Reviews (291)

'The Rocky Horror Show' Movie
There is one reason why everyone should see "The Rocky Horror Picture Show": it is the best cult film ever made. There are also three reasons why everyone should want to watch it: 1) It is one of the only 'R' rated musicals in existence. 2) It has strong science-fiction overtones. 3) It is very funny. The movie starts Barry Bostwick and Susan Sarandon (before they were stars) as the recently engaged Brad and Janet. However, they are upstaged in nearly every scene by Tim Curry who plays Frank N. Furter, the mad doctor. The cast delightfully performs many memorable songs including "Over at the Frankenstein Place" and, of course, the "Time Warp". To fully enjoy RHPS, one must not be closed minded or the picture could prove to be quite offensive. Don't think it's gratuitously violent- it isn't. Merely, the situations the characters find themselves in could shock or appall overly sensitive viewers. If you think you won't enjoy RHPS, going to a midnight screening might be your best bet. The live audience participation will guarantee you a good time, despite your opinion of the actual film. So overall, RHPS is quite a good adaptation of Richard O'Brien's original concept, which always honors its roots on the stage.

DVD = Perfect format to truly experience "Rocky" at home
I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.

For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.

Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"

So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.

The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."

The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.

What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

Mesmerizing film.
This is a very outrageous movie. The rock is the background to tell us a horror movie but also spiced with sex , ransvestism and above all a splendid tribute to the movies specially King Kong .
One couple strands in an old house full of weirdos . This movie (here between you and me)could have inspired for Tim Burton in Beetle juice .
In this decade there were great visuals films too . Sherman built a magnificent story absolutely free , intelligent and sarcastic, irreverent and bitter . You might state that Fellini's influence (dressed of english manners and clothes) is present all along the film .
Inmediatly after its release this one acquired the status of cult movie.

The original is still the best!
Don't bother with the play, or the music from the play. The original is still the best. Nobody can fill the shoes of Sarandon, Curry, etc. They originated the roles and have been associated with them for far too long for anyone else to come in try to change them so many years later and attempt to redo them. Stay with the best.

Those Gold Shorts!
Ahhhhh...Rocky had such a lovely outline showing in his gold lame shorts. ... Read more

Reviews (79)

"Hello, Dolly!"
Mrs. Dolly Levi is inarguably the most endearing film character I have ever encountered. She is beautiful, fashionable, clever, and humorous. One cannot help but wish that Dolly actually existed. Indoubtedly, I cannot imagine anyone other than Barbra Streisand playing the part of Dolly. Her stunning voice and captivating performance make "Hello, Dolly!" a truly wonderful movie.
Besides Streisand's amazing performance, this movie includes some wonderful songs and exciting dancing scenes. However, the dancing scenes do become a bit tedious and long.
What is "Hello, Dolly!" all about? It is the story of a widow who arranges an unimaginable amount of events and places. She assists a couple's elopement, two friends' trip to New York City, and a bored man's romance.
This film features other loveable characters, too, such as a head waiter in a posh restaurant, an orchestra conductor at the same restaurant, and a hatmaker who desires to be "evil."
I would highly recommend this romantic comedy to anyone. Although the dance and song scenes are too long, watch the complete movie. Streisand's performance is extremely wonderful and endearing.

Hello, Dolly! Barbra's best intentions
Only Streisand's second movie, filmed during the politically and meteorlogically hot summer of 1968, Ms. Streisand turns in a performance that could have won her first best actress Oscar, instead of the much better "Funny Girl," filmed in 1967. Why an Oscar? Streisand knew from the start that she was terribly miscast as the middle-aged widow, Dolly Levi. Opposite Walter Matthau, twice her age at the time, it's not a believable story. The Oscar comes from Barbra's totally tongue-in-cheek performance. She is not Dolly Levi, she's really Mae West, Fanny Brice, Brooklyn Barbra, even a twinge of pre-star Dolly Parton. Listen as Barbra throws in a little southern accent here and there. But mostly watch an incredible actress do what she can with a story so silly that by the end of the film, 26 year-old Streisand changes the supposed-to-be 50+ widow into one of the sexiest screen performances in film history. Even Matthau can't hold back his disbelief when watching Barbra do her numbers. When there's no Barbra on screen, there's no film. You watch in anticipation until Barbra's next scene, wondering who she'll be. The film looks like Gene Kelly directed it in three days with many technical flaws in the continuity of blocking scenes and dialogue. Just watch Barbra. Forget that she's the best female singer of the 20th century (no pun intended). Think of her as a young, sexy actress who has such energy, fearless ambition to get her movie career going. Of course, the sets are incredible and her duet with Louis Armstrong (his last film performance) is classic, albeit about two minutes long. Watch Barbra whisper under her breath while filming the dance numbers in The Harmonia Gardens with seasoned dancers. She looks like she's saying, "What the hell am I doing here?" Actually, she's making pure movie magic happen, almost impromptu. Movie: three stars, Barbra: Five plus stars. Nice to see Michael (Phantom of the Opera) Crawford pretend he can't dance. Barbra doesn't talk about this movie, but being the most costly musical in history up to that time, 20th Century Fox got their money's worth a million times over by convincing the apprehensive Barbra Streisand to star. Sorry Carol Channing, but Barbra was the best choice.

Elephantitis
Thornton Wilder's modest little play "The Matchmaker" has been blown up as big as a zeppelin in this out-of-control Streisand vehicle. A couple of songs had been added in the original musical conversion of the play on Broadway but this Hollywood monstrosity was never on Wilder's drawing board. The play had in fact been filmed ten years earlier with Shirley Booth, Paul Ford, Anthony Perkins and Shirley MacLaine in the leads. They should have left it at that. The original point of the story of the middle-aged Dolly Levi's pursuit of Horace Vander Geller is swallowed up here by the vast sets (the New York street set was one of the largest ever constructed and was forbidden to Paul Newman for "Butch Cassidy and the Sundance Kid" for fear "Butch" would reach the theaters before "Dolly") and interminable and generally idiotic production numbers. This must be some of the worst dancing ever filmed. Hard to believe a couple of Hollywood veterans like Gene Kelly and Ernest Lehman rode herd on this fiasco.

Tune Vs Crawford: Palpable Onscreen Tension
The tension that erupted between Tommy Tune and Michael Crawford whenever they were onscreen together in this fine film was delightfully electric. Their intramural competition propagated palpable intensity not really visible or audible (they had no exchange of dialogue) -- it was more a matter of pride between two spunky bachelors, a jousting of the male wills: Tune's learned dance talent meets Crawford's raw dance energy. Both portraying young men pursuing women in the movie, their performances conveyed much more deep and lusty a purpose between them, a cocksure attitude of stretched wide smiles and leggy high-hop dancing, a genuine duel of actors in their prime. Don't miss this one because, despite their competition, both Crawford and Tune emerged victorious and grand.

The Last of the Great Movie Musicals
By Streisand's own admission, she was too young in 1967 to have made a movie about an middle-aged woman making a personal "comeback"... and we all know how wonderfully different and marvelous the film would have been with Carol Channing... however, this does not take away from the fact that this is an incredible, lush, entertaining and musically rich film. The transfer to DVD is superb and crystal clear in picture and sound. The widescreen is anamorphic and color corrected. The only drawback is Walter Matteau's typical characterization which often detracts from the scenes he appears in, and his song "It takes a woman" is only saved by the beautiful setting and the male singers and dancers that accompany him. His voice really should have been dubbed by someone who could sing. Not to worry, Marianne McAndrew (who is stunningly beautiful) is a treasure in this film.... and her songs are wonderful (not sure if that is really hear voice, but its terrific). The sets are incredible and who wouldn't give anything to dine and dance at the Harmonia Gardens? The set designs, art direction, cinematography and costumes are exquisite. ... Read more

Amazon.com

Alferd Packer was the only man in the United States ever convicted of cannibalism--what better hero for fellow Coloradan and future South Park creator Trey Parker to celebrate in music? Blue-eyed and boyish Parker was still in college when he wrote, directed, composed the songs for, and took the starring role as the innocent young Packer in this film, giving a gee- whiz performance as an ambitious pioneer who joins an ill-fated trek west that ends up stranded in the mountains. At times resembling a perverse community theater parody of Rodgers and Hammerstein ("My heart's as full as a baked po-ta-to!"), Parker bounces back and forth between cheery production numbers and goony songs ("Let's build a snowman," sings one starving-mad hiker) and grotesque gore (bloody body parts, festering sores, human hors d'oeuvres). It lacks in style and consistency and the juvenile gags and fart jokes wear thin over the course of a feature film, but Parker's sheer energy and inventiveness carry the overlong picture to a rousing conclusion. Regular Parker collaborators Matt Stone and Dian Bachar costar in this tuneful barbecue. --Sean Axmaker ... Read more

Reviews (157)

it made me hurt
This has to be one of the most hysterical movies I've seen in a long time. Trey Parker and Matt Stone filmed this one during one of their Spring Breaks while they were still in college. It's loosely based on a true story of a man tried and convicted of murdering and eating his counterparts on the way through the Rockies. The acting is terrible. The cinematography stinks. The beginning credits take a year to get through. It's so bad it's good. Troma was smart to snatch up this gem.

The extra stuff on the DVD is FANTASTIC. The commentary is worth the price of the disc alone. You watch the move, then watch with the commentary. I laughed just as hard (if not harder) through the comments as I did through the movie itself.

The original songs are catchy, witty, and all written by Trey and performed by the cast (for the most part). You'll end up singing/humming them for days after you watch it. I have been for months, now. I made a friend of mine sit down and watch it with me for the first time. She's not the type to like Trey and Matt's humor - she went home (Australia) and bought the sound track. "I think I know precisely what I mean, when I say, 'It's a shpadoinkle day!'"

WHO KNEW CANNIBALISM COULD BE A TOE TAPPIN GOOD TIME!!
Writen and directed by Trey Parker and starring some of his friends from college, starts off as rumors and gossip of what happened on that faithful day when Alfred Packer (Trey Parker,titled under Juan Schwartz) was convicted of cannibalism. But with the help of reporter Polly Pry (Toddy Walters) you see Alfred's story.
Packer along with James Humpries(Matt Stone), George Noon(Dian Bacher), Shannon Bell (Ian Hardin), Isreal Swan(Jon Hagel) and Frank Miller(Jason McHugh), leave Utah to find gold and happiness in the Colorado Territory. Instead they get lost, battle the snow and the cold, and nearly starve to death.
Along the way they run into some crazy Indians( the Chief should look familar to Orgazmo fans (Maseo Maki)). and some very pesky trappers O.D. Loutzinheiser(Ted Henwood),Frenchy Cabazon(Robert Muratore), Preston Nutter(Andy Kemler).
Trey also brings in some laughs and sight gags you have to really look for ( ie. Bell is reading the book Homers Odyssey and later on in the movie you see a Cyclops).
The DVD offers alot of menus, such as Interviews with Trey, Matt, and Jason. Behind the scenes footage, A very funny commentary by Trey, Matt, Jason, Dian and Andy while becoming more and more inebriated off of scotch and much...much....more.
The sound is a bit poor in spots and the make-up is.....well..is just bad(ie..the beards)(but keep in mind that these are college students) and I consider the poor make-up as funny as the actual movie (My favorite is Trey's immitation of Abe Lincoln).
The music is great -some of the best is"Shpadoinkle Day"(also is used at the very end of each south park episode, so it should sound a bit familar). "The Trapper Song" done by the Trappers( Robert, Andy, and Ted) and "Lets build a Snow Man" are just a few, and are some of my favorites.
Also don't miss Trey Parkers dad Randy Parker as Judge Jerry and Matt Stone dressed in drag (towards the end of the movie).
Over all this movie is great, yes, it has it's moments when it's just hanging there but if you get this DVD the drunk commentary is worth it alone!!!!!

A Rough Start
As an enormous fan of Trey and Matt's work from Orgazmo, to Basketball, to South Park, I can't say I was disappointed with this movie, but I can't say I was satisfied either. There are a few amusing moments. The humor is very much that unique, quasi-satirical comedy that Trey and Matt are know for. The problem is that they had yet to perfect it when this movie was made.

If you keep in mind that this was a very early attempt a movie-making for two hilarious individuals, you'll feel content. Don't expect much more. If they could edit 30min out of this movie it would be infinitely more entertaining. As it stands, it seems to run on for days.

Dumb..... in a really, really good way
This movie is stupid. It is also one of the funniest dang DVDs you'll ever buy. One man's "stupid" is another man's comic genius! So call it what you want, but you'll laugh your butt off. The songs are lively, fun and catchy, and Parker's trademark dry humor is dished out in generous doses in scene after hilarious scene.
And then you get to the commentary track. Rather than the pompous comments and butt-kissing you get with other filmmaker's commentaries, here you get to listen as Parker, Stone, and various other cast members promptly get drunk and tell silly anecdotes, make fun of each other, and alternately praise/insult their former co-stars and crew.
Have fun! "Let's build a snowman..."

P.S. Minor quibble: Alfred Packer was NOT "the only man ever convicted of cannibalism". He was convicted of manslaughter. There was (is?) no law against cannibalism.

Fudge, Packer?
Trey Parker takes the milk-toast, wholesome feel of an Oklahoma-style Musical and, with a nudge and a wink, uses this format to tell the true story of starvation, murder, and CANNIBALISM on the old frontier. The result is insanely funny.

The music is dead-on. Parker is a damned good commercial composer/musical satirist. His uncanny ability to nail any style and then accentuate certain aspects and mock that style is featured in this movie, as well as his Southpark series, and most convincingly, in "Southpark: Bigger Longer and Uncut." But let me tell you, these songs are really funny. The Trappers song always has me gasping for air. "Let's Build a Snowman," is one of the funniest moments in any movie that I can recall.

Several of the scenes in this movie are of the "so funny it hurts" variety. The funniest scene in the movie is also the goriest. I have never seen gore and humor come together like this. You should know which scene I am talking about and I don't want to spoil it. This scene is Monty Python-at-its-best-funny and that my friends, is really friggin funny. ... Read more

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 (24)

Overlong, but worth seeing
Original little gem about love, hypnosis, and reincarnation all queezed into the package of a bright, colorful musical. Yves Montand plays a college professor who begins hypnosis treatment on Daisy (Barbra Streisand) in order to help her stop smoking. While under, he discovers she lived a former life as a 19th century vixen who was stood up by her husband and beheaded for treason. The doctor slowly falls in love with the woman of the past, while, in the present, Daisy (unaware of her former exsistance) falls in love with him.

Big-budgeted film was a box office flop when first released, but it's actually pretty enjoyable. The offbeat story line and the public's sudden lack of interest in musicals are the probably the main reason for the film's failure.

As a Barbra Streisand fan I must say that she is great even though this film is far from her best. She is adorable as Daisy and divinely sensual as the gold digger from England that she ecomes once hypnotized. Montand is a little too stuffy and mechanical as Dr. Charbot, but he and Streisand do share some chemistry.

Streisand's good, Montand is acceptale, but on the whole the movie is was too long and even a bit forced at times. Still, it worth seeing. The costumes and sets are beautiful, the ending is sweet, and there are some great songs.

Bottom line: the movie's cute, often funny, occasionally silly and sometimes moving.

Wonderful Movie the Whole Family Can Enjoy!
This has always been one of my favorite Barbra movies. ESP and reincarnation might be old hat now, but back in 1970 they were hot topics and you could count on controversy when they were discussed. I don't care much for Yves Montand, but the guy that plays Robert is very fine, even as a fine young dandy from 200 years ago! I've heard all about this movie from different sources over the years, and I think it's wonderful that Barbra was pregnant during the filming (you'd never know), that she was allowed to keep the clothes, that she played the part at cost instead of an increased fee (just after Funny Girl), and that she wasn't even the person the film was written for, but Audrey Hepburn. Again, this is an enjoyable film--remember it's a musical and the songs are very catching, don't be surprised if you find yourself humming one of the songs after you've seen the movie!

WIDESCREEN DVD PLEEEEESE !!!!!
This beautiful little gem needs to be on DVD period. The color is absolutely fabulous, the costumes beautiful. It's a colorfull cleaned up snip-et of 60's style. My favorite Barbra Striesand musical. And for those of who believe in re-incarnation or even just like to toy with the concept it is enjoyable fun.

Barbara is simply Marvy! Damn the pretentious Frenchman!
A great movie directed by a fantastic director. All this and more made in spite of Paramount's choice for one of the century's most horrid leading actors. Two words..."Yves Montand" I would certainly like to know who was responsible for telling Yves that he could act. Luckily for us, Barbara's comedic timimg and on screen presence distracts us from Yves witty droll and cardboard persona. Much of the films salvation has to be given to the credit of Vincente Minnelli, who has directed many wonderful & memorable movies such as "Meet me in St Louis" It is also a wonderful treat to see a young and handsome (yes I said handsome.. if you can believe that) Jack Nicholson who plays one of Daisy's neighbors. What's most intresting about Jack's character, is that there was a sense of ambiguity about his sexual orientation. A definite first for the Jackster! I give this movie 5 stars even though Yves is in it. The story, art direction and musical numbers are just fabulous. Besides we all know that anyone who buys this movie, certainly isn't purchasing it on account of the leading man. Now when is Paramount going to release this on DVD? Hello? Paramount? Are you listening? Hello? Is anyone awake over there?....

"Is anything else comin' off?"
This was one of the very last of the lavish screen musicals to be made in the classic mode, and, by the time of it's early 1970 theatrical release, it already seemed tired and dated. This is why it is somewhat shocking that, when viewed today, ON A CLEAR DAY is not only tremendously entertaining, but that it's also possibly the most underrated film of both director Vincent Minnelli and star Barbra Streisand. The film's reincarnation theme was pretty cutting-edge back in the early-seventies, and it still feels unique even today. The film received fair-to-negative reviews from critics at the time, and even though it proved to be a modest hit at the box office, it has been long forgotten by the general public, and it even goes unlisted on many of Streisand's selected filmographies. This is a shame, for Streisand's highly impressive dual performance may prove to be a revelation for some of her admirers and critics alike.

Like the film itself, Streisand is at her very best in the film's frequent flashbacks. Not only does she look absolutely beautiful as Melinda in Cecil DeVille's many elaborate costumes, but her Regency- era poise and accent are completely flawless. However, the film isn't absolutely perfect. Though Streisand's gives one of her most likable performances as kooky Daisy (her character's present-day incarnation), her "modern-day" wardrobe is a little too extreme. I realize that the costume designers wanted to draw a sharp contrast between Daisy and Melinda, but they went a little too far and ended up making Daisy look too buffoonish. They didn't need to go to such lengths with her garish "contemporary" wardrobe - Streisand's convincing performance alone is enough to make the contrast believable. Yves Montad is acceptable in his role - I don't believe he really deserved all of the criticism that he's received over the years, yet I do find his performance to rather stiff, and am convinced that many other actors could have done more with the part. Jack Nicholson, Bob Newhart, and John Richardson appear in small supporting roles, but they all feel rather underused.

However, there's something about the Streisand-Minnelli pairing that seems to have brought out the best in the two legendary talents. The flashback segments in particular provide the perfect showcase for Minnelli's imaginative visuals, and these are also the very scenes that allow Streisand to stretch the most as an actress. In particular, the "Love And All The Trimmings" sequence is easily one of the best moments that Minnelli ever captured on film, and Streisand has rarely been more intensely seductive than in this one sequence. Score-wise, the soaring title song is the only real classic of the eight Lenner-Lowe compositions, but a few of the others (the comic "Go To Sleep," the gorgeous "He Isn't You") are nearly as great. Bottom line: ON A CLEAR DAY is a film that's usually funny, sometimes touching, and always inventive and enjoyable. It's undervalued gem if there ever was one. ... Read more

Amazon.com essential video

Hollywood's legendary "woman's director," George Cukor (The Women, The Philadelphia Story), transformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical. Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins (Harrison also played the role, opposite Julie Andrews, on stage), who draws Eliza into a social experiment that works almost too well. The letterbox edition of this film on video certainly pays tribute to the pageantry of Cukor's set, but it also underscores a certain visual stiffness that can slow viewer enthusiasm just a tad. But it's really star wattage that keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night." Actor Jeremy Brett, who gained a huge following later in life portraying Sherlock Holmes, is quite electric as Eliza's determined suitor. --Tom Keogh ... Read more

Reviews (156)

An Excellent Adaption of One of Broadway's Best
One of the classics of the American musical theater, "My Fair Lady" is brought to us with amazing grace and sensitivity by legendary dirctor George Cukor. This musical has it all: a classic score by Lerner and Loewe (including "I Could have Danced All Night," "The Rain in Spain," and "Get me to the Church on Time"), an interesting story, and great characters. Rex Harrison proves to be nothing less then supurb as Henry Higgens, the speach teacher who vows to "never let a woman in my life," but finds himself falling for flower girl Eliza Dolittle. The supporting cast is in top form, with special mention going to the hysterical Stanley Halloway as Alfred P. Dolittle, the charming Wilfred Hyde-White as Pickering, and Jeremy Brett as Freddie. My on real complaint is Audrey Hepburn, who plays Eliza. While she is far from bad, Miss Hepburn has no voice, and I can't stand it when they use another actress to dub the voice of a star. Why can't they just hire a singer in the first place? The part should have gone to Julie Andrews (who originated it on Broadway). All in all, agreat film for the whole family. Check it out!

For the most part, excellent.
First, the wonderful score. Frederic Loewe's glorious music is perfectly complimented by Alan Jay Lerner's lyrics, as on the Broadway and London stages, and almost every song is memorable and great. Second, the gloriously witty script, filled with great lines, many taken directly from Shaw, on whose play "Pygmalion" this was based, and sharp commentary on Britain's class system. Third, the all-around wonderful performances, from Rex Harrison's arch, arrogant, gleeful Henry Higgins to Audrey Hepburn's charming but unrefined flower girl who becomes a sophisticated (and stunning-looking) lady, to Stanley Holloway's lovable amoral father of Hepburn, to Wilfred Hyde-White's Colonel Pickering, to Gladys Cooper's Mrs. Higgins, just as acerbic as her son. Fourth, the much-lauded stunning look of the film, with gorgeously stylized costumes by Cecil Beaton and fine sets by Beaton. All the ingredients are there for a great film, and under George Cukor's direction, that's pretty much what you get.

And yet, the film is noticably flawed. Hepburn, while charming and, of course, stunningly dressed, does not give a bad performance by any means; it's just that she's not overwhemingly sympathetic. And her voice double, Marni Nixon, has a lovely voice, but doesn't really put any emotion into her songs, forcing that ever-present question to re-emerge: Would Julie Andrews, the Broadway and London Eliza, have been a better choice? Also, Nixon and Hepburn really do not sound alike, which is slightly annoying. (Nevertheless, most of Nixon's songs, especially "I Could Have Danced All Night," do come off well, and if Andrews had been cast, there'd be no "Mary Poppins") "On The Street Where You Live," which I consider the best and most beautiful song in the score, is given a rather flat reading by Bill Shirley, the voice double for actor Jeremy Brett; it is the only song in the movie that is truly forgettable, but that is Shirley's fault entirely, NOT Lerner or Loewe's. Too bad. And yes, the movie is a bit long. But overall, it's a vastly entertaining, enjoyable, romantic, and great experience, just not without flaw. But, oh, well.

How do you do? And which DVD version to buy ...
MFL is a marvellous film about a professor who turns a common flower girl into a lady. It is full of sing-a-long songs and funny moments. It is basically a classic for all the right reasons! Plenty of re-watch factor makes it a film to own.

In 1994, the film was restored and thank the lord they did! The film's negative was almost lost forever. In fact, the film hade had become yellow-tinged and full of scratches, blotches and all the rest! It would have been a very sad day for the movie industry if a flim like this had been lost.

The original DVD that featured this new restoration was released in the late 90's. This DVD included a 9 minute featurette, actor profiles, audio commentary, and Audrey Hepburn singing in 2 scenes.

This original 1-disc DVD has since been updated to a special 2-Disc Edition. Which one to get? I have both so I feel qualified to answer this. The new DVD includes all the features found on the original DVD, except the actor profiles. The new DVD once again includes the restored print but is apparently a new transfer from the restored print. However, according to a report that I have read, the new transfer is not perfect and has aliasing problems throughout. However, the average watcher won't pick up on this detail. If this is an issue to you, purchase the original edition DVD where the transfer has been given two thumbs up! One has to wonder why they bothered transferring a second time.

The advantage of the special 2-Disc Edition DVD is that it includes a 58 minute 1994 documentary hosted by Jeremy Brett (Audrey's love interest in the film). Jeremy is no longer with us, so it's nice to have this as a piece of nostalgia. ON top of this, there are many more features on this disc that aren't included on the original DVD such as footage from the film's premiere, production dinner, as well as discussions with Rex and Audrey.

The choice is easy. If you're a fan of the film and don't care for all the extras, buy the original DVD. You at least get the best transfer. If you do care about having all the extras, buy both!

It's Loverly
The music from "My Fair Lady" makes it easily one of my favorite musicals with "I could have danced all night", "Wouldn't it be Loverly?", "The Street Where you Live", and Stanley Holloway's rousing showstoppers "With a Little Bit of Bloomin' Luck" and "Get me to the Church on Time".

It's well chronicled how much gnashing of teeth surrounded the Hollywood decision to leave out the then-unknown Julie Andrews, who was the new toast of the stage as Eliza Doolittle, and instead cast the more bankable Audrey Hepburn. Hollywood rewarded Ms. Andrews with "Mary Poppins" and an Oscar, and although I'd love to have seen Julie Andrews in this role, 4 decades later I can't complain about Audrey Hepburn.

Rex Harrison's reprises Henry Higgins from the stage, and I frankly can't think of another actor who would bring the same English Arrogance and tongue-in-cheekiness to the role. The interactions between Harrison, Hepburn and Wilfred Hyde-White as Colonel Pickering, especially in the early part of the film, are witty, entertaining, and move the narrative right along without pausing for exposition. The Higgins character is a cad, very full of himself, and he makes the mistake of treating those he feels are socially inferior poorly. The Colonel Pickering character acts as a surrogate for the audience, observing the educated but pompous Professor Higgins and allowing us to feel not TOO badly that poor Eliza has come under the influences of Higgins.

Stanley Holloway recreates Alfred P. Doolittle, Eliza's father, from the stage, and although his character has as many moral deficiencies as Professor Higgins (at one point he shows up at Higgins doorstep hoping to extort money from Professor Higgins for "shacking up" with Eliza) and is much less educated and with a much lower social standing, he is nonetheless a "good ol' bloke" and his moments in the film are among the most memorable, especially the previously mentioned show-stopping musical numbers.

The final act feels a little soap-opera-ish between Jeremy Brett as Freddy fawning over Eliza and Professor Higgins beginning to appreciate her fine qualities at the same time. This portion produces two of the finer musical moments as Freddy sings "On The Street Where You Live" and Higgins croons "I've Grown Accustomed to Her Face".

Since George Bernard Shaw died in 1950 it's purely speculative to wonder what he'd have thought about the production of his Pygmalion story. I'm guessing he'd have liked it. If you like musicals, I'm guessing you will too. Enjoy.

2-disc or not two discs
WARNING: All the five stars refer to the movie itself, and does not address the issue of whether paying for the second disc is a rip-off. Five stars for the single disc version was richly deserved. I had half expected the 2 disc version to have DTS since they shifted virtually all the extra features from disc 1 to disc two. The only thing left on disc 1 was the movie, same commentary, same subtitles and audio track. For some inexplicable reason, the single disc version was among the Amazon top 100 discs in 2002 for some time, although it has been
out since the mid-1990s. Amazon's editor was correct when he said the main attraction of the 2nd disc was the 58 minute Documentary hosted by Jeremy Brett. That is about all, folks, and it was a pretty boring documentary. A concise version of this documentary would be "The Fairest Fair Lady" which is already in the single disc version.
You already have the AUDREY HEPBURN VOCALS in the single disc version. The rest of the stuff in disc 2 is usually given away FREE, like in Gladiator, Last Samurai, Master and Commander, where one viewing of the stills is more than enough.
Now, the sellers of disc 2 have actually REMOVED the CAST AND CREW section from the one disc version. This Cast and Crew with filmographies and biographies contain a huge chunk of valuable information including the fact that Audrey's given name was Edda, not Audrey. Do not throw away your one disc version. If you bought the 2 disc version, you might want to buy the single- disc version to find out where Audrey Hepburn was born, won the Oscar and got nominated. What were the other actors like Wilfred Hyde-White doing other than My Fair Lady.
I tell you what I like about the 2 Disc version:
1. the interviews with Audrey Hepburn and Rex Harrison at the 1963 production Kickoff Dinner, with a couple of jokes from Mr Warner.
2. George Cukor directing Baroness Rothschild: a Henry Higgins coaching Eliza Doolitle parody. The audio track ran for only a few minutes, and I had a new found respect for Directors. Even a Baroness needs lessons in elocution. When I watch the movie again, I will imagine George Cukor speaking using the actors and actresses as his instrument. So that is how Cukor's actresses got their Oscars.
3. The Los Angeles Premiere in B&W is a few minutes of interesting distraction.

The rest of Disc 2 is really scraping the floor of the store-room. For those who already own the single disc edition, and do not have disposable income to burn, get the 2 disc edition of the TEN COMMANDMENTS instead. For the price of 5 commandments (about half the price of the 2 disc My Fair Lady), you will get more than double the info, making it look like "the TWENTY COMMANDMENTS". That is where a second disc is not a money making exercise: thou shalt not steal from gullible dvd buyers.

Rex Harrison Golden Globe Acceptance is a clip from the Andy William's show, where he apologised for not being at the real event, so he accepted it on AW's show. Shame.

Academy Awards Cermony Highlights: just one minute or less of Mr Warner accepting the oscar for best picture.

So two stars for the additional info on disc two. I would buy anything remotely related to my favourite musical, but if I were to search my heart for value added, I would say two extra stars is very very generous. Now, if ever they come out with a DTS version, we will have to throw the whole TWENTY COMMANDMENTS at this bunch of crooks.
Do you really need Martin Scorsese and Andrew Lloyd Weber's comments to supplement your own? ... Read more

Reviews (102)

One of the funniest and darkest comedy/musicals of all time!
There's never been a movie like "The Little Shop of Horrors" before, and there probably never will be. The film it resembles the most is undoubtedly "The Rocky Horror Picture Show," but I find it cleverer, funnier, and more enjoyable than that movie, if still as sick in its own twisted little way.

The movie stars Rick Moranis in the role he was born to play: that of a geeky and timid New York City kid named Seymour, who works at a crummy florist shop way downtown along with Audrey (Ellen Greene), a blonde gal who sounds as if she's sucked in too much helium. Seymour is too shy to confess his love for Audrey, and his only way of dropping a hint is when he finds a mysterious plant at another flower shop and names it Audrey II. "I hope you don't mind," he tells her, and then he drops it by the front window of the store in hopes of drawing customers.

It does. The first customer (Christopher Guest) enters with a cheerfully stupid grin and buys $50 worth of roses. "Do you have change for a hundred?" he asks. They don't. "Oh, well, then I guess I'll just have to buy one hundred dollars' worth!"

Business starts to boom, and the plant starts to bloom, turning into a ferocious man-eater that demands a sacrifice of human blood from Seymour to crave its hunger. After a few weeks, Seymour is bone dry, unable to slice any more fingers open and feed his gargantuan plant. "Feed me, Seymour!" the talking plant bellows.

Audrey has a new boyfriend who has been beating her up. He's a dentist, played by Steve Martin, and as he puts it, "I have a natural talent for causing people pain!" He likes to cause people intense pain, walking through his dentist's office and purposely knocking orderlies in the face with door handles and pulling teeth without applying sedatives. "Wait! I'm not numb!" a customer shouts during an introductory song. "Eh, shut up, open wide, here I come!" his dentist yells, starting to drill away.

Steve Martin has played a dentist since, in the undoubtedly lesser but unjustly bashed "Novocaine" (2001). His outing as a pain-driven dentist in "The Little Shop of Horrors" is ten times better, and Martin is truly the highlight of the entire film, from the point when he is introduced riding his motorcycle to the job with a leather jacket (only to strip it off and reveal a white dentist's coat as he enters his office), to the part where Seymour enters his office with a gun in hopes of killing him and feeding him to his plant. Martin doesn't get what's going on, because he's wearing a comedically oversized laughing gas mask he invented that's making him chuckle like a moron. "What are you gonna do? Shoot me? Ha!" The laughing gas kills him before Seymour musters up the emotional strength to.

Seymour drags the dentist's dead body home, chops him up and feeds him to Audrey II, but this is only the start of his worries, because soon the media frenzy centered around the wonderfully odd plant starts to drive him to insanity, as he desperately tries to juggle between keeping a clean conscience and keeping away the media.

Then Audrey II reveals its true intentions - to take over the world with its offspring - and Seymour decides that it's time to stop Audrey II before it gets too far.

"The Little Shop of Horrors" is such a wonderfully offbeat comedy it's almost impossible to dislike. It's one of my favorite comedies, the type of odd little film that doesn't promise to be very much at all but provides a lot.

Frank Oz directed the film (based on Roger Corman's classic), and it was filmed on a visibly low budget, but that's okay, because it's supposed to be that way. It's part of the fun. All the stages are obviously just that, with poorly painted backgrounds of New York City and the skyline. You can literally see the cracks in the wall where the different stages meet with each other. And it's great! It makes the movie, and the movie knows it isn't anything special. At one point, Audrey has a dream sequence of living in a nice little Brady Bunch home, and we see Seymour cutting the lawn with a lawnmower. It's so cheesy and fake that it barely meets the quality standards of a children's television show - but, once again, it helps makes the movie.

The movie has tons of cameos, too, including James Belushi, John Candy, Christopher Guest, Bill Murray, et al. And if the guest stars, dark humor, and delightful direction don't interest you, perhaps the songs will - because many of them are quite good. The highlight is "Suddenly Seymour," in which Seymour and Audrey have a duet, and Audrey's voice suddenly turns from meek to booming, overpowering Seymour's lyrics and pounding the stage.

This is the definition of a cult film. Everything about it just strikes you as a cult film. But whereas "The Rocky Horror Picture Show" is a cult film for - in my opinion - sick people, "The Little Shop of Horrors" is a cult film for people who love comedy. It's all in good nature, with cheery little musical numbers every once and a while that are as funny as the songs in "The Blues Brothers," if not more so. But what makes the film particularly different from the rest is its deliciously dark humor - especially for a mainstream comedy like this. From the plant's adamant bloodlust to the shadowy image of Steve Martin slapping Audrey around behind a backlit stage prop, this is one of the funniest, darkest, and yet also cheerfully lightweight comedies ever.

What a Great Film it Could Have Been
Little Shop of Horrors is the definitive modern musical comedy. The music, as written by Alan Menkin, is melodic and beautiful, with some of the best lyrics in recent memory. The pacing is quick, with sharp directing by Frank Oz and great comedic performances by Steve Martin, Ellen Greene, and Rick Moranis (and the very over-rated Bill Murray, in a painfully extended cameo as a masochistic dental patient). The film knows that it isn't art, or thought-provoking, which is what keeps it from being truly campy. But what prevents it from being great is the extremely controversial, oft-discussed original ending.
In the play, Audrey and Seymour are eaten by Audrey II, and the Greek Chorus sings a cautionary song to the audience. In the movie, Audrey survives, Seymour electrocutes Audrey II, and they all live happily ever after. It wasn't always so, however. Oz had filmed the play's ending, but in test screenings, the audience was angry and appalled, so Oz opted to reshoot the film for the ending as it is.
In 1998. a Special Edition DVD was released with a VERY rough cut of the original ending, but it was pulled from the shelves by the producer after only two days. A second release DVD came out in 2000, sans original ending. The first issue DVD has become a collector's item of the highest degree, often selling at online auction sites for upwards of $100.
Well, I own that first issue DVD, and having seen what the film could have been, I can't rate it higher than 3 stars. In that ending, Audrey's death is handled with dramatic emotion now absent from the film, never playing for laughs. There is a breathtaking Death March (Now available on the New Broadway Cast Album) as Seymour carries her body to Audrey II. Seymour undergoes a psychological spiral within minutes, before being devoured by the plant. And during the finale, "Don't Feed the Plants," many enormous Audrey II's are shown wrecking havoc on a devastated New York City, blowing up cinemas, eating trains, and crushing the very symbol of our country, the Statue of Liberty (sort of). Had this ending been used, the film would have been a memorable masterpiece, but as is, it is merely a forgetable (if enjoyable) musical flop.
It's a shame Frank Oz surrendered his vision to please the people. I can only imagine what the ending would have been like in full technicolor on the big screen.
Let's hope for a 20th Anniversary Deluxe Edition DVD in 2006 with a re-edited film containing the original ending, as promised by the producer when he had the disks puled from the shelves.
Little Shop of Horrors is a fun film, if not for younger audiences. If you have 90 minutes to spare and are a fan of musical theatre, check out this modern classic-that-should-have-been, about a singing plant, a daring hero, a sweet girl, and a demented dentist.

Mean, Green and Mad!
Can you imagine Barbra Streisand in this film as Audrey? Although everyone familiar with this movie (and stage musical) immediatly sees Ellen Green in the part, we find out from the documentary on this disc that Babs was offered the role first. Thankfully she wasn't interested.
The film itself is the best stage-to-screen musical adapt. since Grease and none (even Chicago) have since come along to beat it. The music by Alan Menken and the lyrics by the late, great Howard Ashman are fantastically intertwined to evoke laughs as much as the required early-1960's atmosphere. This talented duo went on to score Disney's The Little Mermaid, Beauty and the Beast and (in part, due to Ashman's death) Aladdin. When listening to Little Shop's Somewhere That's Green it's easy to see where Mermaid's Part of Your World came from.
The cast are uniformly excellent and succeeded in making their parts their own (meaning that any production now seen on stage features clones of Moranis, Green, Martin etc.). Rick Moranis as Seymour seems to have been born to play the part and his singing voice comes as something of a revelation! Green, as I have already said, IS Audrey but Steve Martin just about manages to steal the entire film from all of them in an extended cameo as Orin the sadistic dentist. Other cameos include James Belushi, John Candy and (brilliantly) Bill Murray.
Audrey II (the plant) is a wonder of engineering and puppetry and watching the film now, I couldn't help but think that if this movie was made today Audrey II would be CGI - impact lost! Thank goodness then, that Frank Oz, director and some-time Muppet-man, gathered a group of talented people together to create a truly startling character. Although the character would be nothing without Levi Stubbs so wonderfully providing his voice.
Wisely it was decided to change the ending from the stage shows bleak (and, frankly, poor) conclusion to a more up-beat and 'Hollywood-style' finale. The original ending is glimpsed in the all-too-short deleted scenes section of this disc, as a couple of Audrey IIs attack a building, but it would have been nice to see the scene in tact perhaps with an option to swap it for the actual ending when watching the film. Also the inclusion of 'Mean, Green Mother' really helps the second half of the film which sadly sags in the show due to the absence of such a show-stopping number.
The 'making of' was made of the time and so is light and fluffy. I would have prefered a little more depth on the realisation of Audrey II. The trailers are worth watching - mini masterpieces of campy kitch but Oz's commentary is a little on the ponderous side.
So, in conclusion, the extras are acceptable if a little dull, but who needs extras when the film is as thoroughly enjoyable and toe-tapping as this! Just remember: - whatever they offer you - don't feed the plants.

Fun, Fun and way out fun!
This off beat musical comedy is too fun, too sick and just plan rolicking for words!

The cast is perfectly matched to each character, the do wop Motown ala Crystals combined with Levi's rock out bass as "da plant" draws you onto the screen!

One for today's generation, sophisticates and those who want to really enjoy a musical - when it's over, all you want to say is "Wasn't that a lot of fun!"

Rent it, buy it, but ENJOY it.........

Oz & Corman-Fabulous Musical With TONS OF SURPRISE CAMEOS!
Frank Oz's masterpiece of Roger Corman's B- Schlock Horror movie of the same name. Originally produced off broadway, it had a very successful run. So... What is Hollywood to do but make it into a blockbuster with big name stars and cameos.

Ellen Greene as the plucky Audrey, who also played the part on stage, Steve Martin as the sado-masochistic Dr. Orin Scrivello, DDS, Rick Moranis as the milquetoast Seymour, Vincent Gardenia as the crusty Mr. Mushnik & the voice of Levi Stubbs as the people-eating, mean green mother from outer-space, Audrey II.

Bill Murray has a hilarious cameo as Arthur Denton, the pain loving dental patient. He screams CANDY BAAAAR whilst the dentist inflicts pain upon him! John Candy cameo as the radio announcer, Wink Wilkinson, Jim Belushi as Patrick Martin, Christopher Guest as the first flower shop customer.

Great musical numbers from all, especially Ellen Greene who has one of the best set of pipes EVER!

Great family movie with only mildly irreverent language.

Happy Watching! ... Read more

Description

Award winning movie about a snobby phonetics professor who agrees to a bet that he can take a flower girl and turn her into a high society women. ... Read more

Reviews (156)

An Excellent Adaption of One of Broadway's Best
One of the classics of the American musical theater, "My Fair Lady" is brought to us with amazing grace and sensitivity by legendary dirctor George Cukor. This musical has it all: a classic score by Lerner and Loewe (including "I Could have Danced All Night," "The Rain in Spain," and "Get me to the Church on Time"), an interesting story, and great characters. Rex Harrison proves to be nothing less then supurb as Henry Higgens, the speach teacher who vows to "never let a woman in my life," but finds himself falling for flower girl Eliza Dolittle. The supporting cast is in top form, with special mention going to the hysterical Stanley Halloway as Alfred P. Dolittle, the charming Wilfred Hyde-White as Pickering, and Jeremy Brett as Freddie. My on real complaint is Audrey Hepburn, who plays Eliza. While she is far from bad, Miss Hepburn has no voice, and I can't stand it when they use another actress to dub the voice of a star. Why can't they just hire a singer in the first place? The part should have gone to Julie Andrews (who originated it on Broadway). All in all, agreat film for the whole family. Check it out!

For the most part, excellent.
First, the wonderful score. Frederic Loewe's glorious music is perfectly complimented by Alan Jay Lerner's lyrics, as on the Broadway and London stages, and almost every song is memorable and great. Second, the gloriously witty script, filled with great lines, many taken directly from Shaw, on whose play "Pygmalion" this was based, and sharp commentary on Britain's class system. Third, the all-around wonderful performances, from Rex Harrison's arch, arrogant, gleeful Henry Higgins to Audrey Hepburn's charming but unrefined flower girl who becomes a sophisticated (and stunning-looking) lady, to Stanley Holloway's lovable amoral father of Hepburn, to Wilfred Hyde-White's Colonel Pickering, to Gladys Cooper's Mrs. Higgins, just as acerbic as her son. Fourth, the much-lauded stunning look of the film, with gorgeously stylized costumes by Cecil Beaton and fine sets by Beaton. All the ingredients are there for a great film, and under George Cukor's direction, that's pretty much what you get.

And yet, the film is noticably flawed. Hepburn, while charming and, of course, stunningly dressed, does not give a bad performance by any means; it's just that she's not overwhemingly sympathetic. And her voice double, Marni Nixon, has a lovely voice, but doesn't really put any emotion into her songs, forcing that ever-present question to re-emerge: Would Julie Andrews, the Broadway and London Eliza, have been a better choice? Also, Nixon and Hepburn really do not sound alike, which is slightly annoying. (Nevertheless, most of Nixon's songs, especially "I Could Have Danced All Night," do come off well, and if Andrews had been cast, there'd be no "Mary Poppins") "On The Street Where You Live," which I consider the best and most beautiful song in the score, is given a rather flat reading by Bill Shirley, the voice double for actor Jeremy Brett; it is the only song in the movie that is truly forgettable, but that is Shirley's fault entirely, NOT Lerner or Loewe's. Too bad. And yes, the movie is a bit long. But overall, it's a vastly entertaining, enjoyable, romantic, and great experience, just not without flaw. But, oh, well.

How do you do? And which DVD version to buy ...
MFL is a marvellous film about a professor who turns a common flower girl into a lady. It is full of sing-a-long songs and funny moments. It is basically a classic for all the right reasons! Plenty of re-watch factor makes it a film to own.

In 1994, the film was restored and thank the lord they did! The film's negative was almost lost forever. In fact, the film hade had become yellow-tinged and full of scratches, blotches and all the rest! It would have been a very sad day for the movie industry if a flim like this had been lost.

The original DVD that featured this new restoration was released in the late 90's. This DVD included a 9 minute featurette, actor profiles, audio commentary, and Audrey Hepburn singing in 2 scenes.

This original 1-disc DVD has since been updated to a special 2-Disc Edition. Which one to get? I have both so I feel qualified to answer this. The new DVD includes all the features found on the original DVD, except the actor profiles. The new DVD once again includes the restored print but is apparently a new transfer from the restored print. However, according to a report that I have read, the new transfer is not perfect and has aliasing problems throughout. However, the average watcher won't pick up on this detail. If this is an issue to you, purchase the original edition DVD where the transfer has been given two thumbs up! One has to wonder why they bothered transferring a second time.

The advantage of the special 2-Disc Edition DVD is that it includes a 58 minute 1994 documentary hosted by Jeremy Brett (Audrey's love interest in the film). Jeremy is no longer with us, so it's nice to have this as a piece of nostalgia. ON top of this, there are many more features on this disc that aren't included on the original DVD such as footage from the film's premiere, production dinner, as well as discussions with Rex and Audrey.

The choice is easy. If you're a fan of the film and don't care for all the extras, buy the original DVD. You at least get the best transfer. If you do care about having all the extras, buy both!

It's Loverly
The music from "My Fair Lady" makes it easily one of my favorite musicals with "I could have danced all night", "Wouldn't it be Loverly?", "The Street Where you Live", and Stanley Holloway's rousing showstoppers "With a Little Bit of Bloomin' Luck" and "Get me to the Church on Time".

It's well chronicled how much gnashing of teeth surrounded the Hollywood decision to leave out the then-unknown Julie Andrews, who was the new toast of the stage as Eliza Doolittle, and instead cast the more bankable Audrey Hepburn. Hollywood rewarded Ms. Andrews with "Mary Poppins" and an Oscar, and although I'd love to have seen Julie Andrews in this role, 4 decades later I can't complain about Audrey Hepburn.

Rex Harrison's reprises Henry Higgins from the stage, and I frankly can't think of another actor who would bring the same English Arrogance and tongue-in-cheekiness to the role. The interactions between Harrison, Hepburn and Wilfred Hyde-White as Colonel Pickering, especially in the early part of the film, are witty, entertaining, and move the narrative right along without pausing for exposition. The Higgins character is a cad, very full of himself, and he makes the mistake of treating those he feels are socially inferior poorly. The Colonel Pickering character acts as a surrogate for the audience, observing the educated but pompous Professor Higgins and allowing us to feel not TOO badly that poor Eliza has come under the influences of Higgins.

Stanley Holloway recreates Alfred P. Doolittle, Eliza's father, from the stage, and although his character has as many moral deficiencies as Professor Higgins (at one point he shows up at Higgins doorstep hoping to extort money from Professor Higgins for "shacking up" with Eliza) and is much less educated and with a much lower social standing, he is nonetheless a "good ol' bloke" and his moments in the film are among the most memorable, especially the previously mentioned show-stopping musical numbers.

The final act feels a little soap-opera-ish between Jeremy Brett as Freddy fawning over Eliza and Professor Higgins beginning to appreciate her fine qualities at the same time. This portion produces two of the finer musical moments as Freddy sings "On The Street Where You Live" and Higgins croons "I've Grown Accustomed to Her Face".

Since George Bernard Shaw died in 1950 it's purely speculative to wonder what he'd have thought about the production of his Pygmalion story. I'm guessing he'd have liked it. If you like musicals, I'm guessing you will too. Enjoy.

2-disc or not two discs
WARNING: All the five stars refer to the movie itself, and does not address the issue of whether paying for the second disc is a rip-off. Five stars for the single disc version was richly deserved. I had half expected the 2 disc version to have DTS since they shifted virtually all the extra features from disc 1 to disc two. The only thing left on disc 1 was the movie, same commentary, same subtitles and audio track. For some inexplicable reason, the single disc version was among the Amazon top 100 discs in 2002 for some time, although it has been
out since the mid-1990s. Amazon's editor was correct when he said the main attraction of the 2nd disc was the 58 minute Documentary hosted by Jeremy Brett. That is about all, folks, and it was a pretty boring documentary. A concise version of this documentary would be "The Fairest Fair Lady" which is already in the single disc version.
You already have the AUDREY HEPBURN VOCALS in the single disc version. The rest of the stuff in disc 2 is usually given away FREE, like in Gladiator, Last Samurai, Master and Commander, where one viewing of the stills is more than enough.
Now, the sellers of disc 2 have actually REMOVED the CAST AND CREW section from the one disc version. This Cast and Crew with filmographies and biographies contain a huge chunk of valuable information including the fact that Audrey's given name was Edda, not Audrey. Do not throw away your one disc version. If you bought the 2 disc version, you might want to buy the single- disc version to find out where Audrey Hepburn was born, won the Oscar and got nominated. What were the other actors like Wilfred Hyde-White doing other than My Fair Lady.
I tell you what I like about the 2 Disc version:
1. the interviews with Audrey Hepburn and Rex Harrison at the 1963 production Kickoff Dinner, with a couple of jokes from Mr Warner.
2. George Cukor directing Baroness Rothschild: a Henry Higgins coaching Eliza Doolitle parody. The audio track ran for only a few minutes, and I had a new found respect for Directors. Even a Baroness needs lessons in elocution. When I watch the movie again, I will imagine George Cukor speaking using the actors and actresses as his instrument. So that is how Cukor's actresses got their Oscars.
3. The Los Angeles Premiere in B&W is a few minutes of interesting distraction.

The rest of Disc 2 is really scraping the floor of the store-room. For those who already own the single disc edition, and do not have disposable income to burn, get the 2 disc edition of the TEN COMMANDMENTS instead. For the price of 5 commandments (about half the price of the 2 disc My Fair Lady), you will get more than double the info, making it look like "the TWENTY COMMANDMENTS". That is where a second disc is not a money making exercise: thou shalt not steal from gullible dvd buyers.

Rex Harrison Golden Globe Acceptance is a clip from the Andy William's show, where he apologised for not being at the real event, so he accepted it on AW's show. Shame.

Academy Awards Cermony Highlights: just one minute or less of Mr Warner accepting the oscar for best picture.

So two stars for the additional info on disc two. I would buy anything remotely related to my favourite musical, but if I were to search my heart for value added, I would say two extra stars is very very generous. Now, if ever they come out with a DTS version, we will have to throw the whole TWENTY COMMANDMENTS at this bunch of crooks.
Do you really need Martin Scorsese and Andrew Lloyd Weber's comments to supplement your own? ... Read more

Reviews (149)

My anti-depressant
Okay, maybe that's an overstatement, but the first time I watched this movie, I checked it out of the library. I was a recently divorced single parent of two, struggling with a house note and bills I couldn't pay. On this particular day, I was fighting a bad cold, and feeling generally tired and unhappy. I took this movie out based only on the "Two Thumbs Up" recommendation of Siskel & Ebert at the bottom of the case. After viewing this film, I felt energized and full of good humor. I eventually bought it and have shared it with my mom, sister, kids, friends, and new husband. They all loved it! Where do I start? 1. The performances. Everyone in this movie is wonderful. They are believable and credible even though the material is completely over the top so much of the time. I love these people. 2. Then there's the romance. The main love story is very sweet, but all throughout the film, you feel like romance is literally in the air. It's also amazing how much sensuality is conveyed without any overt sexuality. 3. The dancing. I never gave ballroom dancing a thought until I saw this movie. Now, I love watching it. 4. The family relationships. They may seem unbelievable, but that mother is all too familiar to me. 5. Paul Mercurio--he's hot! Enough said.

This movie is funny, touching, and like nothing I've ever seen before or since. I can't even compare it to anything else. I'm happy to see how favorably other people have reviewed it.

Can I bend your ear for a tic?
I can't believe this movie completely escaped my attention during it's release in 1992. In fact, I hadn't even heard of it until about two years ago. However, after one viewing, it quickly became one of my favorites. The biggest plus, in my humble opinion, is the cast. Paul Mercurio and Tara Morice are wonderful leads. They both possess an intensity that makes for wonderful sparks between the two. I also love the fact that the character of Fran was not a dressed-down supermodel-type. Tara does a wonderful job of conveying Fran's determination but, at the same time, her self doubt. As her confidence and dancing ability evolves, so too does her appearance. It's such as gradual and completely believable transformation. It is wonderful to watch Scott's feelings for her also change. The supporting cast is top-notch too. Pat Thompson was magnificent as Scott's overbearing mother. She could sometimes border on viscous but, at the same time, remain somewhat sympathetic.

Now for the DVD itself. I may get raked for this but, as OK as it was, it could have been better. During the commentary by O'Connol, Martin, and Luhrman, Ms. Martin referred to some scenes that had to be cut before the release of the movie. I would loved it if they would have included deleted scenes on this DVD edition but they didn't. And, speaking of the commentary, I really didn't find it too enlightening. Well, let me put it this way, if you're watching it to get a background on ballroom, and other types, of dancing - then this is the commentary for you. However, if you're like me and want lots of interesting tidbits on cast, crucial scenes, etc., you'll only find them sparsely placed in between long stories about ballroom training, the history of the Paso Doble, and descriptions of sets. Even Baz, at one point, had to proclaim it was time to get back to commenting on the movie. Lastly, since I didn't see the movie during its original release, I would have loved it if they included its original theatrical trailer but it was not to be.

Nevertheless, even if this DVD were to come only equipped with the movie itself, it would be a bargain at whatever price it was offered. If you haven't seen it, watch it! If you're wondering if you should splurge on the DVD, despite my nitpicky complaints about the DVD edition, I'd encourage it.

Awesome movie, not so the DVD
I have loved this movie for years, and had it on tape. I was so happy when I saw there was a DVD, and it had a commentary. But, surprise! The commentary is absoluely rotten. I can't believe people who could make such an entertaining movie couldn't find anything interesting to say about it. I found my self yelling at the TV screen for them to get moving. Don't remember ever doing that before...

There are a few interesting extras, but really, the only thing I got for my money as a slightly clearer picture.

Some spectacular dance scenes
I've never really been a great fan of Baz Luhrmann's. Moulin Rouge was also a 3 out of 5 rating, in my opinion. I think it must be his style of cinematography - its neither theatre nor film, its halfway in-between... but I'm like this : If I watch a film I want to see a film, and if I want to watch a musical, I go to the theatre. Still, I gave this a shot after reading lots of glimmering reviews about it here. What I can say is this : the dancing was spectacular, and I love dancing, so that was why I gave this movie 3 stars. Apart from that, its just a run-of-the-mill love story... The lush prop sets and costumes might be a main attraction for some who loved this film enough to give it 5 out of 5, but I tend to look for something original and a bit different in a movie, and this just wasn't it.

strictly superb.....oh, and sweet.....
When I started dance classes in 1992, I was probably one of the gawkiest, most unconfident little dancers you would have ever seen......chubby, shy, not very well-coordinated. You know how tough it can be to be ten years old! Anyway, the year was 1993, and I went to see a film called STRICTLY BALLROOM, that had just been released at a local art house movie house. Not many people had even heard of it, let alone of the director, Baz Luhrmann. It was a small film about ballroom dancing, of all things...and a comedy! All I knew was I always enjoyed watching ballroom dancing on PBS, and dreamed about being slender, graceful and perfectly tan! Just like all of those competitive dancers I saw. This film was probably one of the best tonics I needed. The storyline is about Scott Hastings (Paul Mercurio), a young man who has grown up with the dancing gene ever since he could remember. He even started competing in ballroom (modern and latin) since the age of six. He truly had the ultimate "stage mother" mum forcing him to stick to the moves (and the partners) that will get him the ultimate in coveted honors in the Ballroom dancing community--first prize at the PAN PACIFICS. His partners are all the same: blonde, busty and bossy. Also, divas with a capital "D." Scott upsets and shocks the ballroom dance community with his "crowd pleasing" steps during one of the performances, which leads to an immediate and messy break-up between him and his current partner, Liz (Gia Carides). Scott does not want to give up on his original footwork, and stubbornly practices his spins, jumps and twirls, completely unaware that Fran (Tara Morice), the be