Family Fun Saturday - Muppets Most Wanted

Disney, 2014

Starring The Muppets, Ricky Gervais, Ty Burrell, and Tiny Fey

Directed by James Bobin

Music and Lyrics by Bret McKenzie and others

The Muppets were riding high after the enormous success of The Muppets. All of a sudden, they were back, seen everywhere from YouTube to the Disney Parks. Trouble was, they couldn't seem to hang on to that momentum. It took three years for Disney to develop another script for them, and when it came out, though it got some critical praise, it didn't do quite as well at the box office as the first film. Did it deserve that fate, or is there more to this goofy crime caper than meets the eye? Let's begin with the Muppets declaring that what we're about to see is a sequel and find out...

The Story: After their successes in The Muppets, the Muppets really don't know what to do next. Enter theatrical manager Dominic Badguy (Gervais), who convinces them to go on a world tour. Turns out he has more in mind for this than sampling the local customs and cuisine. Kermit is ambushed by Constantine, who is his exact double with a spot on his chin. Constantine glues a spot on Kermit's chin and has him arrested and sent to a prison camp in Russia. Nadya (Fey), the head of the camp, insists on him running the prison talent show.

Meanwhile, Walter, Fozzie, and Animal start to get suspicious when "Kermit" lets the Muppets do whatever act they want, turning their shows into even more chaos than usual. Not to mention, they keep playing shows next to museums that are robbed the next day. Constantine and Dominic have been using their shows to rob artworks from museums, including one that could lead them to the British Crown Jewels. Constantine has also proposed to Miss Piggy...but she's beginning to wonder if this is really her frog. Not to mention, FBI agents Sam the Eagle and Napoleon (Burrell) think the Muppets are involved with the thefts and are after them as well.

The Song and Dance: I give them credit for not only going with a more original story this time, but putting more focus on the Muppets themselves. One of my biggest problems with the first movie was it focused a little too much on the humans and not enough on the Muppets. Here, though Gervais, Burrell, and especially Fey are having a lot of fun as the art thief, not-so-super spy, and devoted Russian prison guard, it's the Muppets who really take center stage. Some great costumes and cinematography, too, especially the actual shots at the real Tower of London.

The Numbers: Though we do get a bit of the previous film's "Life's a Happy Song" in the opening, this segways into the massive spoof of sequels and opening numbers in movies, appropriately titled "Let's Do a Sequel." Constantine and Dominic both claim "I'm Number One" as they relate their complicated art theft plot. We get a bit of "The Muppet Show Theme" at each stop, re-written and staged in the appropriate language. "The Big House" is Kermit's big chorus number for the talent show at the Gulag. "I'll Get You What You Want (Cockatoo In Malibu)" is Constantine and Dominic telling the Muppets that they'll give them everything they ever wanted...for a price. 

"Macarena" is Piggy's big, outrageous Spanish number, complete with her in a lacy mantilla. "Interrogation Song" begins with Napoleon and Sam questioning the Muppets, and ends with them concluding that they're all too dumb to mastermind anything more complicated than their numbers for the show. "End of the Road" is an attempt at a big, dramatic number for the prisoners at the Gulag. It's a bit...off-putting, to say the least. Their "I Hope I Get It" is only slightly less weird. The Penguins think they have the "Moves Like Jagger." Piggy's "My Heart Will Go On" at the piano is disrupted by Constantine's sudden proposal of marriage. Piggy and the other Muppets wonder in London how "Something So Right" can feel so off. 

Kermit finally escapes the Gulag via the number "Working On the Coal Mine." The finale at the Gulag gives us a slightly re-written "Together Again" from Muppets Take Manhattan, this time with the Muppets and prisoners joining in.

What I Don't Like: Ok, this is weird even by Muppet standards. It feels like they're throwing together bits and pieces of everything from Muppets Take Manhattan to The Pink Panther and seeing if they'll stick. The new music, while not bad, isn't quite as catchy as the previous movie...and the wacky caper plot lacks the sheer heart of the relationship between Walter and his brother in the previous movie as well. Plus, see the previous movie's complaint about every Muppet project after Jim Henson's death being scrutinized for how it treats the characters.

The Big Finale: While not quite at the heights of the previous film, it's certainly far from terrible, and deserved better than it got at the box office in 2014. Fun for families, older kids, Muppet fans, and fans of the previous film. 

Home Media: Easily found on all formats, including Disney Plus with a subscription. 

DVD

Blu-Ray

Disney Plus

I Dream of Jeanie (1952)

Republic Pictures, 1952

Starring Bill Shirley, Ray Middleton, Muriel Lawrence, and Eileen Christy

Directed by Allan Dwan

Music and Lyrics by Stephan Foster

Our other nostalgic musical this week stays in the Victorian era, but takes us back to 1849 to revisit some of the most beloved music ever created in America. Stephan Foster was the first major American composer, whose songs, such as "Beautiful Dreamer," "Oh Susannah," and the title song, are still sung to this day. Republic Pictures, long a "B" movie outfit, was only just starting to raise the budgets on its own "beautiful dreaming" when they released this take on his life. How well do they do with depicting these songs that continue to resonate in Americana even over 170 years later? Let's begin with Rex Allen (Himself), playing the banjo for a group of children on a steamboat, and find out...

The Story: Stephen Foster (Shirley) is delighted that his "Oh Susannah!" is the biggest hit song in the US right now, but he already gave it up to several music houses free of charge and without credit. His girlfriend Inez McDowell (Lawrence) prefers opera and detests popular music, especially the ubiquitous "Oh Susannah." Her little sister Jeanie (Christy), on the other hand, loves the song and popular music...and has her own crush on Stephen, too, though he can only see Inez. 

Stephen is flabbergasted when not only does the great singer E.P Christy (Middleton) of the Christy Minstrels sings "Oh Susannah," but he argues over how Stephen has let other men perform the song. Inez still wishes Stephan had never written the darn thing to begin with and encourages him to give up writing, even as she's being pursued by Stephen's brother Dunning (Richard Simmons). Jeanie, however, likes Stephen the way he is...and so does Christy, who hires him to write the music for his Christy Minstrels.

The Song and Dance: Not the greatest thing in the universe, but there's some charming bits here. Christy in particular is adorable as the yearning title character. The costumes are lovely for a low-budget film, with pretty lacy gowns for the ladies and tight breeches and ruffled shirts for the men. The songs are also relatively well-presented, particularly when the sisters sing together. The pastel color is a bit softer than Technicolor, giving it the look of a historical storybook. 

The Numbers: We open with Rex Allen briefly singing "Come Where My Love Lies Dreaming" to the kids before we make it to shore. "Oh Susannah" is performed exuberantly by the chorus after Allen's narration...to the frustration of Inez, who can't escape it. Even the kids who were with Allen before dance to a bit of it while playing the harmonica. "Old Dog Tray" is Stephen's duet with his own dog as he works on a song. Stephen and Jeanie have a charming but brief duet to "Camptown' Races," followed by "Jeanie's Home Polka," an sprightly instrumental dance number for the duo, even as he continues to play his flute...at least until a shocked Inez wanders in and ends the song.

Inez does unbend enough to sing Stephen's "Haunting My Dreams at Night"...with Jeanie doing a hilarious imitation of her in another room. Stephen plays the flute for Inez's "Lo, Hear the Gentle Lark" and "On the Wings of Song" at the party, even as Christy nearly drowns her out with "Oh for Louisiana." Christy finally joins the party, introducing Steven as the writer of "Oh Susanna," to Inez' horror, and sings "Nelly Bly" and "My Old Kentucky Home, Good-Night." The Christy Minstrels burst in as Inez wants to go see Jenny Lind with "Ring de Banjo," angering Inez yet again. He sings "Beautiful Dreamer" at Inez's window to try to appease her. 

Jeanie wonders how she's fallen in love with Steven with "Lo, Hear the Gentle Lark." The sisters charmingly perform "You Must Wear a Dainty Ribbon In Your Hair" together. Rex Allen is heard on the river near the end as they search for Stephan, briefly singing "Old Black Joe." Christy ends a brawl Stephan starts in a bar with a reprise of "Oh for Louisiana." Romantic Jeanie and Stephen sing "I Can Still See Her In My Dreams" at the docks, then perform "Jeanie With the Light Brown Hair" with Christy in the finale.

What I Don't Like: This is pure Hollywood malarkey that has not at thing to do with Stephen Foster's real life. Shirley is whiny and dull, not at all suggesting a driven musician. Robust Middleton is far more magnetic than he is with a much smaller role. The costumes are lovely, but sometimes smack more of 1952 than 1849. (And someone at Paramount really needs to take a crack at restoring this. Though the color looks decent on the copy at Tubi, it's also quite a bit scratchy.)

The Big Finale: Charming enough time-waster if you're a fan of 50's musicals or want to hear Foster's songs, but nothing you need to go out of your way for.

Home Media: Easily found on DVD and many streaming services, usually for free with commercials.

DVD

Tubi

Up In Central Park

Universal, 1948

Starring Deanna Durbin, Dick Haymes, Vincent Price, and Albert Sharpe

Directed by William A. Seiter

Music by Sigmund Romberg; Lyrics by Dorothy Fields

We move onto our All-American Weekdays leading up to the 4th of July with tales from American history, on movies and TV. This week, we go to the movies with this adaptation of a Broadway hit. Up In Central Park debuted on Broadway in 1945 and would be the last hit Romberg had in his lifetime. The romantic operetta about a young reporter fighting against Tammany Hall corruption in 1870's was part of a series of musicals depicting American history at a time when Americans still needed to be reminding of what they were fighting for overseas. Does this tale of love in New York amid corruption still resonate today, or should it be left on the presses? Let's begin with a political rally in New York for mayoral candidate Abraham Oakley (Hobart Canavaugh) and find out...

The Story:  Political boss William Tweed (Price) runs Tammany Hall with an iron fist in the Big Apple, pushing Oakley into the spotlight and stamping out anyone who challenges him. His only real opposition is The New York Times, especially opportunistic young reporter John Matthews (Haymes), who is determined to bring down the curtain on his corrupt reign. Into the center of this merry-go-round comes Irishman Timothy Moore (Sharpe) and his daughter Rosie (Durbin), just off the boat. Moore is immediately taken in by Tweed's man Rogan (Tom Powers) to vote 23 times for the Tammany Ticket. He's rewarded with money and a new job as Central Park Superintendent to quiet Rosie after she overhears Tweed's plan to embezzle money from the park.

Matthews finds out from Moore that Tweed is using some Central Park Zoo animals for food. This does highlight Tweed and make people think twice about voting, but it also costs Moore his job. Rosie is furious and tells Boss Tweed so. He's so smitten with her, he re-hires her father and offers to make her an opera star. John also loves Rosie, but she's so in love with Tweed, she refuses to hear anything against him. Once Moore learns to read, he realizes just how bad Tweed is and joins Matthews in tricking the Mayor and exposing Tweed's criminal empire for good.

The Song and Dance: This isn't much of a musical, but it is a pretty interesting take on corruption circa 1870's New York City. It's the support cast and sumptuous production that shines here. Oily Price is a marvelous Tweed, radiating enough slimy charm that you understand what Rosie sees in him, even as her father and Matthews uncover his devious doings, and Sharpe is a charmingly befuddled and determined new citizen. The stunning costumes, with sweeping spangled gowns with elegant flowered and veiled hats for the ladies and tight, ruffled suits for the men, and detailed sets depicting Central Park and down-and-dirty political backrooms, are historically accurate and beautifully done.

The Numbers: We open with the big chorus number at the political rally, "Oh Say Can You See (What I Say)" as the members of Tammany Hall celebrate their candidate. It's heard again from Rosie, her father, and their fellow immigrants on the boat to New York. Rosie and John ride a "Carousel In the Park" as he sees her for the first time, in an elegant gown riding that Central Park merry-go-round. "The Currier and Ives Ballet" shows "skaters" in fur-trimmed gowns watzing on Rosie's stereopticon slide from Tweed. John passes himself as a waiter as he sings about what it's like "When She Walks In the Room." Durbin's big opera solo late in the film is "Pace, pace, mio dio."

What I Don't Like: For one thing, a lot of songs from the original show were dropped, including the lovely ballad "Close as the Pages In a Book" that might have suited Durbin very well. For another, Durbin and especially Haymes are overshadowed by the supporting cast. Durbin didn't enjoy making this and seems to be phoning in her performance. Haymes was never the best actor; a historical drama is way over his head. Frankly, the gorgeous Currier and Ives Ballet (another holdover from the show) is more interesting than most of the movie. And given the costumes and sets, I'm surprised this wasn't filmed in color. It would have brought a lot of the overheated melodrama.

The Big Finale: Mainly for fans of Durbin or nostalgic 40's musicals.

Home Media: DVD only via the Universal Vault. 

DVD

Family Fun Saturday - The Muppets

Disney, 2011

Starring James Segal, Amy Adams, Chris Cooper, and The Muppet Performers

Directed by James Bobin

Music and Lyrics by Bret McKenzie

Though Disney bought the Muppets in 2004, they didn't really do much with them until Segal came to them with a script in 2008. Even then, it wasn't until 2010 that it all really came together. The Muppet Company had been trying for years to do another Muppet movie, but cute ideas like The Cheapest Muppet Movie Ever Made! never came to pass. When this came out, it was a massive hit, suddenly throwing the Muppets back into the limelight much as they are in the film. Was this renewed attention deserved, or should this show be left back in the 70's? Let's start with the close relationship between Gary (Segal) and his Muppet brother Walter (voice of Peter Lintz) through the years and find out...

The Story: Walter, a Muppet among humans, is the ultimate Muppet Show fan. Gary adores him and can't deny him anything, even bringing him along to Los Angeles with him and his girlfriend of ten years Mary (Adams) to see the Muppet Studios. While there, Walter discovers a foul plot by greedy oil man Tex Richman (Cooper) to demolish the studio and drill for oil. He, Gary, and Mary tell Kermit (Steve Whitmire) at his mansion. 

Determined to earn the 10 million needed to save the Studios, Kermit, Gary, Walter, and Mary round up the remaining Muppets...except Miss Piggy, who is busy in Paris. Even when she returns, they still need to build the theater and find a celebrity host. Walter feels inadequate around all of his talented idols...and Mary feels neglected when Gary spends more time with Walter and goes home. Even when the show goes on, thanks to celebrity callers, Richman is determined to do everything he can to keep the Muppets off the air for good. It takes a concentrated effort from Gary, Mary, and every Muppet made to show Walter that he does, indeed, have a talent...and that family is more than a theater, it's shared experiences and a place we belong.

The Song and Dance: No wonder this was such a hit in 2011. It's utterly charming and hilariously self-aware, spoofing "put on a show" musicals, long-time relationships, brotherly love, and even the Muppets themselves. Segal knew what he was doing. His Gary is an adorable goofball, only wanting to make his brother happy, and Adams is hilarious as the fiancee who is getting tired of waiting for him to put her first. Lintz's Walter is the heart of the film, so totally devoted to his beloved idols, and yet nervous about fitting in having been born in a world where he was the only Muppet. Great location shooting around LA too, especially with Disney's own El Capitan Theater standing in for the Muppet Theater, and there's the very funny retro candy-colored "Smalltown" sets in the opening.

The Numbers: We see Walter and Gary grow up together and how Walter became the Muppets' biggest fan in an opening montage to the Paul Simon song "Me and Julio Down By the Schoolyard." Our first original song introduces Mary and Smalltown in a massive, cheery chorus spoof of opening numbers in musicals, "Life's a Happy Song." Kermit laments the breaking up of the Muppets and admits he misses his friends in "Pictures In My Mind." Fozzie's with the Muppet imitations "The Moopets" at Reno, singing a really weird version of "Rainbow Connection." "We Built This City" gives us a montage of the Muppets, Gary, and Walter repairing the Muppet Theater while Kermit tries to get those celebrity callers. 

Poor Mary, tired of being neglected, goes out for a "Me Party" at a local diner...which turns into a two-me party as Piggy joins in for a raucous disco spoof. Richman gives us a rap spoof of the ultimate wealthy bad guy in "Let's Talk About Me." Walter contemplates growing up in two words, and which one he belongs in, in the Oscar-winning "Man or Muppet?" We open the actual show with a recreation of "The Theme from The Muppet Show." Jack Black is right that a Muppet Barbershop Quartet of "Smells Like Teen Spirit" is a bit...odd. Camilla and her girls cluck "Forget You" in glittery costumes. We get a far more accurate "Rainbow Connection" reprise as all of the Muppets come together in a big finale in the theater. Outside, everyone reprises "Life's a Happy Song" after they see the throngs of Muppet fans. The credits end with one of the most infamous Muppet songs, the instrumental "Mah Na Mah Na."

Trivia: Look for Mickey Rooney, who knows a little something about "put on a show" musicals, during the opening "Life's a Happy Song" number. 

After finishing the movie, the filmmakers gave Jason Segal the Muppet version of himself to keep.

Walter was apparently named for Walt Disney.

What I Don't Like: Some major fans of the Muppets (including some Muppeteers) questioned how the Muppets themselves were handled, and how the humans ended up in the spotlight. Pretty much every Muppet project since the death of Jim Henson has come under scrutiny for not being like the originals, and this is no exception. There's a few beats that seem off and a little bit of off-color humor that is a bit out-of-place, especially during the "let's get everyone together" montage.

The Big Finale: No wonder this was so popular. This mostly manages to find a way to make the Muppets look fresh, while still respecting what made us love them in the first place. Highly recommended for Muppet fans like Walter and me and those looking for a fun musical for older elementary school kids. 

Home Media: Easily found on all formats, including Disney Plus with a subscription.

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Disney Plus

Rappin'

The Cannon Group, 1985

Starring Mario Van Peebles, Eriq La Salle, Melvin Plowden, and Richie Abanes

Directed by Joel Silberg

Music and Lyrics by various

Let's return to the US to celebrate Juneteenth with this early look at rap culture. By 1985, rap had just begun to get off the streets and into mainstream homes. Movies were starting to take notice of this dynamic new urban culture, too. Even smaller studios wanted to cash in on that gritty new sound. The Cannon Group was also at their apex, considered to be one of the strongest "B" movie studios at that point. Having dove into the breakdancing craze with Breakin' and Breakin' 2, they moved in on the even more novel and popular rap craze. How does this attempt look today, when rap is one of the dominant musical genres in the world? Let's begin as Pittsburgh ex-convict Rappin' John Hood (Peebles) is released from prison and find out...

The Story: John returns to his decaying Pittsburgh neighborhood to live with his grandmother (Eyde Byrde) and little brother (Leo O'Brian). He reunites with his gang, only to discover that greedy developers want to knock it down and displace its diverse, impoverished residents. He doesn't exactly make himself popular with the local hoodlums, either, especially their leader Duane (Charles Grant). Duane isn't crazy about John's attentions to his girlfriend Dixie (Tasia Valenza), either. 

Dixie is the one who finally convinces John and his buddies to audition for rap recording contract. Even that might not be enough to save their homes. Developer Thorndyke (Harry Goz) is under pressure to evict John and his neighbors and tear down their dwellings for new development. John's not about to let them get thrown out. They rally the neighbors to fight back, but the rap really heats up with Duane and his boys attack, and the stage is set for a showdown at the courts, where John and his friends prove that music has the power to bring together communities and shared dreams.

The Song and Dance: This was honestly better than I was expecting, and probably better than it has any right to be. It's cheesy, yes, but it's a fun cheesy. Everyone really gets into their roles, with an intense Van Peebles and big, tough La Salle coming off best as the friends whose fondness for rap manages to unite their community. Melvin Plowden (in apparently his only movie) is adorable as their always-hungry friend Fats, and Valenza is sweet enough as Dixie to make you understand why John goes after her, even though she's already taken. There's some genuinely cute rap numbers and some surprisingly decent filming in real-life Pittsburgh.

The Numbers: We open with the title song performed by Lovebug Starski, reintroducing John (and introducing us) to the people of his neighborhood. John and his brother reunite with their rap "Two of a Kind." The first chorus number and the big number at John's welcome-home party is Claudja Barry's dynamic "Born to Love," which underscores the confrontation between Duane and John where the latter won't fight. John and his buddies are musically annoyed with Fats' "Snack Attack" at the produce warehouse where Richie (Albanes) works. 

"First Love Never Dies," performed Eugene Wilde and Joanna Gardner, is our first glimpse of where Dixie works. "Golly Gee" seems like a slightly sexualized number for the members of Tuff, Inc, whose collective ages can't even be in double digits. It's enough to amuse the local kids their age, as is John taking them on a "Neighborhood Walk." "Killer," the first rap audition at Dixie's job, gives us a satirical look at the darker side of rap culture that almost seems like a spoof of darker "gangsta' rap" in the 90's. The Force M.D's are a lot less scary with their matching sweaters and "Itchin' for a Scratch." John beats them both by rapping to two brawling drunks with "Lady Alcohol." 

Dixie's listening to teen singer Warren Mills record "Flame In the Fire" when she has to deflect Duane's call. John's first recording is "Livin' With the Buzz," underscoring his brother's arrest. "Call Me" details how John and his neighbors fight the construction workers and get their heat back during a frigid Pittsburgh winter. "The Fight Rap" at the courtroom reminds everyone of the importance of fighting to the very end. The entire neighborhood reprises "Rappin'" as they celebrate saving their homes in the finale.

Trivia: Master Gee of the Sugarhill Gang dubbed Peebles' numbers.

What I Don't Like: Did I mention how cheesy and cliched this is? I'll pass the cheap sets - this is an urban wasteland, it's not exactly supposed to look lavish - but the "save the neighborhood" story isn't anything you haven't seen in dozens of movies going back to the silent era. I don't know much about rap, but I know enough to note that none of the songs in the movie are especially memorable, and most of the numbers edge into absurd West Side Story imitations. 

The Big Finale: This is far from a masterpiece, but it's enough fun to be worth seeing for fans of Peebles, early rap, or 80's urban-set musicals.

Home Media: Easily found pretty much anywhere. Can often be found streaming for free with commercials, including on Tubi.

DVD

Blu-Ray

Tubi

Musicals On Streaming - Emilia Perez

Netflix/Pathe, 2024

Starring Zoe Saldana, Karla Sofia Gascon, Selena Gomez, and Edgar Ramerez

Directed by Jacques Audiard

Music by Clement Ducol; Lyrics by Camille

Let's celebrate Pride Month and Juneteenth this week with our weekday entries, starting with this controversial Oscar-winner. It's telling that this one came from what was apparently originally intended to be an opera. The themes here of Emilia's self-journey and its tragic conclusion, certainly reach the near-operatic in its intensity...but it also engendered equally intense backlash, due to its filming in France rather than Mexico, to its Mexican roots not being portrayed authentically, the treatment of its transgender lead, and several comments its lead actress made just after the film's release. Just how wild of a ride is this movie? Let's begin in Mexico City with struggling lawyer Rita Moro Castro (Saldana) and find out...

The Story: Castro receives an offer she can't refuse from drug cartel kingpin Juan Del Monte (Gascon), who wants her to find a doctor who will turn him into the woman he always secretly wanted to be. She searches Thailand and Tel Aviv, finally finding a doctor who is willing to help Del Monte undergo the surgery. His wife Jessi (Gomez) and their sons are relocated to Switzerland for their safety, and he pays Rita handsomely. He emerges as a beautiful woman named Emilia Perez (Gascon) and starts out on her new life.

Four years later, Rita encounters Emilia again in London. Wanting to see her sons, Rita arranges for Jessi and the boys to live with Emilia. Jessi's more interested in reuniting with her old flame Gustavo Brun (Ramerez). Emilia, feeling regretful over the boys recognizing her, starts a nonprofit with Rita to identify the bodies of cartel victims and return them to their families. She even falls in love with cartel widow Ephiana Flores (Adriana Paz). Jessi threatens Emilia's happiness when she wants to marry Gustavo and take the children to a new home, leading Emilia to attack Jessi. Jessi retaliates by taking the boys. The escalating stakes ends with Emilia kidnapped by Gustavo, and the trio on a road to tragedy that ends when Jessi realizes the truth about Emilia a little too late.

The Song and Dance: Wow. No wonder this got so much initial praise. Most musicals don't get anywhere near crime drama. This is a unique action tale with Mexican grit, French flair, and some fabulous performances. Gascon's ability to be equally passionate as Juan and Emilia got her the first Oscar nomination for a transgender woman. Saldana won for her weary-yet-caring Rita. Audiard's dynamic direction and the dusty costumes and sets manage to make the most of the lower-budget filming in France, with the gritty-yet-flamboyant outfits of particular note.

The Numbers: "El Alegato" details Rita's dull world as she walks among cleaning ladies after work, while "Todo y Nada" is the offer that changes her life. "El Encutrento" has Juan explaining why he wants to change himself. "La Vaginoplastia" and "Lady" covers Rita's attempt to find doctor willing to perform the gender-changing surgery. "Deseo" is what finally convinces the Tel Aviv surgeon to do it. "Poor Casualidad" is Rita and Emilia's reuniting in London, while Jessi gets back with Gustavo in "Bienvendia."

Emilia remembers her own crimes in "Mis siete hermanos y yo." "Papa" makes her realize that her kids are a lot more estute about identity than their mother, while "Para" details the start of the nonprofit. The hit here was "El Mal," as Rita protests the dangerous people Emilia has putting money into their business. Emilia falls for Ephanaia in "El amor." Jessi's more than happy to assert her independence with Gustavo in "Mi Camino." She finally realizes too late who Emilia truly is in "Perdoname." It ends with Ephania and the many former criminals Emilia helped celebrating her legacy in the streets with "Les damas que pasan."

Trivia: Won two Oscars for Supporting Actress (Saldana) and Best Song ("El Mal"). 

What I Don't Like: First of all, I don't speak Spanish, so I really can't tell how good or bad anyone's accents are. I know a lot of people complained about Mexico not being represented accurately, about France not looking a whole lot like Mexico, there being only one transgender character, and the huge focus on their surgery early in the film. That the drug cartels are made to look sympathetic doesn't come off so great, either. Some critics simply objected to how the musical numbers were often badly edited, with poor dancing and so-so singing. 

The Big Finale: Spanish-speaking adults or those who don't mind subtitles on a movie and are looking for a truly unique action film may be the biggest audience for this exploration of gender, tragedy and kindness.

Home Media: Netflix exclusive in the US.

Netflix

Happy Father's Day! - Here Comes the Groom (1951)

Paramount, 1951

Starring Bing Crosby, Jane Wyman, Robert Keith, and James Barton

Directed by Frank Capra

Music and Lyrics by various

Frank Tashlin was not the only major director who took a crack at musicals in the 1950's. We saw the first Crosby-Capra collaboration, Riding High, last month for Kentucky Derby weekend. This one might be even more likely for the duo. First of all, this time, we have original material, rather than a remake of an earlier Capra film. There's also a better cast, including Wyman and Alexis Smith as two of the stronger female characters in a Crosby film, and a genuinely effecting story that related to the realities of the post-war era. How does the story of a correspondent who adopts two children, then tries to convince his ex-fiancee to be their mother come off now? Let's begin with switchboard operators putting journalist Pete Garvey (Crosby) through to his boss George Degan (Keith) and find out...

The Story: Pete, who has been helping to find homes for children in a Paris orphanage, is especially enamored by little Bobby (Jacques Gencel) and his sister Suzi (Beverly Washington). He wants to adopt them, but first red tape holds up him getting the kids' birth certificates, then he finds out he has to marry within five days, or the adoption will be void. He thinks his fiancee Emmadel Jones (Wyman) will leap back into his arms, but she's tired of waiting for him and has agreed to marry wealthy Wilbur Stanley (Franchot Tone). After she bonds with the kids, Pete and George work with Wilbur's fourth cousin twice removed Winifred Stanley (Alexis Smith) and Emmadel's alcoholic seaman father William (Barton) to make Emmadel understand that she doesn't belong with the aristocratic Stanleys and that she gets married to the man who loves her for what she is. 

The Song and Dance: Good music and charming performances highlight this exploration into what one man will do to keep his children. Though Crosby comes off well as the newspaper man scheming to marry Emmy, it's the ladies who walk off with this one. No-nonsense Wyman plays off Crosby beautifully as the woman who is tired of waiting for Pete to get away from his work and notice her, and Smtih is such a riot later in the film as Wilbur's hopeful cousin, especially when she and Wyman wrestle each other, you wish she was in more of the movie. Barton and Connie Gilchrist as Emmadel's blousy parents are the other stand-outs, with their salty humor making a wonderful contrast to exasperated Keith and smooth Tone.

The Numbers: We open at the orphanage, with Pete convincing a man from the Boston Symphony Orchestra to adopt budding opera singer Teresa (Anna Maria Alberghetti) rather than Bobby. Her "Caro Nome" is so lovely, especially for someone who may barely be in double-digits, no wonder they took her on the spot. Pete cheers up the kids by telling them about "Your Own Little House." "Misto Cristofo Columbus" gives us an all-star jam session on the plane to the US singing the comic jazz ditty on Christopher Columbus, including Dorothy Lamour, Louis Armstrong, Cass Daiey, and Phil Harris. "Bonne Nuit - Good Night" is Pete's song at the wedding rehearsal.

The standard here is "In the Cool, Cool, Cool of the Evening." It won an Oscar in 1951, and you can understand from the three times it's heard. The most prominent is the big number with Emmadel and Pete in Wilbur's office. Pete is trying to get her back...and she is almost ready to buy it, after they perform this charming, upbeat ballad together, dancing all around the office furniture.

What I Don't Like: This movie is way too long for what amounts to a romantic farce. They spend too much time with dress rehearsals and in the orphanage and not on the story. Though Pete's genuine fondness for the kids does show through, the way he tries to force Emmadel to marry him after she already had someone else is ridiculous and a bit dated nowadays. Frankly, she and Smith come off better than obnoxious Crosby and blandly manipulative Tone. Also, this is not one of Capra's better efforts. It has even fewer of his touches than Riding High.

The Big Finale: Not Bing's best vehicle, but still recommended for fans of him or the ladies if you love lower-key 50's musicals. 

Home Media: Streaming or a two-movie set with the other Crosby-Wyman musical Just for You may be your best bet for this nowadays.

DVD - Just for You/Here Comes the Groom

Amazon Prime

Artists and Models (1955)

Paramount, 1955

Starring Jerry Lewis, Dean Martin, Dorothy Malone, and Shirley MacLaine

Directed by Frank Tashlin

Music by Harry Warren; Lyrics by Jack Brooks

After the success of Living It Up, Paramount rushed the red-hot Martin and Lewis into another musical. This one was even bigger, their first filmed in the wide-screen Vistavision, with Eastmancolor, new discovery Shirley MacLaine, and huge chorus numbers well above the norm for their vehicles. It was also the first time Lewis worked with former Looney Tunes animated Frank Tashlin. Tashlin had been gunning to move into live-action for years...but he never quite left his roots at Termite Terrace behind, making him the perfect director for both manic Lewis and a movie about the comic book business. How does Tashin's wacky sensibilities line up with one of the biggest Lewis and Martin comedies? Let's start off with Martin and the chorus over the credits, singing the title song as beauties in every color of the rainbow appear, and find out...

The Story: Out of work artist Rick Todd is fed up with his roommate Eugene Fullstack's (Lewis) obsession with comic books, especially The Bat Lady. He has nightmares where he talks in his sleep about a "Vincent the Vulture" superhero who has "feathers growing out of every pore" and a "tail full of jet proportion." Jeff gets his chance when Bat Lady creator Abigail Parker (Malone) balks at her boss Mr. Murdock's (Eddie Mayerhoff) demands that she adds more violence to her comics. She convinces Eugene to go on an anti-comics crusade with her instead and agrees to illustrate his children's books. Abigail's roommate Bessie Sparrowbush (MacLaine), who is her model for the Bat Lady, has a crush on Eugene, but he fails to notice this girl who throws herself at him and his favorite heroine are one and the same. 

Unfortunately, at the same time, Rick gets a deal to write the "Vincent the Vulture" comics for Murdock. When he finds out Abby and Eugene are now against the lurid comic stories, he has to figure out how to hide his new job from both of them. There's also the European spies who want the formula Eugene has somehow dreamed of and Rick added to his stories, including the glamorous Sonia (Eva Gabor) who is willing to wreck havoc at the Artists and Models Ball.

The Song and Dance: I don't know why Martin and Lewis didn't do more flat-out musicals. This one is just as much fun as Living It Up, with the delightful addition of two genuinely strong leading ladies. Malone is  sarcastic and cynical, MacLaine a bubbly riot. Tashin's cartoon background manifests in the uptick in 50's satire and wacky sight gags, along with a slightly more risque tone for their movies. There's more sexual gags than usual for them too, including women in scanty costumes running around, not to mention the jokes about comic book violence. Lewis in particular shines in this environment. No wonder he'd go on to work with Tashin on six of his solo vehicles. Gorgeous color and rainbow gowns for those models really brings the world of art, whether pop, classical, or children's, to life.

The Numbers: We open with the title numbers over the credits, as Martin describes those lovely models in their colorful gowns. It's heard again in the finale as Martin and Lewis sing with female artists and a rainbow palette of various chorus girl colors at the Artists and Models Ball. Eugene insists good things happen "When You Pretend," while Rick thinks it's too silly. This is briefly reprised by the two couples in the finale. Rick happily sings "The Lucky Song" with a group of kids after he gets his new comic books job. "You Look So Familiar" Rick croons to Abby, but she's having none of it. He also initially sings the sole hit "Immorata." Bessie picks it up later as she pursues Eugene all around the hall of their apartment building. 

Trivia: Totally unrelated to Artists and Models and Artists and Models Abroad, two musicals Paramount made in 1937 and 1938.

What I Don't Like: Um, if you're not a fan of broad, cartoonish humor or Martin and/or Lewis, you're not going to find much here. Tashlin's movies are not known for their subtlety. Not to mention, with comic books having been more violent for years, a lot of people who don't know how they were targeted in the early 50's might not understand what all the fuss is about. The shift to spy capers in the last third of the film seems a bit too sudden and goofy, even for this movie, and could have been integrated a bit better.

The Big Finale: One of Martin and Lewis' best movies, especially if you love big 50's musicals.  

Home Media: Only on DVD in the US as part of a Martin/Lewis set. It's more easily found on streaming, including Pluto TV for free with commercials. 

DVD - Dean Martin & Jerry Lewis Collection, Volume 2

Pluto TV on Demand

Living It Up

Paramount, 1954

Starring Dean Martin, Jerry Lewis, Janet Leigh, and Fred Clark

Directed by Norman Taurog

Music by Jules Styne; Lyrics by Bob Hillard

This week, we return to the wacky, ballad-filled world of Martin and Lewis with two of their later vehicles. They were already starting to fracture around this time, but much like their characters in the story, they kept up appearances for the sake of their fans. This movie is actually a bit of an anomaly for them. It's their only adaption of a Broadway show. Hazel Flagg was a musical retelling of the film Nothing Sacred. It did well enough during 1953 to prompt Paramount to reverse the genders, making Hazel Flagg, the lady who wants to live it up after she mistakenly thinks she's dying, into Homer Flagg (Lewis), and Wally Cook,  the ambitious reporter whose headlines turn Hazel into the talk of the town, into a woman (Leigh). How well does this work today? Let's begin with Homer at his railroad job in a dusty desert town and find out...

The Story: Homer thinks he only has a few weeks to live after he drives a car back from an atomic bomb testing site. His friend Dr. Steve Harris (Martin) reveals him to only have a sinus condition and to not really be that sick. Wally, however, has heard about his illness in New York and smells a story. She comes down to the little desert town where both men live, offering to show Homer New York if she can write about his experiences before death. Desperate to see the big city, Homer and Steve agree and decide to keep up with the pretense of Wally's radiation poisoning. 

Homer proceeds to have a grand time in the Big Apple, racking up a huge expense account and being celebrated and pampered as a celebrity wherever he goes. Steve is more interested in Wally, whom he's fallen in love with. Trouble is, not only is Homer in love with her too, but his extravagant requests are costing the newspaper money. Wally's boss Oliver Stone (Clark) is tired of paying his bills and requests three specialists to make sure he's actually dying. Steve and Homer have to dodge those specialists and find a way to continue "livin' it up" in Manhattan.

The Song and Dance: Lewis has nearly as grand of a time as Homer in one of his better later vehicles with Lewis. He especially throws himself into that wild jitterbug contest with Sherree North, swinging both of them around with total abandon. The finale in the operating room that has the duo dodging those specialists (including Sig Runman) recalls the similar - and equally hilarious - sequence in Day at the Races. Leigh equally relishes the chance to play the driven tough girl who smells a story, then ends up falling for Steve. Gorgeous color shows off the real desert and backlot New York to equal advantage. 

The Numbers: Our first number introduces Steve. He's crooning the laid-back "That's What I Like" on an acoustic guitar when Homer comes in, bemoaning his illness. Even a soprano sings Homer's praises at a baseball game with "Homer, You are the Bravest Man." The hit ballad "How Do You Talk to An Angel" is heard twice. Steve sings it while dancing with Wally before the jitterbug contest begins. Homer reprises it later, singing to a photo of Wally shortly before their wedding. 

"You're Gonna Dance With Me" is the big chorus jitterbug number, as vivacious Sheree and drunk Homer swing each other - and all the other dancers - across the floor. Steve takes Wally shopping after the truncated wedding, admitting that "Money Burns a Hole In My Pocket." The boys celebrate having dodged those specialists and enjoy an evening on the town with the chorus in the other hit from this show, "Ev'ry Street's a Boulevard In Old New York." They reprise it in the finale, admitting that while they may not have the best jobs, but they do get to stay in Manhattan. 

Trivia: Hazel Flagg debuted in September 1953. Despite "How Do You Speak to an Angel" and "Ev'ry Street's a Boulevard" being hits, it didn't go over well with critics or the public. It disappeared after a disappointing four month run and has seldom been heard from since then. 

Sig Ruman played the same role in the original 1937 Nothing Sacred.

What I Don't Like: There's a reason it has largely vanished. The songs are sweet, but only "Boulevard" is anywhere near Styne's best. It's definitely not for people who don't appreciate Lewis' manic brand of comedy. The slapstick runs thick, violent, and heavy here, especially during the opening railroad sequence, the jitterbug contest, and in the operating room. Not to mention, we get Lewis' bad attempts at a Japanese accent during the operating sequence that may get uncomfortably into stereotype territory for many people today. 

There are also a lot of changes from the musical and Nothing Sacred.  The male Wally had more to do, the doctor who made the mistake was a minor character, Hazel was from New England, not the desert, and didn't work on the railroad, and she and Wally did get married and ended up sailing to the tropics rather than admit she wasn't dying. 

The Big Finale: If you love Martin and/or Lewis, this may be their best flat-out musical and is recommended for their fans or lovers of big 50's shows.

Home Media: Easily found on DVD and streaming. 

DVD

DVD - Dean Martin & Jerry Lewis Collection: Volume 2

Amazon Prime

Animation Celebration Saturday - Cinderella (1994)

Jetlag Productions, 1994

Voices of Bailee Reid, Kathleen Barr, Nathan Aswell, and Michael Donovan

Directed by Toshi Hiruma

Music by Andrew Diminitroff; Lyrics by Joellyn Copperman

Golden Films and UAV weren't the only low-budget companies churning out animated fairy-tale adaptations in the 90's. Jetlag Productions mainly focused on fairy tale adaptations, with this generally considered to be the best of the lot. How well did they do with this retelling of the most beloved fairy tale in the world? Let's begin with the charming song "Dream On, Cinderella" that gives us a gentle hint of what's to come and find out...

The Story: Cinderella lives happily with her widowed father until he brings home a wife and two daughters. The moment he goes on a long business trip, Cinderella's stepmother reveals her true nature. She forces the girl to work as a servant in her own house, giving her room to her slovenly daughters. Cinderella has a beloved snow globe from her late mother. When she shakes it, a fairy godmother appears in her room. Not only does she play pranks to keep her family off her back, she gives her a lavish gown, a carriage with lizard pages and a mouse driver, and crystal shoes for the prince's big ball. She enchants the prince, but even then, her stepmother raises doubts that it was really her...until her fairy godmother intervenes once and for all.

The Animation: Not great, but a cut above Golden and UAV. At least everyone has more than one expression, and they actually show anger and fear. There's some nice backgrounds, too, especially at the ball, and some ok effects for a low-budget film when the fairy godmother does her thing.

The Song and Dance: No wonder I heard this has a cult following of people who grew up watching it in the 90's and early 2000's. It's surprisingly charming for a low-budget effort. I like that the focus here is on Cinderella and her fairy godmother, not on sidekick mice, her step-family, or anywhere else. In fact, the fairy godmother has a lot more to do here than in most versions, including slapstick with the stepsisters. This is one of the rare versions to keep her father alive until the end, too. As a fairy tale fan, I also appreciate references to the Grimm's version of this (the birds picking the lentils out of the ashes) in what's largely a retelling of the French Charles Perrault story.

The Numbers: We open with the lovely "Dream On, Cinderella," a soft ballad of encouragement that gives us an idea of the magic that is to come. "It's the Chance of a Lifetime," claim Cinderella's stepmother and stepsisters as they prepare for the ball...and taunt Cinderella. "When Love Has Gone Away" is a sweet sequence after the ball as Cinderella and the Prince desperately wish they were in each other's arms.

What I Don't Like: Did I mention the "low budget" thing up there? The cheap animation and so-so voice acting shows their origins all too plainly. While it's not quite so glaring as it is for Golden or UAV, it's still nowhere near even Disney's worst. 

The Big Finale: There are far worse ways to pass 45 minutes with your princess-crazy elementary schooler or someone who grew up watching this on TV or video in the 90's and 2000's.

Home Media: Easily found on DVD and streaming. Currently free on Tubi with commercials. 

DVD

Tubi

The Singing Fool

Warner Bros, 1928

Starring Al Jolson, Josephine Dunn, Betty Bronson, and Davey Lee

Directed by Lloyd Bacon

Music and Lyrics by various

The Jazz Singer was a big enough hit for Warners to rush Jolson into another tale of heartbreak. This one would be even bigger, with more pathos, more drama, and far more Jolson. Jolson was now the biggest star on the planet...and it's part of the reason that this movie, far more than The Jazz Singer, wound up being the reason the studios decided sound film was here to stay. How does the monumental blockbuster hit of 1928 look now? Let's begin at that most 20's of gathering places, the speakeasy, where waiter Al Stone's (Jolson) life is about to change, and find out...

The Story: Al's been trying to get into the big time for years. He finally rates notice when he performs a song he wrote for lovely but superficial Molly Malone (Dunn) and is spotted by a Broadway producer. Molly claims to fall for Al right there and then, but she's more interested in his success than him. 

Al does become a huge Broadway star, but his marriage with Molly is empty. She's more interested in her affair with the more traditionally handsome John Perry (Reed Howes). Al's only true loves are performing and his child Sonny (Lee). Fed up with him being more interested in his career and the kid than her, Molly takes Sonny to Paris and gets a divorce. Al loses his job and becomes a bum, until he returns to Blackie's Cafe and is encouraged back into the limelight by sweet Grace (Bronson), who has always really loved him. His big comeback is hounded by tragedy, but it's Grace who reminds him that, even when those we love can only be there in spirit, we can still sing for them.

The Song and Dance: Some of Jolson's best song performances can be found here. "Sonny Boy" would prove to be such a phenomenon, it launched a series of equally melodramatic sob stories and sad songs performed by similar nervy entertainers in early talkies. Jolson comes across much better on more vibrant songs, especially the opening "It All Depends On You." His interaction with Davey Lee really is genuinely sweet; they do seem like a fond father and son, making his reaction when he loses him totally understandable.

The Numbers: Our first sound sequence has Al admitting to Molly and the speakeasy audience that "It All Depends on You." After he's spotted by the Broadway producer, he sings about how "I'm Sittin' On Top of the World." His first Broadway number gets him into a tuxedo for "There's a Rainbow 'Round My Shoulder." The massive hit "Sonny Boy" first turns up as a lullaby for Sonny after Al argues with Molly and we see her indifference to husband and son. He sings it again twice more, when Sonny is in the hospital, and in the finale in blackface while his heart is supposedly breaking. 

Trivia: There was originally another number for Jolson, the Mexican-tinged ruffles-and-castanets routine "The Spaniard Who Blighted My Life." The song's writer Billy Merson claimed that he made his living singing the song, and Jolson's version would diminish his. The song was cut from UK prints of the film...which are currently the only prints to survive today.

What I Don't Like: Hooo boy. At least The Jazz Singer had Warner Oland as Jolson's concerned father and Alan Crosland's inventive direction going for it. All this one has is an overheated soap opera plot that's as distasteful as it is silly. The histrionics are way over Jolson's head, making him look less like a jazz singer who just lost his kid and more like the fool of the title. No one comes remotely close to his scenery chewing. Dunn is bitter but doesn't have much to do, and Bronson barely appears and fades into the woodwork when she does. The blackface is saved for the last ten minutes or so, but he does still wear it, and there's also his treatment of his slightly stereotypical black valet.

Also, there's the entire problem of it being a part-talkie. The sound lurches in and out. One minute, everyone is emoting in silence; the next, Jolson is blaring "Keep Smiling at Trouble" to the room. It's disconcerting, to say the least. They should have either gone full-talkie (which they would for Jolson's next vehicle, Say It With Music) or left it silent. 

The Big Finale: This may have been what convinced the studios to take a chance on sound film, but nowadays, it's only of interest to the most ardent fans of Jolson and film historians.

Home Media: DVD only from the Warner Archives.

DVD

The Jazz Singer (1927)

Warner Bros, 1927

Starring Al Jolson, May McAvoy, Warner Oland, and Eugenie Besserer

Directed by Alan Crosland

Music and Lyrics by various

Come with me this week, and explore the very first musicals on the silver screen. Experiments with melding film and sound go back almost to the dawn of cinema, but they weren't well-received until the 1920's. Warner Brothers took a chance on a series of sound short subjects. When those were successful, they added background scores and sound effects to feature-length films, using their Vitaphone process where the sound is recorded on a record, then played with the movie. This would be one of the first feature-length films with actual dialogue. Jolson wasn't the first choice for this tale of how a Jewish performer reconciles his culture and his love of popular music, but it's hard to see anyone else in this now. How does this look almost 100 years later? Let's begin with silent title cards explaining the central dilemma and find out...

The Story: Thirteen-year-old Jakie Robinwitz (Bobby Gordon) runs away when his strict orthodox cantor father (Oland) forbids him from singing popular music in beer gardens. Over a decade later, he's now Jack Robin (Al Jolson), a singer in local cafes. He's discovered by dancer Mary Dale (McAvoy), who insists on him appearing in the show where she's currently working, April Follies. He's a big hit, prompting him to return to his mother...but his father still disdains his singing "jazz" music. It isn't until his father's dying that Jack realizes where he belongs, and that he can be wholly Jewish and revel in his own kind of music, too.

The Song and Dance: The roots of The Jazz Singer go far deeper than it being one of the catalysts for getting dialogue on the big screen. You can see the foundation for everything from big star dramas like the many versions of A Star Is Born to biographies like last week's I Saw the Light in an embryonic form here. No wonder most critics praised Jolson's performance. While he's no actor, he is a personality. The screen lights up whenever he's there. The "Blue Skies" sequence, where he sings the Irving Berlin standard to his delighted mother, and the infamous "You ain't seen nothin' yet!" number near the end may be the best examples of his considerable talent. 

The Numbers: We open 13-year-old Jakie Robinwitz (Bobby Gordon) singing "Waiting for the Robert E. Lee" and "My Gal Sal," at the beer hall. The numbers so horrify the head of the temple's council (Otto Lederer) that he tells Jakie's parents what he's doing. The traditional Jewish song "Kol Nidre" is performed twice, by Cantor Rabinowitz (dubbed by a real Cantor, Rosenblatt) when he realizes he's lost his son, and later by Jakie when he realizes how much his religion is a part of his life. 

"Dirty Hands, Dirty Face" is his big number in the nightclub. The teary ballad prompts Mary to call him one of the few jazz singers who can elicit a tear along with a sigh. He's even more dynamic on his next number, leaping into "Toot Toot Tootsie Goodbye" with relish. The sequence where he talks to his mother while singing the Irving Berlin standard "Blue Skies" is likely the most famous now as the first dialogue sequence. He sings "Mother of Mine, I Still Have You" at the dress rehearsal and "My Mammy" at the actual performance in the Winter Garden.

Trivia: Jolson wasn't the studio's original choice for Jakie. The part was intended for the star of the original Broadway play George Jessel, but he wanted too much money and Jolson stepped in.

That's the real Winter Garden Jakie performs at during the finale. The Winter Garden still very much exists today, and in fact briefly became a movie theater shortly after this movie debuted. A revival of Mamma Mia! will be opening there this fall.

What I Don't Like: For all its influence, the melodramatic story hasn't really dated well at all. All of the actors pale besides Jolson and Oland as his strict father. Besserer doesn't have much to do besides look maternal (other than her slightly forced dialogue during the "Blue Skies" sequence), and McAvoy has even less as the lady who helps Jack become a success. It can all be a bit too much for many modern audiences, who may wonder what the fuss was about. 

There's also Jolson performing in blackface to contend with. Yes, it's history, it's part of Jolson's act, and it goes back to his days playing with minstrel troupes. That doesn't make it any easier to take for audiences today.

The Big Finale: No matter how dated this is or isn't, it's still history. Necessary viewing for cinema historians, musical fans, and major fans of Jolson and early talkie musicals.

Home Media: Easily found in all formats, including Tubi for free with commercials. The DVD is a three-disc set that also includes many sound shorts of the era. 

DVD

Blu-Ray

Tubi