Amazon.com essential video

Decades before the Hollywood film industry became famous for megabudget disaster and science fiction spectaculars, the studios of Southern California (and particularly Metro-Goldwyn-Mayer) were renowned for a uniquely American (and nearly extinct) kind of picture known as The Musical. Indeed, when the prestigious British film magazine Sight & Sound conducts its international critics poll in the second year of every decade, this 1952 MGM picture is the American musical that consistently ranks among the 10 best movies ever made. It's not only a great song-and-dance piece starring Gene Kelly, Donald O'Connor, and a sprightly Debbie Reynolds; it's also an affectionately funny insider spoof about the film industry's uneasy transition from silent pictures to "talkies." Kelly plays debonair star Don Lockwood, whose leading lady Lina Lamont (Jean Hagen) has a screechy voice hilariously ill-suited to the new technology (and her glamorous screen image). Among the musical highlights: O'Connor's knockout "Make 'Em Laugh"; the big "Broadway Melody" production number; and, best of all, that charming little title ditty in which Kelly makes movie magic on a drenched set with nothing but a few puddles, a lamppost, and an umbrella. --Jim Emerson ... Read more

Reviews (223)

The Citizen Kane of musicals
So many films in my collection are "important", "serious", "disturbing", or "great", and as much as I treasure them (films like Citizen Kane, Vertigo, and Ran), there is only so much self-importance a person can take before the pores fairly scream out for something just plain fun; something slight, buoyant, silly, and full of energy. Singin' in the Rain is just that kind of movie. The funny part is, I generally HATE musicals!

In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly.

But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art.

If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals).

My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff.

Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.

THE GREAT AMERICAN MUSICAL
Once upon a time there was a place called HOLLYWOOD. It wasn't just a town or even an industry, it was a state of mind. They didn't call the studios Dream Factories for nothing. This film is the epitome of the musical art and craft. This is a real "Movie Movie," made entirely on the MGM lot. The real creme de la creme of MGM contributed to it's creation; produced by Arthur Freed, starring Gene Kelly (with a brilliant turn by the dazzling ,long-legged Cyd Charisse), contract players like Debbie Reynolds and Kathleen Freeman (still going strong, currently appearing on Broadway in "The Full Monty") with costumes by my favorite designer Walter Plunkett (Gone With The Wind, 7 Brides For 7 Brothers, etc). Check out the sumptuous designs for the "Beautiful Girls" number and the outrageous spider dress at the opening night party. The real lowdown is that Jean Hagen and Donald O'Connor practically steal the show from the leads in possibly the best performances of their careers. This film is pure joy. The script by Comden and Green is not only clever but actually goofs on a real period of transition of the American film from silent to talkie.It is also a brilliant job of recycling a trunkload of old songs. This happy film has the courage to do what American musicals and comedies do best: be silly and make you forget you troubles for an hour and a half. Next time you are in bed with the flu or trying to get over a miserable love affair, take a look at Singing In The Rain. It can't help but curl up the corners of your mouth and drive the clouds away.

Wonderful Musical with Terrific Dancing -- a Trifle Dated
"Singin' in the Rain" is the definitive Hollywood musical, and charms and delights our 21st century audiences despite the (very few) characteristics of the genre that don't hold up quite so well.

There are so many high points to this movie -- the amazing cast, the songs, the choreography, and, most surprisingly, the satirical send-up of Hollywood and the "star system."

The plot is well-known. Silent film star couple, Don Lockwood (Gene Kelly, who also co-directed with Stanley Donen) and Lina Lamont (Jean Hagen) are America's sweethearts. At a Hollywood premiere of their latest romance, breathless fans ignore sidekick Cosmo Brown (Donald O'Connor, in perhaps the best sidekick performance in film history) and scream in delight as Lockwood and Lamont pander to their adoration. Nobody, however, seems to notice that the gorgeous Lamont never speaks . . .

Her imposed silence Lamont has a voice that recalls a cat with its tail caught in a wringer, although Lamont is such a "dumb blonde" (bless Hagen -- nobody ever played this stereotype better!) that she is blissfully unaware of her screech. No matter, 'cause it's the silent film era, right? Wrong! Progress brings in "The Jazz Singer" and the era of "talkies." No longer will clever staging of press events suffice.

Soon, Don Lockwood is staring career meltdown in the face as the first Lockwood-Lamont "talkie" sends the audience into hysterics. Not only is Lamont's screech audibly offensive, they can't keep the sound synchronized to the film, and the sound editing even when in synch is as amateurish as a high-school film production.

What to do? Fortunately, Lockwood had fallen for young, beautiful Kathy Selden (a teenage Debbie Reynolds), a starlet in the making. Cosmo comes up with the idea of dubbing Selden's voice for Lamont's, and all is fixed . . . or not. Lamont, an imbecile but smart enough to know her value, insists on ruining Selden's career to preserve her own . . . and so on and so forth.

The plot, ingenious as it is, is really secondary. The main delight in this movie is the amazing dancin' and singin' that the performers offer up. While most of it is pretty silly, campy stuff (particularly the Kelly-O'Connor set pieces), they simply dazzle. Kelly is the most robust, athletic dancer of his generation, and O'Connor, well, the man doesn't have a bone in his body. While the movie's most famous scene comes from Kelly splashing in puddles during the title track, the most amazing dance number has to be O'Connor's comic flailings in "Make 'Em Laugh," where he runs up walls, flirts with a mannequin, and generally pulls out all stops.

Debbie Reynolds does a magnificent job keeping up with these two giants, and is generally a pleasure to watch, even though she's clearly outclassed as a hoofer.

While some great old films seem to get better with age (think "Casablanca," "Gone With the Wind," and "Citizen Kane"), "Singin' in the Rain" is an American classic that does not hold up quite so well in some minor respects. For example, when breaking into choreographed step, Kelly, O'Connor, and Reynolds sometimes appear too rigid, with smiles frozen on their faces, which is incongruous to those raised on more modern musicals like "Moulin Rouge," where the dancers take a more naturalistic, emotional approach to their dancing. The dancing in "Singin'" holds up, but the performers were constrained by the expectations of their audiences, which somehow demanded that the performers "look pleasant" while dancing.

Still, "Singin' in the Rain" remains one of the best tonics to a foul mood ever . . . I defy you to watch this movie and not feel a smile creeping over your face.

The Best Musical Comedy Ever Produced!
I fell in love with this film when I was seven years old; I watched it on a B&W television on "The Early Show" in NY (circa 1957 or 1958). I didn't know who any of the stars were - it didn't matter. It was magic to me. From the Hollywood opening (dignity, always dignity), the romp of the elocution lessons (Moses supposes his toes are roses!), and the trial and mostly error of trying to record the sound ("I can't make love to a BUSH!") when the gorgeous leading lady has a voice that rivals nails on a blackboard, all the way to the grown man dancing in the rain and the final rising curtain - pure magic. In glorious black and white - at the time, I didn't even know it HAD colour! I decided then and there, this was my absolute all-time favourite movie. (One of the highlights of my adult life was seeing this wonder on a full, big screen at a revival in the 1970s.) I have seen many films since then; I have reviewed them for friends & family, written reviews for a monthly entertainment publication. I have an extensive collection of my own (VHS & DVD). I know a lot more about films and production values now.

"Singin'in the Rain" remains my all-time favourite film. (No surprise, this.) It's not just another one of "those MGM musicals." It was released in 1952. Dated stuff? Not a bit. Unlike the marvelous "An American in Paris," which was done as a contemporary film to its time, "Singin' in the Rain" is a period film, and it's based in fact.

This film (which started out to be a western for Howard Keel) takes a fond and loving look at the birthpains of the sound film (the "talkies). Set in 1927, with authentic equipment from MGM's own history (Debbie Reynolds drives Andy Hardy's old jalopy, the microphones are real), it details the frantic efforts to get on the sound bandwagon - no one was completely sure of the new technology. What makes the plot classic is the basis in fact. Many silent stars had totally unacceptable voices or speech (too nasal, unintelligible foreign accents, too high, too low, etc.) for sound production. The songs used were true to the period.

Then we have the performers. Jean Hagen was nominated for an Academy Award for her role of Lina Lamont. The character (whose voice you don't hear for the first 10+ minutes of the film, although she's on-screen) is a one-of-a-kind. [Side note: the voice dubbing Lina's line is actually Hagen's normal voice, not that of Debbie Reynold's Kathy Selden.] Reynolds does an admirable job - it couldn't have been easy keeping up with her two male co-stars. It's still a joy to see Donald O'Connor's "Make 'em Laugh," and wonderful to see Gene Kelly teamed with a good male partner for "Fit as a Fiddle" and "Moses". Gene Kelly is, and always shall be, the best and this was done at his peak.

Of course, for anyone who has been living in the back of a cave under a rock (or too young to appreciate it), the title number is a delight. It looks like one continuous take, it is so smooth. This was not the first appearance of the song, but it's the one we all remember. The sheer exuberance of Kelly's performance carries us right along with him.

The extras with this set are valued items for anyone like me who is interested in the backstory of the era and this film in particular. And don't fuss for a widescreen version. This is the way it was. And now it always will be.

Thoroughly entertaining musical
I have to say first of all that I am *not* at all a fan of musicals (or comedies for that matter) - I am a drama fan. I have seen a few musicals here and there over the years and tried to like them - such as 1964's "My Fair Lady" and 1961's "West Side Story." I liked both of them *somewhat,* but not too much - because I have always strongly preferred films that are realistic --> in real life, people don't burst into song when they are in one particular circumstance or another. Yet, I couldn't help enjoying myself with a smile on my face as I watched this film that landed so high (#10) on AFI's list of the top 100 American films of all time. Donald O'Connor, in particular, as Cosmo, was so perfectly cast in his role. The film was at times hilarious and at times wonderfully romantic. I definitely would recommend everyone to try this film out. B+. ... Read more

Reviews (223)

The Citizen Kane of musicals
So many films in my collection are "important", "serious", "disturbing", or "great", and as much as I treasure them (films like Citizen Kane, Vertigo, and Ran), there is only so much self-importance a person can take before the pores fairly scream out for something just plain fun; something slight, buoyant, silly, and full of energy. Singin' in the Rain is just that kind of movie. The funny part is, I generally HATE musicals!

In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly.

But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art.

If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals).

My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff.

Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.

THE GREAT AMERICAN MUSICAL
Once upon a time there was a place called HOLLYWOOD. It wasn't just a town or even an industry, it was a state of mind. They didn't call the studios Dream Factories for nothing. This film is the epitome of the musical art and craft. This is a real "Movie Movie," made entirely on the MGM lot. The real creme de la creme of MGM contributed to it's creation; produced by Arthur Freed, starring Gene Kelly (with a brilliant turn by the dazzling ,long-legged Cyd Charisse), contract players like Debbie Reynolds and Kathleen Freeman (still going strong, currently appearing on Broadway in "The Full Monty") with costumes by my favorite designer Walter Plunkett (Gone With The Wind, 7 Brides For 7 Brothers, etc). Check out the sumptuous designs for the "Beautiful Girls" number and the outrageous spider dress at the opening night party. The real lowdown is that Jean Hagen and Donald O'Connor practically steal the show from the leads in possibly the best performances of their careers. This film is pure joy. The script by Comden and Green is not only clever but actually goofs on a real period of transition of the American film from silent to talkie.It is also a brilliant job of recycling a trunkload of old songs. This happy film has the courage to do what American musicals and comedies do best: be silly and make you forget you troubles for an hour and a half. Next time you are in bed with the flu or trying to get over a miserable love affair, take a look at Singing In The Rain. It can't help but curl up the corners of your mouth and drive the clouds away.

Wonderful Musical with Terrific Dancing -- a Trifle Dated
"Singin' in the Rain" is the definitive Hollywood musical, and charms and delights our 21st century audiences despite the (very few) characteristics of the genre that don't hold up quite so well.

There are so many high points to this movie -- the amazing cast, the songs, the choreography, and, most surprisingly, the satirical send-up of Hollywood and the "star system."

The plot is well-known. Silent film star couple, Don Lockwood (Gene Kelly, who also co-directed with Stanley Donen) and Lina Lamont (Jean Hagen) are America's sweethearts. At a Hollywood premiere of their latest romance, breathless fans ignore sidekick Cosmo Brown (Donald O'Connor, in perhaps the best sidekick performance in film history) and scream in delight as Lockwood and Lamont pander to their adoration. Nobody, however, seems to notice that the gorgeous Lamont never speaks . . .

Her imposed silence Lamont has a voice that recalls a cat with its tail caught in a wringer, although Lamont is such a "dumb blonde" (bless Hagen -- nobody ever played this stereotype better!) that she is blissfully unaware of her screech. No matter, 'cause it's the silent film era, right? Wrong! Progress brings in "The Jazz Singer" and the era of "talkies." No longer will clever staging of press events suffice.

Soon, Don Lockwood is staring career meltdown in the face as the first Lockwood-Lamont "talkie" sends the audience into hysterics. Not only is Lamont's screech audibly offensive, they can't keep the sound synchronized to the film, and the sound editing even when in synch is as amateurish as a high-school film production.

What to do? Fortunately, Lockwood had fallen for young, beautiful Kathy Selden (a teenage Debbie Reynolds), a starlet in the making. Cosmo comes up with the idea of dubbing Selden's voice for Lamont's, and all is fixed . . . or not. Lamont, an imbecile but smart enough to know her value, insists on ruining Selden's career to preserve her own . . . and so on and so forth.

The plot, ingenious as it is, is really secondary. The main delight in this movie is the amazing dancin' and singin' that the performers offer up. While most of it is pretty silly, campy stuff (particularly the Kelly-O'Connor set pieces), they simply dazzle. Kelly is the most robust, athletic dancer of his generation, and O'Connor, well, the man doesn't have a bone in his body. While the movie's most famous scene comes from Kelly splashing in puddles during the title track, the most amazing dance number has to be O'Connor's comic flailings in "Make 'Em Laugh," where he runs up walls, flirts with a mannequin, and generally pulls out all stops.

Debbie Reynolds does a magnificent job keeping up with these two giants, and is generally a pleasure to watch, even though she's clearly outclassed as a hoofer.

While some great old films seem to get better with age (think "Casablanca," "Gone With the Wind," and "Citizen Kane"), "Singin' in the Rain" is an American classic that does not hold up quite so well in some minor respects. For example, when breaking into choreographed step, Kelly, O'Connor, and Reynolds sometimes appear too rigid, with smiles frozen on their faces, which is incongruous to those raised on more modern musicals like "Moulin Rouge," where the dancers take a more naturalistic, emotional approach to their dancing. The dancing in "Singin'" holds up, but the performers were constrained by the expectations of their audiences, which somehow demanded that the performers "look pleasant" while dancing.

Still, "Singin' in the Rain" remains one of the best tonics to a foul mood ever . . . I defy you to watch this movie and not feel a smile creeping over your face.

The Best Musical Comedy Ever Produced!
I fell in love with this film when I was seven years old; I watched it on a B&W television on "The Early Show" in NY (circa 1957 or 1958). I didn't know who any of the stars were - it didn't matter. It was magic to me. From the Hollywood opening (dignity, always dignity), the romp of the elocution lessons (Moses supposes his toes are roses!), and the trial and mostly error of trying to record the sound ("I can't make love to a BUSH!") when the gorgeous leading lady has a voice that rivals nails on a blackboard, all the way to the grown man dancing in the rain and the final rising curtain - pure magic. In glorious black and white - at the time, I didn't even know it HAD colour! I decided then and there, this was my absolute all-time favourite movie. (One of the highlights of my adult life was seeing this wonder on a full, big screen at a revival in the 1970s.) I have seen many films since then; I have reviewed them for friends & family, written reviews for a monthly entertainment publication. I have an extensive collection of my own (VHS & DVD). I know a lot more about films and production values now.

"Singin'in the Rain" remains my all-time favourite film. (No surprise, this.) It's not just another one of "those MGM musicals." It was released in 1952. Dated stuff? Not a bit. Unlike the marvelous "An American in Paris," which was done as a contemporary film to its time, "Singin' in the Rain" is a period film, and it's based in fact.

This film (which started out to be a western for Howard Keel) takes a fond and loving look at the birthpains of the sound film (the "talkies). Set in 1927, with authentic equipment from MGM's own history (Debbie Reynolds drives Andy Hardy's old jalopy, the microphones are real), it details the frantic efforts to get on the sound bandwagon - no one was completely sure of the new technology. What makes the plot classic is the basis in fact. Many silent stars had totally unacceptable voices or speech (too nasal, unintelligible foreign accents, too high, too low, etc.) for sound production. The songs used were true to the period.

Then we have the performers. Jean Hagen was nominated for an Academy Award for her role of Lina Lamont. The character (whose voice you don't hear for the first 10+ minutes of the film, although she's on-screen) is a one-of-a-kind. [Side note: the voice dubbing Lina's line is actually Hagen's normal voice, not that of Debbie Reynold's Kathy Selden.] Reynolds does an admirable job - it couldn't have been easy keeping up with her two male co-stars. It's still a joy to see Donald O'Connor's "Make 'em Laugh," and wonderful to see Gene Kelly teamed with a good male partner for "Fit as a Fiddle" and "Moses". Gene Kelly is, and always shall be, the best and this was done at his peak.

Of course, for anyone who has been living in the back of a cave under a rock (or too young to appreciate it), the title number is a delight. It looks like one continuous take, it is so smooth. This was not the first appearance of the song, but it's the one we all remember. The sheer exuberance of Kelly's performance carries us right along with him.

The extras with this set are valued items for anyone like me who is interested in the backstory of the era and this film in particular. And don't fuss for a widescreen version. This is the way it was. And now it always will be.

Thoroughly entertaining musical
I have to say first of all that I am *not* at all a fan of musicals (or comedies for that matter) - I am a drama fan. I have seen a few musicals here and there over the years and tried to like them - such as 1964's "My Fair Lady" and 1961's "West Side Story." I liked both of them *somewhat,* but not too much - because I have always strongly preferred films that are realistic --> in real life, people don't burst into song when they are in one particular circumstance or another. Yet, I couldn't help enjoying myself with a smile on my face as I watched this film that landed so high (#10) on AFI's list of the top 100 American films of all time. Donald O'Connor, in particular, as Cosmo, was so perfectly cast in his role. The film was at times hilarious and at times wonderfully romantic. I definitely would recommend everyone to try this film out. B+. ... Read more

Amazon.com

A great star and a great composer can make a Broadway musical into a smash, as Ethel Merman and Irving Berlin proved with Call Me Madam. Not a bad place to start with a movie, either, and the 1953 film of the show has both Merman and Berlin represented in brassy fashion. Granted, Merman's platinum-throated talents were best suited to the stage, and the production overall has that dutiful, stodgy tone of so many Fox musicals. Extra points for the suavity of George Sanders (he's Merman's love interest in tiny Lichtenburg, where the lady has been appointed U.S. ambassador), and for the dancing of Vera-Ellen and Donald O'Connor. A year after crashing through the wall in Singin' in the Rain, O'Connor has a similar solo athletic workout to "What Chance Have I with Love." High point:Merman and O'Connor trading verses on "You're Just in Love," the best tune in a bouncy score. --Robert Horton ... Read more

Reviews (11)

great film with less than great transfer to DVD
The four stars are for the movie, which it's great to have on DVD - Merman given a chance to recreate one of her Broadway triumphs, a witty script, good songs and terrific dancing by Donald O'Connor and Vera-Ellen. However...as other customers have pointed out, the colour and sound restoration could have been better, plus there is a strange glitch that no-one seems to have noticed - Fox have missed the first two notes of the credit title music! I compared it to my old VHS to make sure I wasn't imagining things. All in all, though it is definitely worth buying for the pleasures of the film overall, one hopes that Fox will do it properly at a later date.

Fun movie, shoddy transfer. Very disappointed in Fox!
I love CALL ME MADAM, and I love Ethel Merman's performance in it. The lack of home video availability for this title drove fans nuts for years, and finally Fox has released it on DVD, and the results are...welll..underwhelming.

Don't get me wrong. The film holds up very well. It's one of the better Fox musicals, buoyed by terrific performances, a sprightly script, and great Irving Berlin songs.

However, the treatment the film has been given for DVD leaves a great deal to be desired. The image is OK, but not great. Compare this to Warner's stellar ANNIE GET YOUR GUN (which was also not available for years) and you'll see the difference. Even worse is the sound. It sounds scratchy, tinny and distorted. Both the supposed "stereo" track and mono track are very poor in quality. These technical aspects really detract from the viewing experience.

Last, but not least is the dull and pompous commentary by musical theater "expert" Miles Krueger. It's like listening to a boring college professor, and would be an ideal substitute for Ambien as a sleeping aid.

Maybe Fox will decide to revisit this title someday and give it a full-blown restoration. Until then, hard-core fans will have to be content with this sorry excuse for a DVD release.

La Merman Shines in a Text-Book Example of Movie Musicals
I wish that more movie musicals were done like this...

Okay, okay... I'll be the first to admit: the show is DATED. (In fact, had it not been for Miles Kreuger's commentary, I would NEVER have understood the phonecalls from Harry Truman.) I am also not a huge fan of the stage score or of Irving Berlin's score (with the exception of a handful of songs). BUT--I bought this DVD for basically one reason: the presence of the incomparable La Merman. She is wonderful, and one can only wish after watching this that she had done the film version of GYPSY.

Any way, the film is very faithful to the original, which is admirable for a film musical, ESPECIALLY in that time period. (CHICAGO was particularly good about this, as well.) Pratically all of the songs from the stage score are kept intact -- even the inane "Dance to the Music of the Ocarina," whish is, however, staged as a lovely dance routine. Insanely, the film cuts "They Like Ike," which was one of the biggest show-stoppers (after "You're Just in Love") in the original stage incarnation.

Merman gives a spectacular performance: those big eyes and that BIG voice. Amazing. Donald O'Connor is utterly charming, as usual, and finds the perfect foil in Vera-Ellen. (Kreuger makes a fine point when he discusses why they dance so well together: her ballet-trained movements nicely compliment his vaudevillian-hoofer training. Just watch and see.) O'Connor and Merman are great in "You're Just in Love." George Sanders plays a very striking Cosmo, and it is easy to see Merman's attraction to him. Incidentally, Merman's figure looks GREAT in this film (when you can stand next to super-petite Vera-Ellen and not look huge, that's always a testament to something) and she is always costumed exquisitely by Irene Sharaff.

Kreuger's commentary will not be for everyone, but I myself enjoyed it. Be forewarned, a good deal of it is focused on the bit players, and is generally a variation on the following: "The actor in grey on the right is Bilbo Baggins, who appeared in over 500 films with the studio, usually playing a Nazi sergeant or drunken cowboy. He's most remembered for his cameo in CASABLANCA where he steps on Humphrey Bogart's foot without saying 'excuse me,' etc." While this got tedious at times, I appreciated that he was recognizing these vetran actors, who did indeed have a large body of work: however, most just won't care. He also gives some helpful set up into the story of Perle Mesta and her trip to Luxembourg for President Truman.

Anyway, not a great musical, but watch it for Ethel perfoming the hell out of great songs with a wonderful supporting cast, in a film that should be mimiced closely by those attempting to mave film musicals today.

What has happened to the colour?
After waiting so long for this title to get a DVD or Video release, I was amazed to see that the original 3 strip technicolor has not been re-mastered for the DVD release. There seems to be a lack of yellow and all the cast have pink faces instead of flesh tones. As the film has recently played on cable television here in a near perfect color corrected version, I cannot understand why Fox have not taken more care in their DVD transfer. All the extras including trailers have this sub-standard look. Apart from this point, it is still a great film and a must for devotees of top Hollywood musicals if you haven't seen it.

Donald O'Connor and Ethel Merman...Great Chemistry!
This is the kind of quality film I'd kept hoping to see Donald O'Connor in after his bravura performance in "Singin' In The Rain." In whatever vehicle Donald appeared, whether it was his movies as a child or teenager, or as an adult, he always shone brightly ("A glittering, glowing star in the cinema firmament," to quote Lina Lamont!), even if the material was not top notch -- and unfortunately, much of his material was beneath his great skill. In "Singin' in the Rain" he proved he was worthy of great "A" material -- and he proves it again here. At the risk of gushing too much, a documentary on O'Connor says that his name spelled backwards was Talent! Amen to that. Here, he proves it. One is tempted to irreverantly murmer, "Fred and Ginger WHO?" when he and Vera-Ellen dance together. And O'Connor and Ethel Merman are absolutely wonderful together, too. The duet they perform, "You're Just In Love" is already being worn thin on my DVD from repeated viewing! Ethel Merman is an acquired taste, usually, but in this film she's just plain fun from beginning to end. Funny note: Donald O'Connor had to wear ear plugs during this scene and others with Merman because of her sterophonic lungs! Great movie, well worth the long wait for its release...don't miss it! ... Read more

Reviews (21)

Underrated Classic
A complex, engaging, colorful, masterpiece. Milos Forman has never disappointed as a director. Typical of him, he captures America better than just about any American director. The cast is superb. Howard Rollins, Jr. is nothing short of amazing as Coalhouse Walker, Jr. Elizabeth McGovern, Mary Steenburgen, James Olson and Brad Dourif also give great performances.

I have admittedly not read the book, nor have I seen the Broadway musical. I don't know what EL Doctorow thinks about the movie of his book (I gather he is not crazy about it). But the film has a wonderful pace and the soundtrack is stunning as well.

I think it is a crime that the soundtrack is not available on cd and the movie not available on DVD!

The ignored classic.
RAGTIME was one of Milos Forman's three great literary adaptations of the 80's, the others being AMADEUS and VALMONT. AMADEUS was a hit, but RAGTIME, which was largely ignored by the public and the critics, who badly wanted to show off the fact that they read the book, was a flop. Too bad. The original novel is like "Forrest Gump" in the early 1900's. A sketchy work in which the members of one upper class family meet with every possible type of person, real or imagined, including every famous person that you can find from that period in the encyclopedia. Forman's film, however, is a genuine masterpiece and one of the very best films ever made about America. He fleshed out the characters, eliminated the unnecessary, and concentrated basically on three main story lines. Unfortunately, the film was deemed too long, and Forman was forced to cut one of the story lines. I hope that when the DVD is released, the missing storyline is put back. Of the film as it stands now, Film Critic David Thomson said " it is a much underrated film. Complex about the time and its ideas." The only possibly distracting thing about the film is the amount of soon to be famous actors appearing in small parts, including Jeff Daniels, Samuel L. Jackson, Fran Drescher, etc.

A Milos Forman Classic
If you missed seeing "Ragtime" back in 1981, it wasn't your fault because you probably didn't even know it existed. Much like Terry Gilliam's "Adventures of Baron Munchausen", this truly great movie was poorly distributed and miserably publicized and advertised when it was released. This is too bad because both films deserved much better. Anyway...

Milos Forman has time and again proven that he is not only one of the world's best directors but also one of the sharpest viewers of American culture and history. "One Flew Over the Cuckoo's Nest", "The People vs. Larry Flint", and, to an extent, "Man on the Moon" have at their core an indictment of American society: its racism, its hypocrisy, its perversity, its corruption, and its insanity. However, Forman is by no means anti-American. In fact, these movies also have at their hearts a deep fascination with America and a yearning to make it better. And like few directors can do, he doesn't create a manifesto disguised as a film. His characters and dialogue are believeable, and his filming is gorgeous to watch.

Of all his films--and that includes "Amadeus"--"Ragtime" is perhaps his best, in my opinion. Its complex narratives are logically, fluidly and masterfully meshed together. But what I find fascinating about the movie is that all the complicated, volatile emotional reactions the characters experience--sometimes ending in violence--all start from simple wants. Coalhouse Walker, Jr. (powerfully played by the late Howard Rollins) wants the racists who vandalized his car to repair it. Harry Thaw (played by the underrated Robert Joy) is an erratic millionaire who simply wants a nude statue of his wife taken out of public view. A father (movingly played James Olson) simply wants to keep his family together. His brother-in-law (Brad Dourif in an extraordinary performance) simply wants the girl he loves to love him back. And a Jewish immigrant (a wonderfully manic Mandy Patinkin) simply wants to make it in America. It's when all these desires collide that the fireworks of "Ragtime" begin. And like the great American tradition of 4th of July fireworks, "Ragtime" is dazzling to watch.

From a boy to a Man
I saw this film for the first time as a junior and have always thought it was a masterpiece. So, I decided to purchase the film on DVD, but to my surprise, it's not available on DVD, VHS it is. I have since watched this film a number of times and my appreciation for this work of art has continued to grow. This film is truly one of the best films ever made and is more than deserving of its place on Digital Versatile Disc b.k.a DVD...

fantastic movie
What a terrific movie. The music is just wonderful and fits the movie to a 'T'. I recently bought the CD at Borders, Books and Music (Dec 21, 03), because years ago I owned the LP!!! I was disappointed to find that the movie is only available on VHS though. Guess I'll reluctantly buy it because I'd love to laugh and cry all over again. Can't even rent this anymore, it's a shame. The good movies go and the junk is always rentable. ... Read more

Amazon.com

There are two reasons to see Toys: some phenomenal visual spectacle and the utterly adorable performance of Joan Cusack. The story: When the founder of the Zevo toy factory dies, he leaves it to his militaristic brother Leland (Michael Gambon) instead of to his whimsical son Leslie (Robin Williams). When Leland starts making war toys (and worse, actual weapons masquerading as toys), Leslie is forced to stop being capricious and take on some authority. Toys is supposedly about innocence and peace, but really it's director Barry Levinson's cry of anxiety about modern-day playthings, particularly video games--which is almost psychic of him, given how video games have started to devour the entertainment market. Fans of Williams will enjoy his performance; the visual design really is gorgeous; and Cusack, as Leslie's sister Alsatia, is so lovely she almost carries the film through its muddled themes. Almost. --Bret Fetzer ... Read more

Reviews (58)

A visual wonder, but a misguided film
Here is a film that has some of the most wonderous sights I have seen in any film. TOYS creates a world of a toy factory that is so wonderful, so imaginative, that you wonder how this movie could possibly have gone wrong. Barry Levinson had this film in mind since before he did DINER, and he found his main star in Robin Williams after they worked on GOOD MORNING VIETNAM. It is obvious what he wants to accomplish. To show us a fantasy world that couldn't exist but that you would love it if it did, that only innocence should prevail in the world of toys. He accomplishes the first half with exuberance. He is aided by three absolutely wonderful performances: Robin Williams, Joan Cusack, and Robin Wright Penn. But he comes to a conclusion that is not only confusing but really bizarre.

Robin Williams is Leslie Zevo. His father is Kenneth Zevo, founder of Zevo Toys, a factory that doesn't so much exist in a town but in the middle of its own world. Zevo is old and dying and played by the legendary Donald O'Connor. (His funeral scene creates a nice little laugh until I remembered that O'Connor himself passed away a few months ago.) Kenneth Zevo must hand over control of his factory, but feels that his son Leslie isn't ready for this job. And his daughter Al-Sashia (Joan Cusack) isn't, well you find out at the end of the film. So he turns the factory over to his brother General Zevo (Michael Gambon) of the U.S. Army.

General Zevo clearly doesn't want the job, but the Army isn't the way he remembers it. He is the kind of soldier who would shoot a fly with his .45 sidearm instead of using a fly swatter. That creates a nice laugh, but in a really funny scene he goes to visit his father, who never tires of humiliating hiis son by showing how he outranks him. What to do? He tours the factory in a sequence that demonstrates again and again the visual wonder of this world. But this isn't his world. He begins to think that there may be a market in the world of war toys, but Willaims and everyone else at the company feels that it isn't the company's style.

General Zevo comes up with an idea. The only reason I can reveal this idea is to explain how the film goes off the rails. The company will manufacture miniature toys armed with real bullets, missiles, and bombs. They will be controlled by children who think they are playing videogames and scoring points. When his scheme is discovered by Williams and Cusack they find themselves running through the factory pursued by the miniature war toys. Bullets are soon flying, explosions are going off, and everything leads to a battle between the evil war toys and the old innocent wind-up toys. It is here when my heart started to really sink. Why couldn't Barry Levinson come up with a more imaginative solution to stop the General than having innocent toys attack (and be blown to pieces) by war toys? Surely a movie with such imaginative setting could give us a payoff just as imaginative, couldn't it?

Robin Williams was born to play this character. He is so convincing as a man who never seemed to grow up. Again and again he uses his gift for verbal improvisation that for once doesn't stop a film dead in its tracks. Joan Cusack displays a charming innocence that many times I don't always see. At the end the secret of who her character really is doesn't come across as a surprise. And there's a nice sweet romance between Williams and Robin Wright Penn as a new employee. And all during the opening, first act, and middle, is that wonderful look. The production designer Ferdinand Scafforeili was nominated for an Academy Award, and perhaps should have received a special achievement for it.

So, TOYS has a magnificent extravagant look, terrific performances, and even some really sweet and delightful music (especially the opening song). But it doesn't have an imaginative conclusion or a good third act. I guess I will recommend this film. Its good qualities really are the price of admission. But ask yourself, what was that ending all about?

This is one you experience, not watch.
If some songs are enjoyable more on account of their phonic sound than the actual melody they offer, then Toys likewise, is a film that can be enjoyed more for its sheer imagery than for its none-too-profound storyline. As many critics--even the adoring ones--will tell you, this movie won't be remembered on the strength of its plot. It's an uncomplicated (if also a little thematically-preachy) story of youthful innocense, big-bully intimidation, and then conclusively, of victorious, passive retaliation. And they're all worthy concepts. However, Barry Levinson doesn't make his audiences mull them over during the movie. To the contrary, it's rather difficult to ponder much of anything in light of the devastatingly gorgeous scenery, the brilliantly simple contraptions, and the fairytale-like quality of the characters.

If ever there was a celluloid catalyst for shattering actor typecasts, this was it. Robin Williams' performance reveals a mostly unfamiliar vulnerable sincerity that, frankly, creeped me out a couple times throughout the story. Similarly, you have Joan Cusack at her most delicate and gently-spoken (with exception of course to the laughable observation she makes in regards to war being "the domain of a small..." so on and so forth). L.L. Cool J competently delivers the role of a convincingly clean, wholesome, family-valued military man caught between the warring factions of his own family, represented by a hawk (his own father, played by the appropriately casted Michael Gambon) and the dove (a perpetually juvenile Williams). Robin Wright Penn isn't given much of a stage in Toys, and consequently her performance is less than striking here. But to her credit, she nurses a few otherwise-forgettable scenes (particularly the overtly ad-libbed cafeteria scene with Williams) back to life with her disarming laugh and sincere attention.

The trivia fanatics will keenly spot the underutilized, but aptly included cameos of Yeardly Smith and Jamie Foxx.

I'm not a big movie fan, in fact I rent/buy movies reluctantly. But this one captivated me from square one and it's a hard one to let go of. Incidentally, I highly recommend the soundtrack. It's a musical revelation that does great honor to the film (with an outstanding and uncredited brief performance by the incomparable Seal).

Chances are, anyone who's reading these reviews has already seen the movie; it's not a film that is naturally attracting new audiences this long after its making. However, I'm convinced this was due in monster proportions to the lack of popular exposure that Toys received, both initially in theaters and subsequently in it's video/DVD release. I, for one, happened to see Toys only by dumb luck, and have been grateful for walking into the theater ever since. But the minimal promotion that was afforded to Toys is all right by me. This is one cinematic secret I'm happy to be in on.

Get Lost!
Watching "Toys" was like watching "Teletubbies" dumbed down for an audience of subhumans.

Six Millions Jews died in concentration camps during World War II. It took the combined forces of the free world to stop this genocide. Williams and the production company that made "Toys" are just closet nazis.

Inasmuch as I watched this self-righteous piece of elitist garbage, I can say without any hesitation that if you believe that the world would be better off in the hands of some two-bit despot, then maybe you'll be stupid enough to accept the premise of this peice of unadulterated nonsense...

By the way, I'm not runblader. I just agree with him.

May Innocence And Joy Prevail....
"runblader", the person who gave this movie a low-rating in which he called this movie "Anti-American Propaganda", needs to grow the hell up. This is a great film. About a man of peace. What's so wrong about that, runblader? What is it that you are lacking inside that you need to invoke images of 9/11 to attack this film? Anyone who debases this film based on notions of patriotism needs to get a smack in the head. Williams, Cusack, LL Cool J and a host of other actors make this well-directed romp a joy to view. It's actually entertaining enough for multiple viewings. The visual effects, as some reviewers more intelligent that runblader have suggested, are amazing. It's as though someone shot film straight from someone's dream. Visually impactful like The Truman Show, as an example. Shun anyone who doesn't like this film. Make them pariahs. It's no less than they deserve.

This movie is still ahead of it's time, but getting closer
A strange choice of metaphors, but still a very compelling critique of the American democratic process and it's mishandling by different citizenry.
If the Toy Factory is US republican democracy, and the elder Zevo the generation leaving the country in it's current quandry this movie can make a bit of sense. The "poor" choices of the past(militaristic Uncle in charge of the factory) compell the newer generations to reorient the system(democracy as toy factory) towards it's original intent. The founder(or founders Jefferson,Madison et al) Zevo had no idea of the damage the company would tolerate and still move towards a stronger more democratic outcome. An allegory for the younger Bush administration, we should all be amazed at how our poor choices inflict harm and ruin our way of life. Catch the Tori Amos, happy worker song at the beginning of the movie and contrast this with the miltary dictatorship that insues.
It's hard to know if the intent of the father was to shake the son out of his doldrums and trivial existence, or a truly poor choice of leadership. As we relinquish our rights, it becomes harder and harder to reacquire them as the newer systems congeal. Warren Zevo has early and ample opportunity to question the decisions, but inaction allows the Uncle to overwhelm and adulterate the system. In the end, in revolutionary fashion, the jackbooted thugs are defeated and retired to a quiet existence. The world is saved, and innocence prevails. ... Read more

Reviews (1)

A Movie That Continues To Entertain Generations...
"That Funny Feeling," starring Sandra Dee & Bobby Darin, is a wonderfully entertaining movie. The plot of the movie is about a struggling actress (Dee) who is embarrassed of where her and her room-mate live, so instead of allowing the man (Darin),who claims to be an interior decorator, she keeps running into to take her home, she takes him to the apartment that she cleans daily, because she is under the impression that the owner will be out of town for a week, not knowing that the man she met was the owner!
The movie is filled with comedy(!), especially Donald O'Connor as Bobby Darin's neurotic boss/best friend. Nita Talbot also stars as Sandra Dee's room-mate. After 39 years since it's theatrical release and of never being released on VHS, "That Funny Feeling" is finally coming to DVD. It was worth the wait. ... Read more

Reviews (27)

Something for Everyone
This movie has something for everyone. Watched it for the first time today, then read reviews here on Amazon and elsewhere on internet. Marilyn fans think she is the best thing in the film. Ethel Merman fans rave about her performance. Hollywood musical fans rave about the extravagant production numbers. Johnny Ray fans rave about his only film appearance. Technical reviews(of DVD version) rave about the sharpness of the image, color rendition, sound reproduction and restoration process. Of course, Pseudo-Intellectual-Sophisticates like Tom Reynolds panned this film ... but pay no attention to the naysayers. This is a really fun film to watch, a gem, a blast from the past, non-stop singing and dancing from the Golden Era.

Overblown but tremendous fun!
It's wonderful to have these recordings available in true stereo and the version of the title song belted out by Merman remains her most definitive recording of the song. A few oddities: Johnny Ray's vocal track for "If You Believe" is wildly out-of-synch (and re-listening to the original Decca album it does sound as if they manipulated the track with some editing. Ray was deaf.. perhaps he could not hear the click track? At any rate, Varese should have tried to edit the song so that it sounds the same as in the film) and there are a few other places where the orchestra comes in too early. Minor quibbles. More curious was the decision to drop some musical segments that were in the film: Gaynor adn O'connor doing a wicked parody of (parents) Merman and Daily; Dailey's "You'd be surprised"; Merman's "Let's Have Another Cup of Coffee" and the deleted songs "Anything You Can Do" and Marilyn Monroe's unused vocal of "You'd be surprised" - but what is on the disc is great! And the set comes with good liner notes.

It's the Five Donahues..............
Ok Ok. I have been a lifelong Marilyn Monroe fan since childhood, I love her. But when you are a Marilyn fan you have to put up with hit and miss movies. No Business is one of them. When Marilyn is on the screen singing and dancing, the movie is all hers. Who doesn't love the Heat Wave number? The rest of the movie is a drag and unless you are a huge Ethyl Merman fan (?) this film doesn't have much to offer.

This is a musical with a very light plot; the story of the Donahue Family in show business. The two sons grow up to be a couple of dorks. The one who wants to be a priest is just scary. He acts like a Peter O'Tool derelict with a murderous smile. The other one is driven over the edge by Marilyn's lack of interest and joins the Navy.

Like I said, if you are a Marilyn fan, there are scenes in this film that you must have. If youare not a Marilyn fan, well you got Ethyl and Berlin music.

BETTY GRABLE WHY DID'NT YOU DO THIS MOVIE?
Betty Grable was supposed to play the Ethel merman part , but looked to young to be a mother of grown ups Donald O'Conner , Mitzi Gaynor and Johnny Ray so they hired Merman.

A must Have Musical
I think this is one of the best musicals available. And- if you're into musicals this one you need to get. Since Hollywood refuses to make musicals you better latch on to this one while you can. I think the color and the musical numbers are wonderful! And in those days they used better color for films than they do today! For color films and for tv viewing they use cheap color. Many people has told me that they thought their tv was fading out and had a foggy color to it. I've told them it's not their tv at all. The best color was always used back in the 40's and 50's. I see nothing ethnically wrong in the film that would be wrong. People are just too too sensitive these days and now they are picking the old films apart. They need to learn how to get over it. I am so glad that they have not destroyed these old films because 98 per cent of the films today are trash and will never become classics such as this one. When all the great producers and directors and screenwriters pass away there just seems like no one can take their place. They knew what they were doing back then. The craftsmanship has been lost. ... 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 and humen being.

Excellent DVD for Kelly fans
If you are a fan of the wonderful Mr.Kelly,then this is the DVD for you.Lots of interesting background info,and lots of dancing! I fell in love with him when I saw "Singin' in the Rain"when I was three,and have been happily purchasing everything on DVD that is available.The quality of the DVD is excellent,as well.Now excuse me,please,while I go outside and splash around in a few mud puddles!! ... Read more

Reviews (23)

That's Entertainment I: Do it: big, right, and with class!
That's Entertainment I - Reviewed By David E. Shattuck

I have always liked musicals and have had my favorites but viewing "That's Entertainment I" gave me a great lesson into their history. Do you remember at Christmas ever receiving one of those exotic candy samplers in your stocking? Well watching this video gave me a taste of a lot of "fine chocolates" that I want to sample over and over again. You start out visiting the remains of the once great MGM studios hosted by various famous stars who worked for those studios such as Frank Sinatra, Fred Astaire, Gene Kelley, Jimmy Stuart , Elizabeth Taylor, Donald Connor, Debbie Renoylds,Mickey Rooney and Liza Minelli. I felt like I was in Greece touring the ruins of the gods with those gods and goddesses as my tour Guides. It made me sad to see this once great institution in ruins, those stars aging, and the art form called the musical in decline in our era. Throughout its history MGM created over 200 musicals with the high points being in the 30s, 40s, and 50s. Perhaps the last great musical, the Sound of Music was in the 60s over 30 years ago. The early musicals were traced back to the 20s and were born when sound arrived in the movies. I wondered what happened to many of those silent movie stars who were the first victims of technological downsizing in Hollywood. My personal favorites have always been Fred Astaire and Cyd Charisse but I learned about Eleanor Powell and found her a better partner to Fred Astaire than Ginger Rodgers who looked stressed but excellent in her numbers with Fred. There was a classic clip of Fred who proved he could dance with a hat rack ( which didn't look as good as Ginger ) and a scene from the "Royal Wedding" where he danced on the sides of the walls and the ceiling always winding down to a sitting position like he never expended a bit of energy and showing no sweat. I had many of one liner observations from the video and here they go: I enjoyed a clip from the Ziegfield Follies which turns out to be the only musical in which Gene Kelley and Fred Astair worked together; their is a rare footage of Jimmy Stuart walking in song with Eleanor Powell; a timeless dance between Fred Astaire and Cyd Charisse to "Dancing in the Dark" from the "Bandwagon";scenes of Gene Kelley doing his own acrobatic stunt dances; Judy Garland and Mickey Rooney numbers from the Hardy Boys (They made a great couple); Ann Miller (the best lady tap dancer) from "Small Town Girl"; Donald Oconnor doing a classic comedy dance in "Singing in the Rain"; and of course the color and pageantry of Ester Williams swimming with the likes of Fernando Lamas, Van Johnson, Peter Lawford, Ricardo Montabaum, and even Jimmy Durante, Red Skelton, and cartoon characters Tom and Jerry. (Ester was a well sculpted figure with strong muscular legs and perhaps might be a body builder today). I thoroughly enjoyed "That's Entertainment I" and look forward to watching II and III. I pray that there will once again be a revival of the musical . Today the musical lives on in different forms such as "Riverdance" and interesting enough in the many animated movies of Disney such as Aladdin and Pocahontas . I close with a quote from the video by Frank Sinatra who said the MGM motto has always been, "Do it big, do it right, and give it class". Now that's entertainment!

Great for musical beginners
I bought "That's Entertainment" a few years ago and fell in love with it. Prior to that, the only musical I'd seen was "Anchors Aweigh". I feel that "That's Entertainment" is perfect for people who are interested in great MGM musicals but don't know a lot about them. I know that this helped me decide which movies and which actors I thought would be most appealing to me. For instance, watching the Gene Kelly and Fred Astaire segments greatly impressed me and I now have almost all of the two dancers' films. However, I was bored during the Esther Williams sequences in "That's Entertainment" and so I knew that I probably wouldn't enjoy her films.

Longtime fans of musicals will probably be familiar with most of the segments in "That's Entertainment". Even if you have seen all of the movies featured in the film, you still get to see your favorite stars introducing the various segments. Frank Sinatra, Gene Kelly, Fred Astaire, Elizabeth Taylor, Liza Minnelli, Bing Crosby, and many others all make guest appearances to introduce various clips.

In conclusion, I recommend this movie to all MGM musical fans, but especially to those who don't know much about the genre and would like a chance to be able to pick out their favorite performers from a wide range of talents and abilities.

FINALLY! IT'S ON ITS WAY TO DVD! Spread the joyous news!
The dream is becoming a reality. All THREE of the THAT'S ENTERTAINMENT! films are coming to DVD in a boxed set from Warner Bros.

Read the juicy details and get ready for a great Xmas!

The musical of musicals makes its DVD debut on October 12, when Warner Home Video presents MGM's acclaimed musical anthologies - That's Entertainment!, That's Entertainment, Part 2 and That's Entertainment! III - in a special edition four-disc DVD giftset, That's Entertainment: The Complete Collection. Representing some of the most requested titles in WHV's vast library, That's Entertainment: The Complete Collection gets the "red carpet" treatment with each feature in the trilogy presented with a fully remastered picture and Dolby Digital 5.1 audio, and features both the 16x9 widescreen theatrical version, plus full-screen 4x3 version with letterboxed performance segments.

That's Entertainment: The Complete Collection includes a bonus fourth disc entitled That's Entertainment: Treasures from the Vault, available exclusively with the giftset featuring more than five hours of exciting extras including three great documentaries, premiere night coverage and salutes to the great behind-the-camera talents, TV specials, making-of featurettes, plus an extensive video jukebox of rare, star-packed musical outtakes from classic films, and more!

"Exuberant, extravagant..." - Newsweek

That's Entertainment! showcases 125 stars from nearly 100 films including superstars Elizabeth Taylor, Frank Sinatra, Mickey Rooney, Fred Astaire, Bing Crosby, Gene Kelly, Debbie Reynolds, Liza Minnelli, Peter Lawford, Donald O'Connor, James Stewart and many more. Originally released in 1974 to mark MGM's 50th Anniversary and to celebrate the golden era of the greatest movie musicals ever made, That's Entertainment! was an unexpected surprise smash at the boxoffice, grossing $28 million at the time and firmly establishing the MGM musical within the pantheon of greatness within American film history. Written, produced and directed by Jack Haley Jr., with Daniel Melnick as executive producer, That's Entertainment! uniquely blends newly-filmed accounts of the personal memories of 11 of the stars who were at MGM from 1929-1958 during the making of these classic films with a panoramic retrospective of unforgettable musical sequences from them. Film historian Robert Osborne provides a new introduction to all three films on DVD.

"A wonderful movie...a priceless souvenir." - Pat Collins, WCBS-TV

Originally released in 1976, That's Entertainment, Part 2 continues the dazzling tradition of That's Entertainment! taking up where the other one left off, presenting fabulous sequences from movie musicals and highlighting such non-singing stars as Greta Garbo, Clark Gable and the Marx Brothers. Also featured are two of the champion song and dance men of all time, Fred Astaire and Gene Kelly (together for the first time since Ziegfeld Follies of 1946), acting not only as narrators but also as performers, singing and dancing in all-new numbers directed by Kelly just for the film. That's Entertainment, Part 2 was produced by Saul Chaplin and Daniel Melnick, with narration by Leonard Gershe and additional music arranged and conducted by Nelson Riddle.

"That's more than entertainment, that's pure gold." - Peter Travers, Rolling Stone

Released in 1994 in celebration of MGM's 70th Anniversary, That's Entertainment! III brings back to the screen the stars and musical numbers that have excited audiences for generations. In the acclaimed tradition of its two predecessors, That's Entertainment! III incorporates scores of famous songs and dances from MGM films and reunites nine of the performers who rose to international stardom through their MGM association. That's Entertainment! III features astonishing classic musical moments, great comedy and romantic teams and unearths rare footage with marvelous big-star scenes originally unseen because they were cut from their films. Gene Kelly opens and closes the picture as nine starry hosts including June Allyson, Cyd Charrise, Lena Horne, Howard Keel, Ann Miller, Debbie Reynolds, Mickey Rooney and Esther Williams present this must-see assemblage of Golden Era treasures, none of which has been seen in either of the previous films. Written, produced and directed by Bud Friedgen & Michael J. Sheridan, the film was executive produced by Peter Fitzgerald.

An amazing fourth disc is an added bonus available only with the That's Entertainment: The Complete Collection giftset with more than five hours of extra content features sure to enthrall fans of the great MGM musicals. Entitled That's Entertainment: Treasures From The Vault, the exclusive disc includes rare extended footage from MGM's 25th Anniversary luncheon in 1949; "That's Entertainment: 50 Years of MGM" (1974 TV special covering footage from the original premiere of That's Entertainment! in Beverly Hills with Army Archerd as the 'red carpet' master of ceremonies, rare interviews and the famous assemblage of legendary MGM stars on the stage. Unseen since originally broadcast thirty years ago); "That's Entertainment! III Behind the Screen" (1994 making-of documentary about the behind the camera talent); "The Lion Roars Again" (1975 MGM short); lengthy excerpts from "The Mike Douglas Show" TV special in 1976 that featured two days of premiere coverage of That's Entertainment, Part 2; "The Masters Behind The Musicals" (a brand-new half hour documentary with Ann Miller, Jane Powell, Angela Lansbury and others); "Just One More Time" (1974 THAT'S ENTERTAINMENT! featurette); and a dazzling MGM Outtake Jukebox which includes an impressive array of 16 rarely-seen deleted musical numbers from the cutting-room floor featuring such stars as Judy Garland, Frank Sinatra, Jimmy Durante, Esther Williams, Lena Horne, Jane Powell, Mel Torme and many other legendary MGM stars.

It's COMING!!!!
Time-Warner has announced that on October 12, they will release a 4 DVD set featuring the 3 "That's Entertainment" movies in newly restored editions, with both wide-screen and pan-and-versions on the disc. Also the 4th disc will have several documentaries and other features on the making of these films. Should be a real treat for nostalgia lovers everywhere!!! This year is the 30th anniversary of "That's Entertainment!"

Another Vote For A DVD!!
I was nine year old when That's Entertainment was in movie theaters but I didn't see it back then but saw it a couple of years ago on Turner Classic Movies and it is very entertaining. It has many clips from MGM musicals and is hosted by several entertainers including Fred Astaire and I recommend it and I hope it will be put on DVD! ... Read more

Reviews (5)

The Andrews Sisters with Harry James
With the benefit of the DVD format, this film can be enjoyed as an Andrews Sisters concert with Harry James as well as the 1942 low-budget Universal musical that it was at the time of release (and a box office success, by the way).
The Sisters swing on "Three Little Sisters" (note this is after the disaster at Bataan/Corregidor and the lyric "from Iceland to the Philippines" is changed to "from Iceland down to New Orleans"), "That's the Moon, My Son" and "Don't Sit Under the Apple Tree". This is a rare chance to hear the great Vic Schoen Andrews Sisters arrangements with the sharp James orchestra. This film also provides a glimpse of the great stage presence and commedienne quality of Patty Andrews, if only briefly.
Harry James and Helen Forrest join forces for "You Made Me Love You" and "Nobody Knows the Trouble I've Seen".
James demonstrates his considerable talent on the trumpet several times and the Sisters keep smiling through, perhaps, their strangest novelty song, "We're Six Jerks in a Jeep".
Dick Foran croons "Private Buckaroo" and gives out with "We've Got a Job to Do" which is also the Andrews Sisters finale after the equally rare "Johnny Get Your Gun Again". Neither of these two wartime tunes were recorded by the Sisters in the Decca studio and may only exist in the Sisters surviving recordings on this film soundtrack.
Then-former Stooge Shemp Howard, Mary Wickes and the dancing team of Peggy Ryan and Donald O'Conner try to provide comic support in the tradition of musical comedy films of the era. This DVD contains an adequate print of the film with good sound and also has some World War II newsreel footage and movie bloopers in the package unrelated to "Private Buckaroo".
If Universal does not release a restored print of this film or an Andrews Sisters Universal DVD multi-film package (oh, that they would!), this is a keepsake item.

It's all in the dancing
If young dancer Donald O'Connor catches your eye in this film, it's thanks to choreographer John Mattison, who taught O'Connor (among others) much of what he knows. Mattison's daughter, Ethelyn, also dances in the chorus. Mattison, who danced in Vaudeville and on Broadway before working in Hollywood, went on to become a well-known dance teacher. His students included Basil Rathbone and Dan Dailey.

Of some historic interest...
This is essentially an armed forces recruitment film made by Universal shortly after the U.S. formal entry into World War II, utilizing some comics and swing musicians to raise the patriotic tenor. The wispy plot relates how the entire band of Harry James decides to enlist in the Army to follow its drafted leader, with a subsequent U.S.O. follies being organized directly before the entire group marches avidly into combat. With the exception of the reliable Mary Wickes, the comedians, in particular Joe E. Lewis and Shemp Howard, are dreadful and serve only to make the various musical interludes, notably those featuring the sprightly Andrews Sisters, a welcome relief --- from comedy. Former big band singer Dick Foran, who warbles the title tune, is the featured non-musical performer tasked to deal with the hapless propagandistic script, but 16 year old Donald O'Connor nearly steals the show along with some of his jitterbugging cronies.

Private Buckaroo
Private Buckaroo is a wonderful wartime movie which I would reccomend to anyone who likes movies of the 1940's, and/or The Andrews Sisters. I am also a Three Stooges fan, so I also liked seeing Shemp in it too.

Great, even still today!
It's incredible, the amount of propaganda put into this movie, "Be a Man, fight for your country!" But overall, the songs and dances are amazing...especially since i love The Andrews Sisters! ... Read more

Amazon.com

This gorgeously designed theater production of Lewis Carroll'sworld-famous fantasy, based on a famous production from the 1930s,features an astonishing array of notable actors. Richard Burton is quietlytouching as the doddering White Knight; Eve Arden spits out commands asthe bloodthirsty Queen of Hearts; Donald O'Connor plays the woeful MockTurtle as a jaunty standup comedian; and such varied talents as ColleenDewhurst, Nathan Lane, Maureen Stapleton, James Coco, Andre Gregory, andGeoffrey Holder fill out Carroll's phantasmagoria as Kate Burton(Richard's daughter) plays the title character in the classicblue-and-white dress and blond tresses. All the sets and costumes aremeticulously based on the illustrations from the original books (thestory line is a mix of Alice's Adventures in Wonderland andThrough the Looking Glass), capturing artist John Tenniel'selaborate creations with zest. Though the story lacks dramatic action, thewordplay and visuals are delightful. --Bret Fetzer ... Read more

Reviews (5)

It's a bad sign when the sets are better than the actors.
This particular "Alice" has a long history. It started as a hit play in the early '40s, was resurrected in the late '70s with Kate Burton in the title role, and then ported to Great Performances on PBS - the latter of which is what we have here on DVD. Presumably it worked a little better on stage, and probably a little better in the '40s, too. Sadly, it runs through both "Alice" stories in a breakneck 90 minutes' time, and much of the acting is truly lamentable - some of the actors are so bad, I actually thought that might be an intentional joke, as with Austin Pendleton's monotonistic White Rabbit! Probably the best of them are Donald O'Connor - the only one of the lot who can actually sing! - as the Mock Turtle, Geoffrey Holder as the Cheshire Cat, and Richard Burton as the White Knight. The tea party crew is fairly good as well. The rest...well, the sooner forgotten about, the better.

Despite the acting, the sets and costumes are gorgeous - they're mostly made (with the exception of the Cat) to look like Tenniel woodcuts. That makes it quite a visual treat, if nothing else. This isn't the worst "Alice" I've seen, but it's not very high on my list. Still, it has enough good points it's probably worth a rental on a rainy week...just don't expect anything too incredible.

Great Find
I remember watching this on PBS when I was a kid and I was so excited to see this on DVD. It's a great production with a great cast. I like that the play features both Alice in Wonderland AND Through the Looking Glass. As a Lewis Carroll fan I was happy to see how closely the play follows the books.

A highly theatrical "Alice"
I have studied Carroll, I have researched the 'Alice' stories, and I have even directed a successful production of the very same Eva LeGallienne script, and I was very excited to see this production