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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 (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

Reviews (15)

Whatever Lola wants she gets!
The film version of Gwen Verdon and Bob Fosse's first success together. With Ray Walston as the devil and Verdon as his muse, Lola, this film can not fail to please. An excellent example of Fosse's early choreography. Unfortunately, its producers thought that they could cut "The Game", a wonderful song sung by the Senators. A must for any musical video collection

Hollywood's Hall of Famer: a Grand Slam!
Forget about carping reviews. If you like: musical comedies; baseball;Gwen Verdon; selling your soul to the Devil; great dancing; happy endings; ironic gambits reaffirming olde time(pre-PM) morality, DAMN YANKEES is grand slam hit.This film adaptation of Broadway's World championship rendering of "The Year The Yankees Lost the Pennant" is classic Americana(It's more like"The Devil & Daniel Webster" than Goethe's Enlightenment epic,"Faust"). Tab Hunter does a fine job as guileless, baseball-loving, middle-aged dreamer who sells his soul to Mr.Applegate (My Favorite Devil/Martian; "Paint Your Wagon" schemer,Ray Walston).

Star of the show is Gwen Verdon. She's the devil's 007-ette,LOLA with"license to get-down".Down and sassy-classy she bedazzlingly is,as she funks; punks;Bob Fosse's-n-weaves/"sleezes" her way on Applegate's satanic service to seduce Superstar Joe Hardy into "eternal contract".WHATEVER LOLA WANTS (ultimately)she doesn't get. Because...like the show's theme banners...YOU GOTTA HAVE HEART! In The Ninth,Verdon's not-so-wicked witch of the West(like this superbly entertaining; funny; full-of-good-will fun flick) has Valentine Heart to the max.If you're a Yankee fan (as lovers of baseball begrudingly become)catching a glance of baseball legend Mickey Mantle in the film is a nice touch recalling innocence in values that've been lost to the Real Applegate and cohorts.Being from Houston, I look forward to some Yankee greats pitching for us next year. Until then, DAMN ASTROS(er)YANKEES is a Hollywood Hall-of-Famer well worth checking-out and cheering on.

SONG LEFT OUT!!!
This movie has been one of my top 20 favorites for a long time. I first saw it on television in the mid sixties. The very first song that begins the movie during the opening credits is "Think About The Game". When the home video was released, this song, sung by the Senator's while Joe Hardy was busy with the Shifty McCoy trial, was, without explanation or reason, was stupidly left out of the video version. I feel cheated and wanted my money back. Can anyone tell me why?

Thank-you.

Good soul-searching musical.
This is another film which would probably be better rated if it wasn't so slavishly compared to its stage original. It does its job just fine, thank you, but you must remember that stage and film are two different media. In the conservative postwar 50's there was very little controversy shown (or allowed to be shown) in the film and TV media; a Faustian book made into a film musical probably scared the Hays moral office to death! That said, the Abbott-Donen collaboration does a more than competent job of telling the story, and scores an extra base hit retaining most of the Broadway cast of the show in the first place. I've read that the studio tried to lure Marilyn Monroe into playing the Lola role (and assuring box-office returns), but the producers were smart enough to know that the role needed a real dancer-actress combination. In short, it needed Gwen Verdon. It needed her special brand of eccentricity, sexiness, and heartbreak. And it got her. If you're still not convinced, take another look at the exquisite cafe' dance of "Two Lost Souls."

How Lola can he go?
Shoeless Joe from Hannibal, Mo is the mysterious "Joe Hardy" who makes a pact with the Devil to be young again and the greatest baseball wonder the Washington Senators have ever seen. His agreement comes with an "out" clause but hired temptress, "Lola" uses all of her most beguiling tricks in order to put the vamp on innocent Joe and keep him from short-changing the Devil of another hard-earned soul.

Gorgeous boy Tab Hunter plays the part of quiet, innocent and unpretentious Joe, an easy soul target for the Devil and his indebted temptress, played by Gwen Verdon. Although the singing was slightly less than what it could have been, the dance parts were terrific.

Unfortunately, this famous Broadway show was placed before a movie camera and little was done to take it from the ranks of the contrived enthusiasm of a play to the artful poise of a feature film. The scripts made for stiff dialogue and the sets were composed as they would have been on a fixed stage. What could have made for a very entertaining musical became a stage play adapted by convenience with no consideration for creative filming. ... Read more

Description

Howard Keel and Jane Powell are rapturous newlyweds who tame his six rowdy bachelor brothers in the wild Oregon backwoods in this Best Score Academy Award(R)-winning song-and-dance-filled comedy. ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... 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 pilot crash-lands in the Sahara desert, and is surprised to meet a tiny prince with a sword... but who doesn't know the story of the beloved book by Antoine de Saint-Exupéry? The slim philosophical classic has delighted millions, and the 1974 musical of the book has its own charms. Scored by the estimable team of Alan Jay Lerner and Frederick Loewe and directed by Stanley Donen, this is a tuneful piece of whimsy that's better in moments than it is overall. Two guest appearances energize the second half:Gene Wilder as a lonely fox, and the superbly slinky Bob Fosse as a salacious snake (Fosse choreographed his own number, a welcome touch of Cabaret amidst the whimsy). Some of the book's slight observations don't translate well to the literalness of the screen, but that won't matter to kids, who should be hooked from the very first "Draw me a sheep." --Robert Horton ... Read more

Reviews (25)

Just Lovely
This 1974 version of The Little Prince will absolutely touch your soul! The actor who plays the little prince is remarkable and the dearest looking child you have ever seen (and heard - he has an adorable English accent). I really was drawn to this movie as well as to the book. After seeing it for the first time in the early 1990s, I kept thinking about it years later. I recently watched it again and had the same reaction - just lovely.

I wish I could meet that little prince.

The Best Coming of Age Film I've Ever Seen!
Yes, I admit, it's nowhere near as good as the book, but it's a great satire that shows the difference between how adults think and how children think. I liked the songs and I know you don't see people walking around singing them like you do for the Sound of Music, but you don't see them singing Willy Wonka songs either, and this is just like it. The actor who plays the Little Prince is superb (although hard to understand at times).

If you're reading this now, then you've probably already seen it. I want to tell everybody that this movie exists and how good it is for a rainy ay if nothing else. And hey, isn't it due for a 25th anniversary rerealease?

The Book is Cool- But a Movie?
Ok, first some background info on my Le Petit Prince experience. I read Le Petit Prince in french class this year, in French of course. I also read the English version of the book soon afterwards. Furthermore I have read much analysis of the philosophy presented in the book. Then in French class my teacher brought in this movie. Before we watched it she warned us that it was really weird. I did not really know what to expect, I mean the book was pretty weird, how could the movie be weird if the book was considered normal. After these thoughts came throug my head she told us that the people don't talk, but they sing. Whoa...
Basically most everyone knows the plot I will just touch on it. The movie starts out with some weird singing about the hat that the narrator drew as a child and then goes into an overlong song about the narrator's need for air. So far this was rather weird I along with the rest of my class looked as if we were watching a fat man dance naked in the middle of the street. You know that look? Half sneer and half laugh. Well the movie continued to get weirder and I came to the conclusion that existentialist stories should never be turned into movies. However later it reached the pinnacle of its weirdness with the snake dance that lasted for much, much too long. Well at least we know where Michael Jackson got his gig.
The movie featured much of the same dialogue as did the book, sometimes the conversion was word for word. However the movie did skip over many of the imprtant scenes that really did explain Saint-Euxpery's philosophy. Furthermore the Little Prince's naivite was betrayed by his request to go to Earth. One of the important scenes that was skipped over was the scene with the king telling the Little Prince about judging yourself and the scene with the vain man was equally important.
Furthermore the Little Prince was obnoxiously cute, and although he was not a bad actor, in fact he was a really good actor for a child his age, we could have easily gone without him opening his mouth to sing on a couple songs.
In conclusion the movie was much too weird for my tastes and did change some of the things that made the book a great book. However it did manage to convert the book into a movie, from a book that was probably not meant to be a movie.

Magic
Never has a cast been so perfectly suited for a film. The chemistry between the actors is amazing, and each turn in their best performances, creating a magical re-telling of the original story. Steven Warner, Gene Wilder and Bob Fosse bring the movie to life as the story captures your heart and never lets go. I guarentee you wont disappointed with this purchase.

A Bit Awkward
The Little Prince was surprisingly heartwarming. The acotr playing the Little Prince is a very cute child and a very good actor as well. The symbolism in the film creative and adds deeper meaning to the ocassionally awkward musical. Despite the musical scenes, the actors personified their animals very well and managed to create an overall impressive film. ... Read more

Reviews (46)

ON THE TOWN is On The Money!!
I saw a clip of ON THE TOWN on THAT'S ENTERTAINMENT (MGM's tribute film of its muscials circa 1970's) and never saw the actual movie until it came out on video back in the 80's. A musical probably overshadowed by SINGIN' IN THE RAIN, HIGH SOCIETY or AN AMERICAN IN PARIS, but this MGM Musical is just as good. The basic premise of 3 sailors on 24 hour shore leave in New York City and finding romance makes for great fun. It's as simple as that!! Boasting actual location shots in New York City, great songs, dance numbers, and of course...Gene Kelly and pre Eva Gardner and Rat-Pack Frank Sinatra, this is a must see musical from MGM's hey-day. Great supporting cast by Betty Garrett(who went on to TV sitcoms ALL IN THE FAMILY and LAVERN & SHIRLEY),Ann Miller, Jules Munshin, and the very forgotten, beautiful and talented Vera Ellen. The song New York, New York - - Its a Wonderful Town! used in the opening sequence in the New York City Location shots should have won an OSCAR. They just don't make 'em like this anymore!!

Not the Broadway version, but still a great movie musical
Three sailor friends take a zany, madcap tour of New York City in the Leonard Bernstein, Betty Comden, and Adolph Green musical ON THE TOWN -- refashioned here as an MGM vehicle for Gene Kelly, Frank Sinatra, and Jules Munshin as the sailors and Vera-Ellen, Betty Garrett, and Ann Miller as their girlfriends-for-a-day. Although I think that the original stage score, composed wholly by Bernstein, is superior, the movie does have several fine "new numbers," including "Prehistoric Man" (in which Miller, in a stunning tap dance routine, proves herself to be no cold scientist but a hot-blooded woman) and "You're Awful" (a golden vocal moment for Sinatra) -- as well as Bernstein's "I Feel Like I'm Not Out of Bed Yet," "New York, New York (A Wonderful Town)," "Come Up to My Place," and the ballet "A Day in New York." Usually thought of as one of Kelly's "big three" MGM films (along with AN AMERICAN IN PARIS and SINGIN' IN THE RAIN), ON THE TOWN in fact has no real "star"; the roles are all about equal in size. Kelly, so often cast in "tough" roles, is here touching in his pursuit of the lovely and talented "Miss Turnstiles" (Vera-Ellen). Sinatra is charmingly boyish and Munshin adorably hilarious, while their "girlfriends" -- Garrett the comedienne and Miller the dancer -- are well contrasted. "A Day in New York" is a highlight and prefigures both "Broadway Melody" in SINGIN' IN THE RAIN and "An American in Paris" -- two other "dream ballets" in which Kelly's character is the sad and dejected lover. This movie may not be Broadway's ON THE TOWN, but it is a colorful MGM musical with a first-rate cast.

Not the best, by a long shot
Although Kelly, Donen, and Comden/Green would go on to movie greatness together ("Singing in the Rain", 1952) this one comes up short. The problem is simple: MGM didn't respect the original material enough (the Bernstein/Comden/Green Broadway musical of the same name)-- most of the fine Bernstein songs were jettisoned in favor of distinctly second-rate stuff ("Main Street", "You're Awful", etc.), as well as dumping all the great dance numbers save two ("A Day in New York", "Miss Turnstiles"). The other problem is that after Gabey, Ivy, and their friends finally get together atop the Empire State Building, the movie really goes downhill; the whole denouement at Coney Island is silly and takes much too long. There are some good performances, esp. from the women (Betty Garrett and Ann Miller really give the movie oomph and a sense of fun, and Alice Pearce's "I got the gargle!" bit is classic). Sinatra and Kelly are fine as always, but you have to be a big Jules Munshin fan to weather his supershticky performances, both here and in "Take me Out to the Ball Game" (also with Sinatra, Kelly, and Garrett).

I know this movie is a big fan favorite; I just hope that people who think On the Town is a fine musical take the time to check out the really superior products of MGM's famous Freed unit: "Singing in the Rain", "Gigi", "Meet me in St. Louis". When the Freed unit clicked on all cylinders, as they did in those three movies, nobody made better movies of ANY kind.

It's the Best
On The Town is the best movie I've seen in my whole lifetime. I find it enjoyable for the family and musical lovers. You can watch it over and over again. It's funny and the best songs ever (I can't get them out of my head!). It was a wonderful production.

Wow! What a movie!
I actually haven't seen the whole thing, but I couldn't stop myself from writing a review! I've looked for it everywhere, but I can't find it! From what I saw of it, I know it is a wonderful movie. The "New York, New York" sequence at the start really gets you into it! I loved it, it's definitely one of a kind. I reccomened to everyone who likes Gene Kelly and Frank Sinatra, who are both great in this movie. Of course it's hard to forget Vera Ellen, who is very talented and beautiful in this movie. I wish someday to see the rest of it, and I am going to keep looking for it everywhere. Watch it now! ... Read more

Description

A trio of crooks relentlessly pursues a young American (Audrey Hepburn) through Paris for the fortune her dead husband stole from them. The only person she can trust is a suave, mysterious stranger (Cary Grant). A deliciously dark comedic thriller, Stanley Donen’s Charade dazzles with style and macabre wit to spare. Unavailable for nearly three years, The Criterion Collection is proud to re-release this ’60s spy classic in a gorgeous new
anamorphic transfer.
... Read more

Reviews (140)

That's Entertainment!
I saw this movie in 1963 when it was released. I was captivated by it then and remain so. The kaleidoscopic opening credits are as beautiful as I remember, and the chase scenes-- on foot here-- are still exciting. We will never see anyone like Audrey Hepburn again. A total original, she and Gary Grant-- showing considerable skill as a comedian here-- are magnificent as a couple, having both style and electricity, often forgotten qualities in many of today's leading actors. Heburn and Grant are assisted by the likes of James Coburn, a young Walter Matthau and George Kennedy in supporting roles. Then there's Henry Mancini's score and direction by Stanley Donen. The plot takes many interesting twists and turns as Ms. Hepburn tries to figure out just who the dashing Mr. Grant really is-- a criminal or her savior or perhaps both or neither.

If you've seen this movie before, you'll enjoy a replay. If this is your first time, you'll in for a real treat, a delightful way to spend an evening.

Old Style Hollywood Glam in Gorgeous DVD Transfer
This is an exceptional DVD transfer of an exceptional movie. Criterion has done a magnificent job of restoring Charade to its colorful glory. The film is presented in its original 1.85:1 aspect ratio. The print is clear, crisp, and beautiful to behold. You feel as if you can reach out and touch the actors.

And what actors! The film features the dashing older version of Cary Grant and the youthful gamine Audrey Hepburn, with enough chemistry between them to ignite a fireworks factory. The plot is a convoluted and flimsy trifle about cold war spy shenanigans, with cases of mistaken identity and episodes of grave danger for Miss Audrey. But Cary, the classic good guy in cad's clothing, is there to save the day. In addition to which he provides chaste romance that sizzles beneath the civility.

Audio commentary is provided by director Stanley Donen and screenwriter Peter Stone. While interesting and funny in spots, it does drag a bit over the length of the film. It may be better to check it out when you find something in the film that you would like to hear dissected. Otherwise, you'd be better to stick with the delightful, corny dialogue spoken in the dulcet tones of Cary and Audrey. The soundtrack music is to also to be savored, done up in classic '60s spy movie style by the movie maestro Henry Mancini.

If you have nothing to do on a rainy day and own a DVD player, this is the movie you want to have on hand to pop in the machine and deliver you from care. It's a keeper (and it comes in a keeper case!).

the original is always better
and lucky for you this is the original. loved it.

Good mystery--stiff romance
The mystery in this movie is great...dark characters, and questions at every turn, along with a great ending! However, I did not find the romance between Hepburn and Grant believable. Their relationship seems forced, with the Hepburn character to bright to fall for the lame explanations that she is given by Grant's character.

I would have appreciated a less definitive ending with respect to their relationship, which would have been fine given how the mystery aspect of the story comes to a close.

Criterion re-releasing "Charade" in anamorphic
(...)

They're also offering to upgrade existing letterbox copies of their previous release for $15. If you're looking to buy this disc I would recommend waiting until Amazon offers the new version (soon, I'm sure), or buying directly from Criterion (no discount). I certainly want to buy this DVD, but I've been waiting for an anamorphic release. And soon it will be here! ... Read more

Description

Two lovers stationed at a remote base in the asteroid fields of Saturn are intruded upon by a retentive technocrat from Earth and a malevolent 8-ft robot. A film full of deep space terror and twisted love, in a man-made Garden of Eden. Kirk Douglas, Farrah Fawcett, Harvey Keitel ... Read more

Reviews (15)

Adam and Evil
John Barry and Stanley Donen's misunderstood sci-fi brainchild was panned on initial release, but happily is coming under re-evaluation in a later age.

Kirk Douglas and Farrah Fawcett run a hydroponics lab on Saturn's third moon, Titan, which helps feed an overcrowded and progressively more sociopathic Earth. Douglas and Fawcett are "paired," though not actually married (or at least it is never understood that they are), she being an innocent naif who has never seen Earth and lived virtually her entire life with him, and he a disillusioned older man who never desires to see Earth again - though he encourages her to visit their home planet one day, if for no other reason than to further Fawcett's natural development.

Earth has decided that Douglas will soon be "obsolete," and sends captain Harvey Keitel to assemble a robot to eventually run Saturn 3. Keitel, however, is actually an impostor - he was washed out of the robot programming division because he was "potentially unstable," and, proving the point, murdered the man given the assignment in order to take his place. The reason is never stated, but the implication is strongly present - given his immediate fascination with Fawcett - that he wanted the assignment in order to be closer to her.

The robot - "Adam" - has a human brain, directly programmed by Keitel. Since Keitel is a homicidal psychopath...well, you get the picture. It isn't long before Saturn 3 becomes a battleground for supremacy with a mad metal titan.

This is really a great movie, if flawed. The ending is too abrupt. Douglas sometimes seems uncomfortable in his role, or acts as if he is in a different movie than Keitel and Fawcett. The special effects are uneven, though generally pretty impressive.

But the script is solid and the suspense never lets up. The action is pretty gripping, shooting out of a gun from the first scene, when Keitel coldly murders the astronaut whose place he is taking by flushing him out into space. The production is gorgeous, and unified. The sets are beautiful, and incredibly colorful. The matte shots for space and Saturn hearken back to 1950's pulp magazine covers. The costuming is futuristic, but functional. And the robot, Adam, is a nightmare out of Leonardo da Vinci's sketchbooks of human anatomy. The terrific music score, by Elmer Bernstein, is mechanistically haunting.

A great movie it isn't, but it is very good. There is a nice undercurrent of human feeling to this film, which is emphasized by the contrast of the warm and loving relationship between Douglas and Fawcett with the predatory intrusion of the coldly sociopathic Keitel.

This is wonderful sci-fi pulp, and if that's what you're in the mood for, you won't be disappointed.

I expected more
To say the least, I was expecting far more from this film than what I got. For one thing, the actual concept is interesting and original. A robot going biserk while stationed in a science facility is a great idea to make a suspensful sci/fi epic. But somehow this film doesn't pull it off. The one thing that got to me is how dated this film is. It's not too terribly old; it was released in 1979, but the special effects look like they are out of a 1960's film. Alien came out the same year and this film but this looks like it came out 10 years before it. I also was not big on the acting itself. Harvey Keitel gives a wooden performance, Kurt Douglas is unconvincing as a scientist, and Farrah Faucet just seems be thown in as some Eye Candy. What a shame because I usually like these actors. When the robot finally goes biserk, it's not all that scary and it doesn't last all that long. When its all said and done, this film emerges as a failure, which is a shame because it had so much going for it.

How wonderful they put this on DVD!
This is a classic sci-fi film that is largely overlooked. But it has been looked upon enough to make the decision of putting it on DVD and this is wonderful! Now this treasure will be preserved longer.

The plot is about a planet called Saturn 3 where two scientists live to conduct research. Their research is a little behind schedule so another scientist gets sent down to help out a little with some new technology. Unfortunatley, the scientist that is supposed to go down gets ambushed and replaced by a crazy guy with some devious plans in mind. He takes down a robot that learns by a wireless link between itself and an actual human brain. Since it is hooked up to and is learning from the mad scientist it goes a little haywire. It gains the obsession of the female scientist that it's teacher has as well. See the robot go crazy and watch the scientists run for their lives and try and escape from the desolate Saturn 3!

I love this movie! I give it 4 star because it loses one star for going at a slow pace. Yes, this movie does move slow; but it is fun to watch and has a totally cool story. B-Movie Classic!!

1hour and 27min of my life ill never get back
This movie had all the appeal of watching my dog pinch a loaf on my lawn, actually that is more entertaining. The high point in the film was the actual construction of the robot, everything before and after was a total waste of money and time. What were Kirk Douglas and Farrah Fawcett getting paid to do other than taking showers and rolling around naked with each other? Surely they were there for a reason but what, they never did any work at all and as far as the special effects I've seen better shadow puppets for an eclipse than the one in this film. Harvey Keitel was a very convincing horn ball that's about it; I think his mission was to get laid by Farrah. The absolute worst was Hector falling into the acid and coming out with what looked like dried Crisco stalactites shouldn't all of his plastic tubing have instantly melted? Anyway I think I'll go watch Cabin Boy now since it now looks like Casablanca compared to this.

I am guilty once again
AS I HAVE STATED BEFORE:
If you like campy Science Fiction as I do than this film is for you.
There is not a lot to say about film like this because it is not actually any good at all. It is just a "Cult" like bad Sci-Fi movie that is enjoyable to those who well, enjoy this type of fun rubbish. And I am guilty.

To add a bit, this film stars Farrah Faucet that alone gives it potential. This film brings back memories of my childhood bedroom and that famous poster I blew a kiss to each night before going to bed. ... Read more

Reviews (29)

A Great Vacation
"Blame It On Rio" is like taking a great vacation of fun, sun and no inhibitions. The setting is beautiful Rio de Janeiro and the film gives an honest impression of the city...beautiful beaches, Bossa Nova flavored music, tropical climate. Michael Caine is hilarious, Joseph Bologna a perfect comical foil to Caine, Michelle Johnson sweet and innocent(?), and Demi Moore likeable and levelheaded. I saw this movie for the first time when I was about Michelle Johnson's age and when I saw the film recently, it brought back wonderful memories of that time in the 80s. The film is a not-so-implausible plot of a middle-aged man (Caine) spending a vacation in Brazil with his daughter (Moore),his best friend (Bologna) and his best friend's daughter (Johnson). Valerie Harper plays Caine's wife, who backs out of the vacation to Rio at the last minute and packs for Bahia. "Must have been the free and easy laughter in the air...must have been the moonlight on the sea..." Caine has an affair with his best friend's daughter (Johnson)and the comedy ensues. "Blame It On Rio" is just plain old fun with great scenery, great quotes (Johnson to Caine "That's not you life line, that's your heart line" and Caine's reply "Teeny little thing isn't it"), and great comedy!

Good movie to watch late at night
"Blame It On Rio" is one of my favorite films. The great scenery of Rio De Janeiro is one of the perks of watching this. It's kinda like watching a travelogue of the city that's a 24-hour carnival. The film is packed with memorable lines as well ("They looked at us, let's go talk to them,"says Victor. "They're practically nude," Matthew states. Victor's response? "Try to picture them with clothes on"). Michelle Johnson won a Razzie for her performance as Jennifer, which I didn't think was that bad. Demi Moore's performance, on the other hand, takes some getting used to. Michael Caine, always the top-rate performer, doesn't disappoint in this one. His performance is honest and well-meaning. There are one small fault in the film though: the soundtrack. I'm not talking about the bossa-nova or nightclub music, but the outdated 80s music. There is one song in the film that gets played over and over again. By the end of the film, the song will not leave your head LOL. That doesn't matter though. It doesn't take away the film's entertainment value. It is still a fun film to watch and make you laugh.

very funny and very sexy
I saw this movie when it first came out back in 1984, and it has always stuck in my mind as a very fun movie. The movie opens with two middle-aged men, both of whom are going through difficult marriages. One (Joseph Bologna) is getting a divorce and the other (Michael Caine) finds his marriage on the rocks. They travel to Rio on a vacation with their teenage daughters, but without their wives, in order to forget about their marital troubles. Because the daughters replace the wives on this vacation, it creates a vaguely incestous tension. In one of the movie's early scenes, Bologna's daughter (Michelle Johnson) and Caine's daughter (Demi Moore) are bare breasted as they walk up to their fathers on the beach. Moore seems somewhat shy as her hair mostly covers her chest, but Johnson is clearly very confident and proud of her breasts. Her father asks her to cover her breasts and she refuses. Though the direct incestous tension between father and daughter doesn't go any further than this, the sexuality definitely builds between Johnson and dad's friend Caine to the point where they are soon having an affair.

The affair creates a series of situations that are downright hilarious, and many scenes had me rolling on the floor laughing. For the guys in the audience, Michelle Johnson is definitely gorgeous and we get to--well--see a lot of her, and she seems very comfortable and happy with her nudity. Demi Moore plays a more minor role both in terms of nudity and in terms of her character. The movie is not intended to make any grand in-depth statement, and is probably not very accurate about Brazil, but if you want a light-hearted, sexy comedy it would be hard to do much better.

On a personal note, this movie was something of a rite of passage for me because it was, I believe, the first movie showing adult nudity that I ever saw on the big screen. I still thought of myself as a bit of a kid at the time, and I thought of topless and nude scenes as something that adults (i.e. people a lot older than me) did. I was very pleasantly surprised to find out that Michelle Johnson was exactly the same age as me (we were both born in Sept 1965). I came to the conclusion that if an actress my age were doing topless scenes, I must have reached adulthood myself.

The movie is a hilarious comedy without considering the nude scenes--since it is a sex comedy set on and around Rio's topless beaches, the nudity tends to fit right in. And because it is set in Rio (where 'the play gets done') the viewer is allowed to relax and take a vacation for a couple of hours, even if the characters aren't always relaxed in their antics. All in all, you won't find any deep statements about the world here, but it is a really fun movie.

The DVD is too dark
I wrote a 4-star review of the VHS version of this movie on 11/22/00. Later I bought the DVD version. The DVD was much darker. Some of the night scenes were almost completely black. This was annoying and made the DVD useless to me. It made no sense to me why they did this. The VHS version is great!

Funny and sexy
"Blame it on Rio" is a cute and funny film which manages to be a wish-fulfilment fantasy for middle-aged men, and tell a good story at the same time.

Michael Cane is perfect as the man in a doubful marriage, who is hit on suddenly by his best friend's daughter, Jennifer, played by the voluptous and pretty Michelle Johnson.

Of course that is a doubtful proposition, since he is over twice her age (Michelle was only eighteen when she played this), and since he is vacationing not only with her, but with her father, who is his best friend, and with his own daughter, who is her best friend!

The story is funny and entertaining, and Jennifer is dead sexy. I find it hard to imagine resisting if she threw herself at you.

It must be said that beautiful Demi Moore is underused as Nikki, the best friend. Especially in the underdressed scenes, too little of that. I suspect she was having ego problems against Michelle's bigger bosom. This would explain why she later got a boob job, as seen in (the underrated) Striptease. Very dumb move, in my opinion. She was perfect. ... Read more

Reviews (140)

That's Entertainment!
I saw this movie in 1963 when it was released. I was captivated by it then and remain so. The kaleidoscopic opening credits are as beautiful as I remember, and the chase scenes-- on foot here-- are still exciting. We will never see anyone like Audrey Hepburn again. A total original, she and Gary Grant-- showing considerable skill as a comedian here-- are magnificent as a couple, having both style and electricity, often forgotten qualities in many of today's leading actors. Heburn and Grant are assisted by the likes of James Coburn, a young Walter Matthau and George Kennedy in supporting roles. Then there's Henry Mancini's score and direction by Stanley Donen. The plot takes many interesting twists and turns as Ms. Hepburn tries to figure out just who the dashing Mr. Grant really is-- a criminal or her savior or perhaps both or neither.

If you've seen this movie before, you'll enjoy a replay. If this is your first time, you'll in for a real treat, a delightful way to spend an evening.

Old Style Hollywood Glam in Gorgeous DVD Transfer
This is an exceptional DVD transfer of an exceptional movie. Criterion has done a magnificent job of restoring Charade to its colorful glory. The film is presented in its original 1.85:1 aspect ratio. The print is clear, crisp, and beautiful to behold. You feel as if you can reach out and touch the actors.

And what actors! The film features the dashing older version of Cary Grant and the youthful gamine Audrey Hepburn, with enough chemistry between them to ignite a fireworks factory. The plot is a convoluted and flimsy trifle about cold war spy shenanigans, with cases of mistaken identity and episodes of grave danger for Miss Audrey. But Cary, the classic good guy in cad's clothing, is there to save the day. In addition to which he provides chaste romance that sizzles beneath the civility.

Audio commentary is provided by director Stanley Donen and screenwriter Peter Stone. While interesting and funny in spots, it does drag a bit over the length of the film. It may be better to check it out when you find something in the film that you would like to hear dissected. Otherwise, you'd be better to stick with the delightful, corny dialogue spoken in the dulcet tones of Cary and Audrey. The soundtrack music is to also to be savored, done up in classic '60s spy movie style by the movie maestro Henry Mancini.

If you have nothing to do on a rainy day and own a DVD player, this is the movie you want to have on hand to pop in the machine and deliver you from care. It's a keeper (and it comes in a keeper case!).

the original is always better
and lucky for you this is the original. loved it.

Good mystery--stiff romance
The mystery in this movie is great...dark characters, and questions at every turn, along with a great ending! However, I did not find the romance between Hepburn and Grant believable. Their relationship seems forced, with the Hepburn character to bright to fall for the lame explanations that she is given by Grant's character.

I would have appreciated a less definitive ending with respect to their relationship, which would have been fine given how the mystery aspect of the story comes to a close.

Criterion re-releasing "Charade" in anamorphic
(...)

They're also offering to upgrade existing letterbox copies of their previous release for $15. If you're looking to buy this disc I would recommend waiting until Amazon offers the new version (soon, I'm sure), or buying directly from Criterion (no discount). I certainly want to buy this DVD, but I've been waiting for an anamorphic release. And soon it will be here! ... Read more

Reviews (39)

Doris Day & John Raitt, Wonderful in "The Pajama Game"
Doris Day, without a doubt, was the greatest female musical/comedy star Hollywood ever produced. I know that Judy Garland fans will disagree, but, I like Doris better.

When "Pajama Game" was brought to the screen, Doris Day was given sole star billing, of course, with Raitt, Carol Haney and Eddie Foy, Jr. getting secondary rankings. Mr.Raitt had top billing on Broadway, but this was Hollywood.

Miss Day was fascinating as Babe Williams, head of the grievance committee at the Sleep Tite Pajama Factory. She falls in love with the new forman, played by Raitt. A 7 1/2 cent raise is at stake for the workers, with management playing dirty tricks.

The musical score is great. Doris Day was in wonderful voice which was clear and poinant as she reprised that marvelous standard, "Hey There". "I'm Not at All in Love" was very entertaining with Day really showing us how a musical number should be done.

With Raitt, she does the standout "There Once Was A Man", and they both perform to perfection. What a great number!

The songs that were omitted from the original Broadway cast, were not missed here. I would love for Doris to have had another ballad, perhaps they could have written something special for the film version.

Carol Haney was fun as Gladys and danced up a storm with Bob Fosey's signature choreography in two highlights of the film, "Once a Year Day" and "Steam Heat.

Eddie Foy, Jr., Barbara Nichols, Rita Shaw and Thelma Pelish, all holdovers from the stage version added much to the proceedings.

Stanley Donen's direction was deft. This is one of his best pictures, but he never mentions it in documentaries on him. I don't understand why he consentrates on "Funny Face". This is a much better film.

Rivals ¿Calamity Jane¿ as one of Doris¿s best musicals
In The Pajama Game, based on the Broadway musical written by George Abbot and Richard Bissell, Doris Day plays Babe Williams, the head of the union grievance committee who fancies sexy out-to-prove-himself John Raitt, playing Sid Sorokin, the new superintendent of the "Sleep-Tite Pajama Company. Despite their differences, they fall in love and the eternal battle between man and woman ensues in this delightful musical comedy, with added intrigue between Hines, (Eddie Foy, Jr) the over-jealous efficiency expert, and girlfriend Gladys, (Carol Haney) the boss's private secretary. Set against the backdrop of a long-standing union/management dispute, the company is soon boiling over with all sorts of passions. An unlikely scenario that is never-the-less great fun with plenty of hit songs and dance numbers that carry you along with its energy. Choreographed by Bob Fosse, the film features such musical numbers as "Hey There, You With the Stars in Your Eyes," "Once a Year Day", "Small Talk", "Steam Heat," and "I'm Not at All in Love." Verdict: The Pajama Game rivals "Calamity Jane" and "Love Me or Leave Me" as one of Doris's best musicals.

Doris Day in a pajama-factory musical.
Very seldom seen Doris Day film. This one is a musical in color. Unusual and perhaps unattractive to watch because it is set in a shirt & pajama-making factory. Doris Day plays Babe Williams. She is the tough-cookie that's part of the grievence committee and goes by the rule book. After having to get both sides of the story after two men had a fight, the workers tease her that she will fall in love with the man she dislikes. But if you know any Doris Day film, she will be in love soon.I liked the railroad lot set, though and nighttime rain through the window is a nice shot. Not one of my favorite Doris Day films. May I suggest Billy Rose's Jumbo?

perfect except for doris
This amazing dvd is wonderful, put the overly peppy and smiley Doris Day is atrocious! Why could they not have put Janis Paige-The original broadway Babe- in the picture!

I GOT STEAM HEAT
The pajama factory setting is a little awkward and it doesn't really jive with the spirited song and dance numbers, which are constatly splendid. When the whole factory goes on a company picnic, you know this Broadway musical longs to be as big as "Oklahoma!", but is constrained by the very little framework of a labor dispute in a clothing factory. Still, you may be surprised to find the host of wonderful recognizable songs that originated from this musical, the cast is exceptional, and if you like Doris Day, well, you may find yourself in 'que-sera-sera' heaven. ... Read more