johnm001

at Paramount, Anna Maria Alberghetti She had a pure, glorious soprano voice. Just perfection. But, my impression of her was formed watching her on stage, not in film.

Plus, Jessie Matthews was in FIRST A GIRL, where she played Mr.Victoria,and she also played Tom Thumb. It's got to be her.

I could take her or leave her. Frankly, I've read more insightful posts about films on these boards, than anything she ever said. As for TREASURE, it really needed to be edited by about 15 minutes. And, yes, Bogie's transition is too quick. A fault of the screenplay and direction.

I thought Gloria Grahame was excellent in her secondary role, and it made me wish she had done more comedies. Yes, me too. I know that at the time, it was sort of a big deal that she was doing that role, because it was "so different" for her. But, frankly, I think she's just as good at comedy (perhaps better), than the roles she was famous for doing. Her role in OKLAHOMA! is probably more well-known today, than any other. People seeing her in something like THE BIG HEAT, might find that strange.

Anne, just a bit of trvia about Audrey. Paramount paid for an option on the rights to the German film THE TRAPP FAMILY SINGERS, which was, at the time, Germany's most successful motion picture of all time. They wanted Audrey to play Maria, in the film,for which she would have been perfect. The was before the musical had even been written. She declined, in favor of THE NUN'S STORY. The option lapsed, and the rights were secured by Mary Martin. Years later, when they were going to make the film version of THE SOUND OF MUSIC, Audrey along with Doris Day, lobbied the hardest, to secure the role. The studio wanted Day, the director, William Wyler, wanted Hepburn. When Wyler was replaced, and Wise came on board, both actresses lost out on the role.

How do you make Santa's hat?

Don't get mad at me but, maybe Gene Kelly's incessant rehearsals weren't all that vital to putting on a good musical act. Well, he did what worked for him. Although, I wouldn't list any number he choreographed as one of my favorites, other than perhaps, "Singin' In The Rain".

I love the 'Polecat' number. I think it may be my favorite from the film. FUNNY FACE, I don't like, at all. I know a lot of people love it, though. I always found the Astaire/Hepburn relationship a bit creepy; and I just think the film really appeals more to women, anyway. I really like Auredy Hepburn in everything, especially THE NUN'S STORY, but the two musical films she did, leave me cold.

Anne, I recall that about Debbie's dress, as well, yet I don't remember hearing it from Grover. He did say that he found Debbie an incredible talent, and highlighted the fact that she did the number in heels. If you ever see it, again, Grover Dale is the taller of the two guys. Gus Trikonis, the other guy, was Goldie Hawn's first husband.

I am not an industry insider, or don't recognize the reference. Who is Grover Dale? Actually, I meant to finish that post, and I got called away. I hit post by mistake. Grover Dale was one of the three main dancers in that number, along with Gus Trikonis and Debbie Reynolds. They did the number on 2 takes, which is really amazing, for how complex the steps are. Everyone on the set was told to just get out of their way, and they just had fun. It was the last thing they filmed, and they were in a rush to get it done. He said it was among the most difficult choreography he's ever done (and he was in the original WEST SIDE STORY, among other things).

"He's My Friend" from MOLLY BROWN is my favorite number from any MGM musical. I spoke to Grover Dale about it.

Yet another thread that has to be all about Cinemascope. Her need for attention is never satisfied.

do enjoy reading Bosley Crothers, but try not to let others dictate how I feel or react to something. I find reviewer the lowest rung of employment, and didn't even read it.

Yes, check out BBB. What I love so much about her choreography, is the attention to detail, for all the people in the scene. Look at the "Goin' Steady" and "Honestly Sincere" numbers, in BBB. Every person is fully engaged in the number. Such a treat for the eyes. Not that it didn't happen in earlier films, it did. I just think she did it better than anyone else. There's an intelligence to her choreography. And it is always perfect for the number.

Sue2, they filmed OKLAHOMA! twice. Once in 70MM Todd-A0, and once in 35MM Cinemascope. Two different takes. Some of the scenes have different set-ups, and they have slightly different orchestrations, due to the enhanced stereophonic soundtrack of the Todd-AO print. Unfortunately, the Todd-AO print has apparently deteriorated over the years. The finest home video version of the Todd-AO print, is the laserdisc. The latest DVD release includes both versions; but the Cinemascope version looks better. Of course, it shouldn't. Todd-AO was a much better film process.

All great choreography. I also love Kidd's choreography in HELLO, DOLLY! The staging of all the numbers is just excellent. Still, as good as all of those are, I still find the versitility of Onna White, unsrupassed. She doesn't have tons of films to her credit, but the ones she's done are all perfectly choreographed, imo. The musical numbers in BYE BYE BIRDIE, are among the best in any film musical; and "A Lot of Livin' to Do", for me, is right at the top of best musical numbers, ever. It's also 360 degrees from "Marion the Libraian", in THE MUSIC MAN. White's monumental achievement in choreography of the massess, for the film OLIVER!, won her a special Oscar. I always regret that she was busy with OLIVER!, and had to decline doing HALF A SIXPENCE, a show she choreographed on Broadway. The numbers were incredible in that show. On film, they're much less so. Not that I wished she hadn't done OLIVIER! I wish she had done both. I still like the movie, though.

Well, I'm picturing Debbie Reynolds and the girls from SINGIN' IN THE RAIN.

I happened to see those covers, and they were great! I think, however, they may have gotten buried on the other thread. Perhaps you'd want to post your favorite, here? I wouldn't have a clue how to do a cover.

HELLO, DOLLY! or BYE BYE BIRDIE

I think he is excellent in THE UNINVITED and DIAL M FOR MURDER.

Bringing this back to dance numbers. Who are your favorite choreographers, and why? My number 1 favorite would be Onna White, whose ability and versitility, are unmatched, imo. She could create whatever was right and proper for the film. Films didn't have to yield to her "style". I also love the work of Jack Cole, who virtually created modern jazz, and influenced an entire generation of dancers and choreographers, Hermes Pan, who alone or in collaboration with Fred Astaire, created some of the screens most memorable dance number; and the great Michael Kidd, whose wonderful staging of dance numbers in, GUYS AND DOLLS, THE BAND WAGON, SEVEN BRIDES FOR SEVEN BROTHERS, STAR!, HELLO, DOLLY! and others, is just remarkable.

I use Photobucket. It's a free tool that allows you to copy images into your own album. Once there, it is a very simple process of copying and pasting the image here.

I like William Holden. My favorite role of his was his last, I believe - Tim Culley, in Blake Edwards' S.O.B. I thought he was hysterically funny in that.

That sounds right to me.

So Bill, did you actually answer the question on who you think had the best soprano voice in the movies?