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NZ

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  1. I agree with the person who said that as a rule remakes tick him off. I'm not a fan of remaking anything, but at the same time I have to agree that there are several non-musical films from the 1930s that were remade as musicals in the 1950s that I absolutely adore. The first is High Society, a remake of The Philadelphia Story (which I also love). Bing Crosby, Frank Sinatra and Grace Kelly are valiant successors to Katherine Hepburn and Cary Grant in the original and the songs by Cole Porter are all show stoppers. Also love Silke Stockings, the musical remake of Ninotchka that I actual
  2. NZ

    "Star!"

    Star! is one of those big glossy musical bio pics, more fiction than fact that just had the dumb luck of coming at the end of that 60s cycle of movie musicals. Like Hello Dolly!, another superb movie musical produced two years after it by Fox, if just did not have audience interest behind it to succeed. Julie Andrews best performance in a movie musical will always be tied between The Sound of Music and Mary Poppins. But it is saying much that she managed to cleanse herself of that 'practically perfect' persona from the aforementioned films to at least attempt playing Gertrude Lawrence in
  3. Remakes are a bad idea period! However, I do have to say that when MGM undertook to remake some of their best loved comedies and dramas from the 30s into big budget musicals in the 1950s they came up with two of the best musical entertainments of that decade: High Society (a remake of the Philadelphia Story) and Silk Stockings (a remake of Ninotchka). Both these musicals are top flight in every way and really stand out as exceptional entertainments of their own. MGM had less luck with their glossy Technicolor remakes of the Merry Widow, starring Lana Turner as a non-singing widow in
  4. Remakes in general are a bad idea. However, the movies you should remake are the bad ones in the hopes of improving on them - not the timeless classics like Singin' In The Rain or The Sound of Music which will never be duplicated or even challenged in all their resplendent charm and glorious Technicolor or (in music's case) Color by DeLuxe.
  5. You know, I've been bugging Warner Home Video for some time with letters about releasing the McDonald/Eddy films to DVD in one or two box sets. The response I generally receive is that there's much restoration work to be done on these titles to make them ready for DVD and as a result they keep getting pushed back further and further on Warner's list of things to do. In all fairness to WB - they have not only their own catalogue of classic films to restore, but also the entire MGM, RKO and David O. Selznick catalogues. That's a lot of movies! Where to begin and what to preserve - especially
  6. Dear Sandy: Yep, have seen them both and will completely agree with your assessment of each. The best MacDonald Eddy collaborations are Naughty Marietta, Rose Marie and Maytime. If you haven't seen any of these I highly recommend them. You WILL NOT be disappointed. I also think Jeanette radiates exuberant sexuality with Maurice Chevalier in MGM's The Merry Widow (minus Eddy). Eddy and Rise Stevens are quite engaging in MGM's The Chocolate Soldier, too. Other Eddy/MacDonald films worth the watch: New Moon and Girl of the Golden West.
  7. Most of my favorites have already been mentioned too. I didn't see POP GOES THE EASEL mentioned yet - the one where the boys turn plaster of Paris into mud and thereafter treat it with all the reverence they ascribe a cream pie. Although I concur that the best stooge of all time was Curly Howard, I'm impartial to Shemp with the boys in SCOTCHED IN SCOTLAND. Great laughs...or maybe I should say, "Nyuk, Nyuks!"
  8. A fav' I'll never see - Convention City. Read the screen play, apparently Joan Blondell is a floozy assigned, along with a flock of scantily clad gals, to pleasure politicians out on a lark while mixing business with pleasure. Jack Warner received tons of fan mail for the flick after the Production Code came into play from conventioners who wanted to rent it for their occasion. Problem - doing so would go against the code and he, Warner would be set up for some heavy fines. However, if he didn't have any copies of it to show he couldn't very well loan any out for conventions. So Warner, in his
  9. In the 50s Cagney left Warner Brothers and did freelance for a wide variety of studios and smaller companies. Love Me Or Leave Me not withstanding, the rest of his output (that's not really up to par with his eariler works) is absent from the mix. But I'm at a loss to explain why you think only his later works have been overlooked. Below is the complete James Cagney MIA list. These films have yet to receive a DVD release. Some of them never even made it to VHS. Quel dommage! One, Two, Three (1961) The Gallant Hours (1960) Shake Hands with the Devil (1959) Never Steal Anything S
  10. This is, of course, assuming the island was once inhabited by a tribal band of film lovers who left behind all of their movie equipment and 5.1 surround stuff in pristine condition and with a power source to fire it all up on those nights when dolphin watching just gets too, too boring. I like a lot of movies in all sorts of genres. But if I had to choose one musical to take with me it would probably be Footlight Parade...if only to remind me how taking a shower 'by a waterfall' ought to be! What's yours?
  11. Sr. belonged to that treasured sect of character actors coddled on the backlot. He usually appeared as Errol Flynn's sidekick in such films as The Adventures of Robin Hood and Dodge City, although he played his enemy in The Private Lives of Elizabeth and Essex. Jr. is best known as the skipper of the Minnow on Gilligan's Island.
  12. Look who's talking about hype. Titanic had one of the greatest media blitz in recent history. And since when does a movie get into the history books as art simply because it made a lot of money. Citizen Kane made practically no money at all - it's flawless. You could give be about 40 billion more in box office receipts for Titanic and it still won't make the script sparkle.
  13. I have a rebuttal for the person who nominated James Cameron's Titanic as a classic we'll be talking about 50 years later. When it was new in 97' the hype preceeding the film was monumental to astronomical. But good hype does not a great film make. Cameron and production designer Peter Lamont get the high water mark for their attention to set design and recreating the period. But the plot is a stinker. Forgoing the opportunity to retell some of the compelling real life stories of survivors in favor of a fake and thoroughly unconvincing romance between two ill suited actors instead, Cameron pub
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