Life of a Polyp" (1928, a short that obviously couldn't have been made after 1934 and the imposition of the Code). Benchley also made a host of appearances in rather unimportant films during the decade. Starting with Hitchcock's FOREIGN CORRESPONDENT, however, Benchley began appearing in much higher quality films, including such gems as THE MAJOR AND THE MINOR (in which he plays Ginger Rogers's nemesis) and I MARRIED A WITCH. Unfortunately, he died in 1945.

The film was also extremely crucial for the career of Fred Astaire. He had ended his mythic partnership with Ginger Rogers only two years earlier, and his two following films were both disappointments. SECOND CHORUS was probably the worst film in Astaire's career, and BROADWAY MELODY OF 1940, while containing many wonderful moments, teamed him with legendary tap dancer Eleanor Powell. Emending my statement above, these two did not mesh as dance partners. Powell was too individual a performer, and excelled as a solo dancer, not as part of a team. They also failed to generate any romantic chemistry. YOU'LL NEVER GET RICH, while not a massive success, nonetheless reestablished him as a romantic dance star, and made six more films before his "retirement" in 1946 (he broke it as a favor to Gene Kelly in 1948 when Kelly broke his leg and was unable to film EASTER PARADE--the film "unretired" Astaire and he went on to make ten more musicals before retiring as a dancer).

So, this won't be the greatest musical anyone has ever seen, but it certainly won't be the worst. No Astaire fan would dare to miss it.

BETTER LOOKING THAN A LOT OF COLUMBIA "CLASSICS"!
"You'll Never Get Rich" is the first of two musicals Fred Astaire made with Columbia's resident bombshell - Rita Hayworth and although it's light, breezy and brimming to the ceiling with comedy and music - ironically, there's not much for the lovely Ms. Hayworth to do, except tap one solo and dance all too briefly in a contrived song with Astaire. The plot focuses on Astaire's employer - Robert Benchley, whose roving eye gets him in perpetual hot water with his wife. Currently, his eye is on Sheila (Hayworth). But an unlikely affair begins, then stops, then starts up again when Sheila realizes she's falling in love - not with Benchley, but Astaire. How's it end? - with music, fun and good humor; all main staples of the Hollywood film musical at its zenith.
TRANSFER: Well, considering the pure garbage Columbia has been giving classic film buffs of late (Talk of the Town, You Can't Take It With You, The Awful Truth) this DVD is looking pretty snappy! The gray scale is accurately rendered - though several scenes look as though second or third generation film elements were used instead of an original camera negative. There is a definite grain structure to this presentation. Apart from that, the usual aliasing, edge enhancement and pixelization that has accompanied many Columbia titles is thankfully absent herein. The audio is MONO but very nicely balanced and - for its vintage - natural sounding.
EXTRAS: ONLY A COUPLE OF THEATRICAL TRAILERS!!!
BOTTOM LINE: The follow up to this movie (You Were Never Lovelier) is far more engaging musical entertainment but this film showcases Astaire's tapping at some of its very best and it's refreshing to see the lovely Ms. Hayworth in fine comedic and dancing form! Recommended.

The first A-H movie is worth a second look.
YNGR is the first of two films which paired Astaire and Hayworth as dancers, and I initially thought it was the lesser of the two pairings. But I have to admit this film- which puts its audience squarely into the start of World War II- is quite sharp, script-wise, and quite lyrical, music-wise. Astaire's dance director shows an early but distant attraction to chorus dancer Hayworth (and vice-versa), but is drafted into the Army (not to mention repeatedly banished to the guardhouse for various insubordinations) before they can live happily ever after. They were a sweet coupling (despite their 19-year age difference) and Hayworth, as others have mentioned, was quite a revelation as a tap and ballroom dancer. All of their dances are performances only, not love scenes (which are the duets I have always preferred), but they are sensational. The requisite 'big number' is the finale, the "Wedding Cake Walk" (you'll do a double-take at the last image of the tank-shaped wedding cake), and there is an ensemble dance at the start of the film called "Boogie Barcarolle." But two numbers stand out: Astaire's solo dance in the guardhouse, sung by a black jazz chorus (uncredited, but I believe called the Delta Rhythm Boys) and entitled "Since I Kissed My Baby Goodbye." It has a marvelous grace and elegance, not to mention a sensational vocal by lead Delta man Lucius Brooks. The other number is Astaire and Hayworth's dress rehearsal "So Near and Yet So Far," a stunning rhumba which shows off Hayworth in a sheer black gown and expands into intricate layers of choreography. This is one of the last films to show Ms. Hayworth as a brunette; shortly after this outing she began doing Technicolor films, and her tresses went red forever after. Their follow-up film, "You Were Never Lovelier," had more of the standard romantic shenanigans and more lyrical dance numbers, but this first one was more screwball comedy and, in a sense, more of a challenge to pull off. See. Buy.

A fun, fast-paced and slightly risque comedy
Fred Astaire meets the draft in this pre-war comedy, featuring Rita Hayworth as a chorine who capures his heart, although she naturally already has a beau, presenting Fred with a challenge he must overcome between stints in the stockade for going AWOL and various other infractions of military law. This tart, well-scripted comedy is a little light on the dancing, but features some of the best, briskest dialogue that came Astaire's way, and a fine supporting cast, including the famous Hollywood "double-talker," Cliff Nazarro, going through his routine in numerous scenes. Hayworth dazzles, as usual, and Fred is in top form. Cole Porter's compositions for this film are not his best work (in fact, I don't think a single tune stuck in my head after watching this one), but they don't detract from the overall charm of this super-fun, class act classic film. Definitely recommended! ... Read more

Reviews (5)

A Bing Crosby Christmas
I was very dissapointed when I watched A Bing Crosby Christmas. There was very little of his old Christmas shows and a lot of stuff I didn't care to see. If I had wanted a biography on Bing Crosby I would have ordered a biography. I would send this DVD back if I could...don't waste your money on it.

Bing was the best.
This was a pretty good dvd but I too wish it had been longer and some of the scenes had not been cut short. It's definitely still worth the purchase. The Andy Williams best of Christmas dvd is also very enjoyable. Now I hope some studio will put together a King Family Christmas dvd (remember them with Tina Cole?)or the Boone Family holiday specials.

Brings cheery holiday happiness ANY time of the year
Truly, this DVD, along with White Christmas are two of our favorites. Mother, as she sinks into Alzheimer's induced dementia, ALWAYS is cheered by the great music, and the clips are wonderful to watch. It's great seeing Bing and Jackie Gleason singing "A couple of loafers"... the old-timers surely did make 'em right.

I *thoroughly* enjoy this DVD. The only sad part is that I'd love it to be longer... It's got everything -- the crooner is great. Now, I've got a list of the 70 Christmas songs he recorded, so you know what my next goal is!

Enjoy the movie. Oh, and I didn't find any chatting overpowering -- more informative. It felt like the shows, friendly, cheerful, and, some of the early TV programs appeared to be just folks (very very talented folks mind you) getting together to have a wonderful time and celebrate the holidays with us.

Merry Christmas!

Christmas Like it Used to Be with 'Der Bingle'
The program on this DVD is basically a retrospective produced in the early 1990s for public television that was originally called "A Bing Crosby Christmas: Just Like the Ones You Used to Know" that was narrated by Gene Kelly and hosted by Bing's widow, Kathryn Crosby, who since went on to star in the Broadway version of Rodgers and Hammerstein's "State Fair." The program itself features clips from fifteen of Bing's classic television specials, concentrating on the period from the early 1960s onwards when he included Kathryn and their three children in the programs. For those of us who grew up with these specials -- and they were a staple of every holiday season for Baby Boomers -- Bing's family can be seen growing up before our eyes. Yes, it does include the classic duet that Bing recorded with David Bowie of "Peace on Earth/Little Drummer Boy" that was taped a month before Bing's sudden death of a heart attack while playing golf in Spain in October of 1977. But it also includes clips with guest stars such as Fred Astaire, Mary Martin, Jackie Gleason, Carol Burnett and Bernadette Peters, among others, and of course, Bing closing as he always did, singing Irving Berlin's "White Christmas," heard here across several performances and key changes. The only down side of these clips is that most are heavily narrated over the music itself which limits their appeal over multiple viewings/listenings. The bonus features alone are more than worth the price of the disc, however, including an extended portion of a live Bing Christmas special from the mid-1950s that included Bing and Frank Sinatra having an hilarious, full-of-inside-jokes "sing-off" against one another, including Sinatra taking the Hope role in the title song to "The Road to Morocco" only to have Hope himself show up in protest. Louis Armstrong and Rosemary Clooney also make appearances. There are also some scratchy clips from "Holiday Inn," including Bing's first-ever introduction of "White Christmas" by a cozy late-night fire to Marjorie Reynolds, and "Bell's of St. Mary's" as well. There is also an amusing early sound short and Bing's first ever film appearance called "Blue of the Night" after his signature tune of the same name where Bing plays himself meeting a fan who claims to be engaged to him (she only knows his voice from the radio and doesn't know what he looks like) and includes an hilarious scene where Bing sings her to sleep pretending he has a portable radio and later has to convince an Irish cop (Bud Jamison, who played similar roles in Three Stooges shorts of the 1930s) that he really is Bing. "Well, if you are," says Jamison, "give us some of that whistling stuff to prove it." There is also a useful Bing bio and an accurate and thorough discography of every Christmas song Bing recorded during his long and memorable career. All in all, a fun collection for Bing fans as well as fans of Christmas. Come to think of it, isn't that just about everybody?

A must for all baby boomers.
This video is a must for all baby boomers. It wasn't Christmas without watching the Bing Crosby Christmas Special. My favorite clip is Bing with David Bowie singing The Peace Carol/Little Drummer Boy. These clips with Bing Crosby are great to watch with your children and grandchildren. Christmas songs recorded today can't compare to the Bing Crosby Christmas Specials. ... Read more

Amazon.com

This biography of Gene Kelly comes from the American Masters series, and even by the high standard of that pedigree, it's an unusually fine portrait. The clips from Kelly's films are superbly chosen (and in sparkling condition), illustrating his low-to-the-ground dancing style and his sky-high choreographic ambitions. "Singin' in the Rain" is here, of course, but so is his lonely, lovely solo with a newspaper in Summer Stock and his double-exposure "Alter Ego" number from Cover Girl. The documentary is not fawning; testimony from collaborators such as Debbie Reynolds and André Previn leaves no doubt about his vanity and his perfectionism. The best of the interviewees is the actress Betsy Blair, Kelly's first wife, whose intelligence and frankness reflect well on him. A running theme is Kelly's masculine, blue-collar image, which allowed audiences to accept sailors and baseball players dancing with balletic precision. It's the precision of genius. --Robert Horton ... Read more

Reviews (7)

A brilliant and provocative look at a fascinating talent...
Chalk up another one to American Masters and filmmaker Robert Trachtenberg, who follow their impressive collaboration about George Cukor with this magnificent exploration of the life and times of the magnificent Gene Kelly.

The approach of Trachtenberg is unconventional from the first frame, and you know you're in for a captivating entree into life of a man who transformed the genre of movie musicals.

Plentiful film clips (primarily from Kelly's tenture at M-G-M)and frank interviews from those who knew him help to flush out a full portrait of the man and his artistry. It is a film worth watching again and again. Highly recommended!

Incredible!
Another top notch documentary from American Masters. This biography of G Kelly is just incredible. An excellent review of his life and films. The big ones, like Singing in the Rain and American in Paris, but also many of the lesser known films. Will leave you shaking your head on how anyone could dance like this. As pointed out in the film, his dancing appealed to men as well as women. His physical abilities made dancing look both artistic and athletic. He created dance numbers never tried before, and not seen since on the silver screen. In addition to all this, the film quality is unbelievable. Nearly every movie clip was restored to better than original condition. The colors and clarity, especially on a high def tv, are so sharp you will not believe these are 50+ year old movie clips. Bottom line, this 85 min documentary is five stars all the way.

He's my lucky star...
The first movie I saw of Gene Kelly was "Singin' in the Rain". At first I thought it was going to be an okay movie. But than just watching him singing and dancing in the rain made me feel lighter than air, and so I started dancing around the tv room. Now every time I order off of Amazon, I always make sure that I buy more of Gene Kelly's greatest movies! Also other wonderful musicals that star Bing Crosby, Frank Sinatra, Fred Astaire, Judy Garland, ext. This time I ordered this biography of Gene Kelly's life. This biography made me fall in love with him even more, and I just hope that all of you Gene Kelly fans will also feel the exact same way. Your're my lucky star Gene Kelly!

a great tribute to Gene Kelly
This is a wonderful tribute to Gene Kelly and interviews many of his leading ladies and also his firast wife and aughter. It's a beautiful, entertaining and loving tribute about a wonderful dancer a