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markus21

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About markus21

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  1. That is surprising that she's never been Star of the Month. TCM has certainly saluted her in other ways (e.g, her birthday) on many occasions. As for Miller ditching her heels to dance with Astaire, I recall her laughing about it, saying that she had to do it so she wouln't be taller than he was onscreen. As for her being assigned second leads at MGM, I think she was simply too tall, statuesque and sensual to fit the conventional "ingenue/leading lady" mold of the time. Another interesting tidbit about the TIMES attitude toward Miller and EASTER PARADE. As a lifelong classic film buff, wh
  2. I think of WITH A SONG IN MY HEART as schmaltzy in spots, but not silly. To the contrary, it's one of the first musical biographies to show a "darker" side to the hero/heroine's life. For example, it makes no bones about the fact that Jane Froman's first marriage to Don Ross, was one of convenience. She married him out of gratitude and appreciation for what he had done for her career and because they seemed to be a good fit professionally. Although they have only one argument/fight onscreen, the narration, the dialogue makes it clear that they've had many similar ones earlier and the narration
  3. I agree with everything you said about Judy, Rose, but, as I hope my post suggests, people obviously could relate to Deanna. It's no mean feat to have the world fall instantaneously and enduringly in love with you when "all you do is sing" in the most unadorned circumstances the heavily-stylized, potentially moribund "classical" repertoire. Deanna was consistently praised for bringing qualities of purity, spontaneity, warmth, naturalness and ease to her performances as both a singer and an actress. These are qualities that one associates with The Great American Songbook repertoire, which
  4. Believe it or not, THE NEW YORK TIMES thought Ann Miller was a better partner for Fred Astaire in EASTER PARADE than Judy Garland. In its' review the TIMES said something like: "And Judy Garland gets some stiff competition from the long-legged Ann Miller. Miss Garland is a competent trouper: nimble on her feet and professional sounding vocally, but somehow we feel that Miss Miller teams better with Mr. Astaire." I was surprised when I read that review, because Judy is so delightful in EP, but I agree that Ann Miller was a wonderful talent in her own right. It's no mean feat that she make
  5. As a big fan of both Deanna and Judy, I've enjoyed reading these comments on their talents and careers, though I must say, I disagree with many of them, and, as Deanna generally seems to be getting "the fuzzy end of the lollipop" in most of these comments, I hope my fellow posters won't mind if I play "Devil's Advocate" in offering an alternate perspective on some of the issues raised when comparing Deanna and Judy: ON UNIVERSAL'S SIGNING DEANNA BECAUSE HER "CLASSICAL" STYLE FIT THEIR MUSICALS BETTER THAN JUDY'S "POP" STYLINGS: I disagree with this. Universal signed simply because of Ruf
  6. You're welcome: I forgot to add that, obviously, Rufus LeMaire didn't show EVERY SUNDAY to Pasternak and Koster when they were looking for a young singer for THREE SMART GIRLS, as EVERY SUNDAY hadn't yet been filmed. Rather, he apparently showed them parts of an Exhibitor's Reel short featuring the two girls. According to Pasternak's memoir, LeMaire first showed them a singing/acting clip featuring Judy. Pasternak and Koster were delighted by Judy and excited at the prospect of signing her, only to be told by LeMaire that Judy was the girl Metro had elected to keep. Dejected, Pas
  7. Hi Cakane: Deanna was signed by MGM to a six month contract in November 1935. Louis B. Mayer was out of town when she auditioned for the studio, but his associates were so blown away by her audition that they called Mayer and had her sing to him over the telephone. Mayer immediately ordered Deanna be signed to a contract, sight unseen. Deanna's contract with MGM expired at the end of May 1936 and she was released by the studio. Whether this was an accident (someone mistakenly allowed her contract to lapse) or she was formally released remains unclear, but she was immediately signed
  8. What amazes me about Ann Miller's performance in EASTER PARADE (aside from her tremendous talent as a tap dancer...and being one of the few screen dancing ladies who did her own singing!) is that she performed all her musical numbers in a back brace. Prior to filming she had been thrown down a flight of stairs by her intoxicated husband, causing her to break her back and lose the child she was carrying. Her back muscles had not completely healed when the she was cast at the last minute to replace an injured Cyd Charisse in EP, so she wore the back brace throughout the film's production. I
  9. And don't forget... John Hamilton (Later "Perry White" on THE ADVENTURES OF SUPERMAN) (THREE SMART GIRLS, IT STARTED WITH EVE, I'LL BE YOURS) Mary Treen (THREE SMART GIRLS GROW UP, FIRST LOVE) Lewis Howard (FIRST LOVE, IT'S A DATE) Christian Rub (ONE HUNDRED MEN AND A GIRL, MAD ABOUT MUISIC) Thurston Hall (THREE SMART GIRLS GROW UP, FIRST LOVE, LADY ON A TRAIN) Samuel S. Hinds (FIRST LOVE, IT'S A DATE, SPRING PARADE, HERS TO HOLD, LADY ON A TRAIN) Henry Stephenson (IT'S A DATE, SPRING PARADE) Kathleen Howard (THREE SMART GIRLS GROW UP, FIRST LOVE) Jack Mulha
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