ABC/Disney, 1997
Starring Brandy, Whitney Houston, Bernadette Peters, and Paolo Montalban
Directed by Robert Iscove
Music by Richard Rodgers; Lyrics by Oscar Hammerstein and others
Whitney Houston had been wanting to remake Cinderella for years, but by the time Disney was interested, she thought herself too old for the role and suggested Brandy instead. This movie was important in several respects. Not only did it re-launch the beloved anthology The Wonderful World of Disney, but it was the first version of Cinderella to use color-blind casting, with a black Cinderella and an Asian prince. Did the gamble pay off? Let's head back to the square, where Cinderella and her stepmother and stepsisters are shopping, to find out...
The Story: While helping her stepmother (Peters) and stepsisters with their shopping, Cinderella (Brandy) encounters a handsome young man (Montalban) in the town square. She's smitten with him, but her stepmother thinks the idea of marrying for love is foolish. Queen Constatina (Whoopi Goldberg) would agree. She insists that her son holds a ball to find a bride, though her husband thinks their son should marry for love. Cinderella's stepmother is quite jealous of her pretty stepdaughter, who is so much sweeter than her own spoiled daughters, and has no intention of letting her go to the ball. Cinderella finally gets help from the glittering Fairy Godmother (Houston), who shows her that love and trust are the most important things in any relationship, and that real love comes from a kind and gentle heart.
The Song and Dance: Disney really went all out with this one. From the colorful fairy-tale costumes to the stunning sets, this is by far the best Cinderella to look at. The cast is mostly pretty decent, too. Bernadette Peters has a lot of fun as the scheming stepmother, who will do anything possible to push and shove her daughters into high society. Goldberg and Garber are equally amusing as the king and queen. The handsome and charming Montalban is a revelation as the Prince; easy on the eyes, sings like a dream, handles the dramatic and comedic moments equally well.
Favorite Number: We have a nice opening with "The Sweetest Songs" as Prince Christopher helps Cinderella out in the square, and they win each other's hearts. Jason Alexander, as the Prince's long-suffering steward Lionel, leads the chorus through an excitingly-choreographed "The Prince Is Giving A Ball." The stepmother was previously played by non-singing actresses. They beefed up Peters and the stepsisters' roles with the Richard Rodgers-Lorenz Hart ballad "Falling In Love With Love." Montalban really ladles his instrument into "Do I Love You Because You're Beautiful?" Houston finishes with the rare Rodgers and Hammerstein ballad "There's Music In You."
Trivia: "There's Music In You" is from the little-known film Main Street to Broadway. "The Sweetest Sounds" was written by Richard Rodgers alone and was taken from the 1961 stage musical No Strings. "Falling In Love With Love" comes from the 1930's Rodgers and Hart show The Boys From Syracuse.
What I Don't Like: I know this was Houston's project, but she and Brandy stick out like sore thumbs. Like Carrie Underwood, their pop sensibilities don't work with the music or the material (although, as mentioned, Houston does manage a nice "There's Music In You"). Brandy's voice is too small for the music, and she can come off as a little stiff. This being television, the CGI effects on Houston look fairly cheap and obvious.
While "Falling In Love" sounds great on Peters, the darker Rodgers and Hart tune is a bit out of place among the more romantic songs Rodgers did with his later partner.
The Big Finale: I saw this when it first debuted in 1997, and I still enjoy it today. Slightly older princesses and those who have equally fond memories will really enjoy this one.
Home Media: Only on DVD at the moment, but it can be found for under 5 dollars in most places.
DVD
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Saturday, August 31, 2019
Thursday, August 29, 2019
Musicals On TV - Rodgers & Hammerstein's Cinderella (1965)
CBS, 1965
Starring Leslie Ann Warren, Stuart Damon, Celeste Holm, and Jo Van Fleet
Directed by Charles S. Dubin
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
The 1957 Cinderella had been a major success, one that CBS was eager to repeat. After a stage version also went over well in London, they decided to do a remake that took advantage of new color and videotaping technologies. How does this more traditional version stack up against the previous one? This time, we're going to start on the road to the castle to find out...
The Story: The Prince (Damon) has returned from a year of rescuing beauties and slaying dragons. His parents the King (Walter Pidgeon) and Queen (Ginger Rogers) are holding a ball in honor of his arrival home and hope that he'll choose a bride. Sweet servant Cinderella (Warren) doesn't think she'll be among those chosen. Her obnoxious stepmother (Fleet) and stepsisters Prunella (Pat Carroll) and Esmerelda (Barbara Ruick) won't allow her to go, as they wish to capture the Prince's eye themselves. It'll take a little bit of magic from Cinderella's glamorous fairy godmother (Holm) to get Cinderella to the ball...and the equally potent magic of her own kind nature to win his heart.
The Song and Dance: This is the version of Cinderella I grew up with. It ran a lot on cable when I was little, and my sisters and I always enjoyed it when it was on. Warren is a wonderfully sweet Cinderella, and Damon is suitably dashing as her Prince Charming. Ruick and especially sarcastic Carroll have some nice moments as the jealous stepsisters. Holm makes a far warmer and more motherly fairy godmother. Once again, the sets and especially the costumes are lavish and gorgeous. That vaunted color glows like a child's fairy-tale picture book from the 1960's.
Favorite Number: Damon kicks things off in romantic style with "Loneliness of Evening," a gorgeous ballad originally cut from South Pacific. Holm and Warren discuss the importance of wishing in "Impossible/It's Possible," just as Cinderella's come true. Damon and Warren do a lovely "Ten Minutes Ago." Ruick and Carroll's "Stepsisters' Lament" is tied slightly better into the story and is very funny.
What I Don't Like: I wish both of the earlier Cinderellas did more with the Prince. In fact, "Loneliness of Evening" was added because Cypher's Prince in the original was a bit of a nonentity. Damon's so charming and witty when he does turn up, I kind of wish we could see more of him. Ironically, we don't see enough of the King and Queen. Despite being played by movie stars Pidgeon and Rogers, their role is greatly reduced from the other two films. They're mostly just seen at the ball and consoling their son after his dream girl runs off.
The Big Finale: Still a favorite of mine, this simple and sweet Cinderella might be especially nice for the youngest fairy-tale lovers and those who grew up with it like I did.
Home Media: Out of print and fairly expensive on DVD. Your best bet here is streaming. It can currently be found for free on several streaming services, including YouTube.
DVD
YouTube
Starring Leslie Ann Warren, Stuart Damon, Celeste Holm, and Jo Van Fleet
Directed by Charles S. Dubin
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
The 1957 Cinderella had been a major success, one that CBS was eager to repeat. After a stage version also went over well in London, they decided to do a remake that took advantage of new color and videotaping technologies. How does this more traditional version stack up against the previous one? This time, we're going to start on the road to the castle to find out...
The Story: The Prince (Damon) has returned from a year of rescuing beauties and slaying dragons. His parents the King (Walter Pidgeon) and Queen (Ginger Rogers) are holding a ball in honor of his arrival home and hope that he'll choose a bride. Sweet servant Cinderella (Warren) doesn't think she'll be among those chosen. Her obnoxious stepmother (Fleet) and stepsisters Prunella (Pat Carroll) and Esmerelda (Barbara Ruick) won't allow her to go, as they wish to capture the Prince's eye themselves. It'll take a little bit of magic from Cinderella's glamorous fairy godmother (Holm) to get Cinderella to the ball...and the equally potent magic of her own kind nature to win his heart.
The Song and Dance: This is the version of Cinderella I grew up with. It ran a lot on cable when I was little, and my sisters and I always enjoyed it when it was on. Warren is a wonderfully sweet Cinderella, and Damon is suitably dashing as her Prince Charming. Ruick and especially sarcastic Carroll have some nice moments as the jealous stepsisters. Holm makes a far warmer and more motherly fairy godmother. Once again, the sets and especially the costumes are lavish and gorgeous. That vaunted color glows like a child's fairy-tale picture book from the 1960's.
Favorite Number: Damon kicks things off in romantic style with "Loneliness of Evening," a gorgeous ballad originally cut from South Pacific. Holm and Warren discuss the importance of wishing in "Impossible/It's Possible," just as Cinderella's come true. Damon and Warren do a lovely "Ten Minutes Ago." Ruick and Carroll's "Stepsisters' Lament" is tied slightly better into the story and is very funny.
What I Don't Like: I wish both of the earlier Cinderellas did more with the Prince. In fact, "Loneliness of Evening" was added because Cypher's Prince in the original was a bit of a nonentity. Damon's so charming and witty when he does turn up, I kind of wish we could see more of him. Ironically, we don't see enough of the King and Queen. Despite being played by movie stars Pidgeon and Rogers, their role is greatly reduced from the other two films. They're mostly just seen at the ball and consoling their son after his dream girl runs off.
The Big Finale: Still a favorite of mine, this simple and sweet Cinderella might be especially nice for the youngest fairy-tale lovers and those who grew up with it like I did.
Home Media: Out of print and fairly expensive on DVD. Your best bet here is streaming. It can currently be found for free on several streaming services, including YouTube.
DVD
YouTube
Tuesday, August 27, 2019
Musicals On TV - Rodgers & Hammerstein's Cinderella (1957)
CBS, 1957
Starring Julie Andrews, Jon Cypher, Edie Adams, and Ilka Chase
Directed by Ralph Nelson
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
Live television musicals have existed for as long as the medium has, but they were usually adaptations of Broadway shows. Rodgers and Hammerstein were originally approached by NBC to write the first major original TV musical, but switched the project to CBS when they heard that they'd signed Julie Andrews. The duo were eager to work with her after she became a star in the original Broadway production of My Fair Lady and filled the cast with mainly Broadway and TV stars. How does the first of three TV versions of this beloved fairy tales look over 60 years later? Let's head to the town square, just as the town crier is about to make a major announcement, and find out...
The Story: Cinderella (Andrews) is a little drudge who lives with her bossy stepmother (Chase) and her two stepsisters, silly Portia (Kaye Ballard) and gloomy Joy (Alice Ghostley). She'd love to go to the ball, but her family would rather she stayed at home and did her many chores. Meanwhile, Queen Maisie (Dorothy Stuckney) wishes her son the Prince (Cypher) would settle down, but he hasn't found a woman who interests him. Cinderella gets her chance to attend the ball from her fairy godmother (Adams), who turns animals and a pumpkin into a coach and her rags into a ball gown. When she arrives, the prince instantly falls in love with her, and they're together the rest of the evening...but she can only stay until midnight. After she leaves behind a glass slipper, the Prince becomes determined to find the foot that fits that shoe.
The Song and Dance: I can understand why Rodgers and Hammerstein wanted Andrews so badly for this role. Even in the fuzzy black-and-white prints currently available, she glows as the servant who gets the chance to show she's more than a mere cinder girl. Chase, Ghostley, and especially the giggling, snorting Ballard are hilarious as her abusive family, and Adams makes an unusually young and friendly fairy godmother. The costumes and sets are quite lovely and lavish for TV in this time period, especially at the ball.
Favorite Number: Andrews has fun singing "In My Own Little Corner" and acting out the lyrics to the song, from her African safari to being glad to be home. She and Adams turn "Impossible/It's Possible" into an adorable woman-to-woman chat before Adams reveals why she's really there. "Ten Minutes Ago" and the waltz at the ball are lovely, with Cypher and Andrews lovely and romantic in their duet. She, Ghostly, and Ballard are very cute as they recall the splendors of the ball in "A Lovely Night."
What I Don't Like: I suspect the only reason for the expanded role of the King and Queen here is because Stickney and Lindsay were major stage stars at the time, having just come off the long-running Life With Father. Their number "Your Majesties (The Royal Dressing Room Scene)," is cute but unnecessary, and has never been used in any other version.
The biggest problem here has less to do with the cast or music and more with the ravages of time. The prints currently available are of the black-and-white kinescopes (early recordings) of the technical dress rehearsal. They're watchable, but definitely not the best prints in the world or what many people nowadays are used to seeing in their widescreen, 4K specials.
The Big Finale: No matter how bad the print is, this is still a piece of TV history. It was a massive hit at the time, the biggest in US television history, with over 24 million houses watching, and it's still fun to watch today, especially for fans of Andrews.
Home Media: Currently only on DVD via Image Entertainment.
DVD
Starring Julie Andrews, Jon Cypher, Edie Adams, and Ilka Chase
Directed by Ralph Nelson
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
Live television musicals have existed for as long as the medium has, but they were usually adaptations of Broadway shows. Rodgers and Hammerstein were originally approached by NBC to write the first major original TV musical, but switched the project to CBS when they heard that they'd signed Julie Andrews. The duo were eager to work with her after she became a star in the original Broadway production of My Fair Lady and filled the cast with mainly Broadway and TV stars. How does the first of three TV versions of this beloved fairy tales look over 60 years later? Let's head to the town square, just as the town crier is about to make a major announcement, and find out...
The Story: Cinderella (Andrews) is a little drudge who lives with her bossy stepmother (Chase) and her two stepsisters, silly Portia (Kaye Ballard) and gloomy Joy (Alice Ghostley). She'd love to go to the ball, but her family would rather she stayed at home and did her many chores. Meanwhile, Queen Maisie (Dorothy Stuckney) wishes her son the Prince (Cypher) would settle down, but he hasn't found a woman who interests him. Cinderella gets her chance to attend the ball from her fairy godmother (Adams), who turns animals and a pumpkin into a coach and her rags into a ball gown. When she arrives, the prince instantly falls in love with her, and they're together the rest of the evening...but she can only stay until midnight. After she leaves behind a glass slipper, the Prince becomes determined to find the foot that fits that shoe.
The Song and Dance: I can understand why Rodgers and Hammerstein wanted Andrews so badly for this role. Even in the fuzzy black-and-white prints currently available, she glows as the servant who gets the chance to show she's more than a mere cinder girl. Chase, Ghostley, and especially the giggling, snorting Ballard are hilarious as her abusive family, and Adams makes an unusually young and friendly fairy godmother. The costumes and sets are quite lovely and lavish for TV in this time period, especially at the ball.
Favorite Number: Andrews has fun singing "In My Own Little Corner" and acting out the lyrics to the song, from her African safari to being glad to be home. She and Adams turn "Impossible/It's Possible" into an adorable woman-to-woman chat before Adams reveals why she's really there. "Ten Minutes Ago" and the waltz at the ball are lovely, with Cypher and Andrews lovely and romantic in their duet. She, Ghostly, and Ballard are very cute as they recall the splendors of the ball in "A Lovely Night."
What I Don't Like: I suspect the only reason for the expanded role of the King and Queen here is because Stickney and Lindsay were major stage stars at the time, having just come off the long-running Life With Father. Their number "Your Majesties (The Royal Dressing Room Scene)," is cute but unnecessary, and has never been used in any other version.
The biggest problem here has less to do with the cast or music and more with the ravages of time. The prints currently available are of the black-and-white kinescopes (early recordings) of the technical dress rehearsal. They're watchable, but definitely not the best prints in the world or what many people nowadays are used to seeing in their widescreen, 4K specials.
The Big Finale: No matter how bad the print is, this is still a piece of TV history. It was a massive hit at the time, the biggest in US television history, with over 24 million houses watching, and it's still fun to watch today, especially for fans of Andrews.
Home Media: Currently only on DVD via Image Entertainment.
DVD
Saturday, August 24, 2019
Musicals On TV - The Sound of Music Live
NBC/Universal, 2013
Starring Carrie Underwood, Stephan Moyer, Christine Bennati, and Audra McDonald
Directed by Rob Ashford and Beth McCarthy-Miller
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
Hoping to promote more live events, NBC made The Sound of Music their big holiday special for 2013. At the time, it was a big gamble. A live musical hadn't been seen on television since the 1960's. Not only that, but their staging was based on the original Broadway show, using only one of the songs from the film. How well did they do? Let's return to those famous Austrian hills...or a stage approximation...to find out...
The Story: Maria Rainer (Underwood) is a novice nun at Nonnberg Abbey in Austria, but she's too spirited for the order. The Mother Superior (McDonald) sends her to be a governess to the stern Captain Von Trapp (Moyer) and his seven children. The Captain uses a whistle to call them and expects Maria to do the same, but she gives them respect and plays music with them instead, gaining their trust. The Captain comes home to discover his children and Maria are running around in clothes she made from her discarded curtains. He dismisses her after she points out that he barely knows his children...but changes his mind when he hears the children singing for his good friend Max Detweiller (Christian Borle) and fiancee Countess Elsa Schrader (Benatti).
He holds a party for them and dances a lander, an Austrian national dance, with Maria. Realizing she's in love with him. Maria runs off, but the Mother Abbess realizes she's hiding and sends her back. Meanwhile, the kids are upset and no longer feel like singing, and the Captain is disgusted by Max and Elsa constantly insisting that he should go along with the Nazis and their taking over Europe. Maria says she'll stay until they can find another governess, but the Captain has realizes that he loves her.
The Nazis invade Austria while they're on their honeymoon. When they return, they discover that Max has entered the family into the Kaltzenburg Festival and the Captain has been commissioned into the German Navy. Maria convinces the Nazis to let them sing at the festival...but it'll take all their know-how, and some help from the nuns at the Abbey, to allow them to escape over the mountains to freedom.
The Song and Dance: The supporting cast really shines here, with Broadway stars McDonald, Borle, and Benatti the stand-outs as the warm and wise Mother Abbess, sarcastic Max, and self-centered Countess. Ariene Rinehart and Michael Campayno are lovely as Von Trapp's eldest daughter Lisel and her sweetheart, too. I actually like that the story returns to its original contours. "The Lonely Goatheard" makes more sense as a way for Maria to cheer up the children than as a random number for them and puppets.
Favorite Number: Underwood and the kids have a great time marching in place as she teaches the kids "Do-Re-Mi" and still follows their father's orders. Rinehart and Campayno are adorable rolling down the hill in "Sixteen Going On Seventeen." "The Lonely Goatherd," with the kids hiding under the bed as Underwood sings the story, is just too funny. We get to hear more from Elsa and Max, who point out the inevitability of invasion in "No Way to Stop It" and "How Can Love Survive?"
What I Don't Like: While it is nice to hear two songs that didn't make it into the film, they also put more emphasis than needed on Max and Elsa and less than you'd like on Maria's relationship with the kids. Despite mostly sticking to the show, they actually did sneak a movie song in, "Something Good." The scenery, while lovely, can't match the very real Austria in the film and lacks the intimacy and warmth it displayed.
The biggest problem is the leads. Underwood is a wonderful country singer, but she's not much of an actress, and her instrument is totally inappropriate for Broadway showtunes. Moyer's stiff and dull opposite her.
The Big Finale: Underwood is no Julie Andrews, but the supporting cast is good, and it gets far closer to the original Broadway show. If you're a fan of Broadway or the cast or are willing to check out a different "Sound of Music," this is worth at least a look.
Home Media: Cheap and easily found on DVD and a few streaming services.
DVD
Amazon Prime (buy only)
Starring Carrie Underwood, Stephan Moyer, Christine Bennati, and Audra McDonald
Directed by Rob Ashford and Beth McCarthy-Miller
Music by Richard Rodgers; Lyrics by Oscar Hammerstein
Hoping to promote more live events, NBC made The Sound of Music their big holiday special for 2013. At the time, it was a big gamble. A live musical hadn't been seen on television since the 1960's. Not only that, but their staging was based on the original Broadway show, using only one of the songs from the film. How well did they do? Let's return to those famous Austrian hills...or a stage approximation...to find out...
The Story: Maria Rainer (Underwood) is a novice nun at Nonnberg Abbey in Austria, but she's too spirited for the order. The Mother Superior (McDonald) sends her to be a governess to the stern Captain Von Trapp (Moyer) and his seven children. The Captain uses a whistle to call them and expects Maria to do the same, but she gives them respect and plays music with them instead, gaining their trust. The Captain comes home to discover his children and Maria are running around in clothes she made from her discarded curtains. He dismisses her after she points out that he barely knows his children...but changes his mind when he hears the children singing for his good friend Max Detweiller (Christian Borle) and fiancee Countess Elsa Schrader (Benatti).
He holds a party for them and dances a lander, an Austrian national dance, with Maria. Realizing she's in love with him. Maria runs off, but the Mother Abbess realizes she's hiding and sends her back. Meanwhile, the kids are upset and no longer feel like singing, and the Captain is disgusted by Max and Elsa constantly insisting that he should go along with the Nazis and their taking over Europe. Maria says she'll stay until they can find another governess, but the Captain has realizes that he loves her.
The Nazis invade Austria while they're on their honeymoon. When they return, they discover that Max has entered the family into the Kaltzenburg Festival and the Captain has been commissioned into the German Navy. Maria convinces the Nazis to let them sing at the festival...but it'll take all their know-how, and some help from the nuns at the Abbey, to allow them to escape over the mountains to freedom.
The Song and Dance: The supporting cast really shines here, with Broadway stars McDonald, Borle, and Benatti the stand-outs as the warm and wise Mother Abbess, sarcastic Max, and self-centered Countess. Ariene Rinehart and Michael Campayno are lovely as Von Trapp's eldest daughter Lisel and her sweetheart, too. I actually like that the story returns to its original contours. "The Lonely Goatheard" makes more sense as a way for Maria to cheer up the children than as a random number for them and puppets.
Favorite Number: Underwood and the kids have a great time marching in place as she teaches the kids "Do-Re-Mi" and still follows their father's orders. Rinehart and Campayno are adorable rolling down the hill in "Sixteen Going On Seventeen." "The Lonely Goatherd," with the kids hiding under the bed as Underwood sings the story, is just too funny. We get to hear more from Elsa and Max, who point out the inevitability of invasion in "No Way to Stop It" and "How Can Love Survive?"
What I Don't Like: While it is nice to hear two songs that didn't make it into the film, they also put more emphasis than needed on Max and Elsa and less than you'd like on Maria's relationship with the kids. Despite mostly sticking to the show, they actually did sneak a movie song in, "Something Good." The scenery, while lovely, can't match the very real Austria in the film and lacks the intimacy and warmth it displayed.
The biggest problem is the leads. Underwood is a wonderful country singer, but she's not much of an actress, and her instrument is totally inappropriate for Broadway showtunes. Moyer's stiff and dull opposite her.
The Big Finale: Underwood is no Julie Andrews, but the supporting cast is good, and it gets far closer to the original Broadway show. If you're a fan of Broadway or the cast or are willing to check out a different "Sound of Music," this is worth at least a look.
Home Media: Cheap and easily found on DVD and a few streaming services.
DVD
Amazon Prime (buy only)
Thursday, August 22, 2019
The Desert Song (1953)
Warner Bros, 1953
Starring Kathryn Grayson, Gordon MacRae, Dick Wesson, and Raymond Massey
Directed by H. Bruce Humberstone
Music by Sigmund Romberg; Lyrics by Oscar Hammerstein II and others
With operettas popular on early TV, several of them saw big-screen remakes in the 1950's. As MGM did with Show Boat, Warners upgraded the swashbuckling sand saga with Technicolor, a glossy production, and Kathryn Grayson. Does it come off better than the Show Boat remake did, or should it be thrown down a sand dune? Let's go back to the Sahara, where the Riffs are once again at war, and find out...
The Story: This time, El Khobar (MacRae) and the Riffs are waging war with the French military and another tribe lead by the wealthy and corrupt Sheikh Youssef (Massey). When Khobar isn't living among the people of the desert tribes, he's Paul Bonnard, a nerdy young anthropologist who shares an apartment with reporter Benji Kidd (Wesson). The daughter of General Birabeau (Ray Collins), Margot (Grayson), arrives from school in Paris. She immediately flirts with every man at the garrison, to the dismay of her father and the handsome Captain Fontaine (Steve Cochran). Her father hires Paul to teach her history and keep her busy. He not only keeps her busy, he tells her about the Riffs and their poor treatment at the hands of Youssef. Youssef is an ally of the French...but he has his own plans for the garrison. El Khobar is determined to expose him and reveal the truth, even if he has to bring Margot and her father along for the ride.
The Song and Dance: If nothing else, the movie returns the story to more-or-less the original plot. I actually like Margot being the General's feisty daughter and Paul being an anthropologist. It gives her more reason for being in Morocco and him more of an excuse to wander the desert. Grayson's having a marvelous time as the feisty Margot, Wesson's mostly funny as Paul's clueless buddy, and Massey makes a very menacing dessert ruler. The color here is gorgeous, glowing and jewel-like with its sandy vistas.
Favorite Number: "Gay Parisianne" is the only song retained from the 1943 film, and it's used as a chorus number here with Margot flirting with all the men at the garrison. Grayson also gets to sing a lovely "Romance," my favorite song from this score, as she reveals why she left Paris. MacRae leads the male chorus through a rousing "Riff Song" in the opening, and he gets a gorgeous "One Alone" when he serenades Grayson in the gardens.
What I Don't Like: MacRae is stiff as a board as El Khobar and lacks the charisma Dennis Morgan showed in this role in 1943. He's slightly more believable as the shy scholar than the swashbuckler chieftain. In the original show, every character, including the stage versions of Benjy and Youssef, had a song. Here, only Paul, Margot, and the chorus sings. Dancer Allyn Ann McLerie is Arabic dancer Azuri, and she's even less believable than MacRae as a passionate woman of the desert (and is stuck in dark skin makeup to boot).
The Big Finale: As much as I like the 1943 film, this one has its own charms, including one of Grayson's best performances and a story that gets at least a little closer to the original show. Either way, both movies are a lot of fun for fans of swashbuckling desert adventures or operettas.
Home Media: Like the 1943 film, this is currently only available through the Warner Archives.
DVD
Starring Kathryn Grayson, Gordon MacRae, Dick Wesson, and Raymond Massey
Directed by H. Bruce Humberstone
Music by Sigmund Romberg; Lyrics by Oscar Hammerstein II and others
With operettas popular on early TV, several of them saw big-screen remakes in the 1950's. As MGM did with Show Boat, Warners upgraded the swashbuckling sand saga with Technicolor, a glossy production, and Kathryn Grayson. Does it come off better than the Show Boat remake did, or should it be thrown down a sand dune? Let's go back to the Sahara, where the Riffs are once again at war, and find out...
The Story: This time, El Khobar (MacRae) and the Riffs are waging war with the French military and another tribe lead by the wealthy and corrupt Sheikh Youssef (Massey). When Khobar isn't living among the people of the desert tribes, he's Paul Bonnard, a nerdy young anthropologist who shares an apartment with reporter Benji Kidd (Wesson). The daughter of General Birabeau (Ray Collins), Margot (Grayson), arrives from school in Paris. She immediately flirts with every man at the garrison, to the dismay of her father and the handsome Captain Fontaine (Steve Cochran). Her father hires Paul to teach her history and keep her busy. He not only keeps her busy, he tells her about the Riffs and their poor treatment at the hands of Youssef. Youssef is an ally of the French...but he has his own plans for the garrison. El Khobar is determined to expose him and reveal the truth, even if he has to bring Margot and her father along for the ride.
The Song and Dance: If nothing else, the movie returns the story to more-or-less the original plot. I actually like Margot being the General's feisty daughter and Paul being an anthropologist. It gives her more reason for being in Morocco and him more of an excuse to wander the desert. Grayson's having a marvelous time as the feisty Margot, Wesson's mostly funny as Paul's clueless buddy, and Massey makes a very menacing dessert ruler. The color here is gorgeous, glowing and jewel-like with its sandy vistas.
Favorite Number: "Gay Parisianne" is the only song retained from the 1943 film, and it's used as a chorus number here with Margot flirting with all the men at the garrison. Grayson also gets to sing a lovely "Romance," my favorite song from this score, as she reveals why she left Paris. MacRae leads the male chorus through a rousing "Riff Song" in the opening, and he gets a gorgeous "One Alone" when he serenades Grayson in the gardens.
What I Don't Like: MacRae is stiff as a board as El Khobar and lacks the charisma Dennis Morgan showed in this role in 1943. He's slightly more believable as the shy scholar than the swashbuckler chieftain. In the original show, every character, including the stage versions of Benjy and Youssef, had a song. Here, only Paul, Margot, and the chorus sings. Dancer Allyn Ann McLerie is Arabic dancer Azuri, and she's even less believable than MacRae as a passionate woman of the desert (and is stuck in dark skin makeup to boot).
The Big Finale: As much as I like the 1943 film, this one has its own charms, including one of Grayson's best performances and a story that gets at least a little closer to the original show. Either way, both movies are a lot of fun for fans of swashbuckling desert adventures or operettas.
Home Media: Like the 1943 film, this is currently only available through the Warner Archives.
DVD
Tuesday, August 20, 2019
The Desert Song (1943)
Warner Bros, 1943
Starring Dennis Morgan, Irene Manning, Bruce Cabot, and Gene Lockhart
Directed by Robert Florey
Music by Sigmund Rombert; Lyrics by Oscar Hammerstein II, Otto A. Haurbach, and Jack Scholl
Like Show Boat, The Desert Song was first filmed in the early talkie era. It was, in fact, Warners first flat-out musical in 1929, a huge epic featuring John Boles as the mystery man of the desert, the Red Shadow. While that version does exist, it's very hard to find today. The 1943 version was also hard to find until very recently, thanks to a load of legal red tape. Now that it's back in the public eye, how does the wartime version of this romantic operetta look now? Let's head to Geneva, Switzerland in 1939 to find out...
The Story: The Nazis have invaded North Africa. They've captured the Riff tribes, using them to build a railroad that'll bring supplies to their garrisons. The Riffs fight back by blowing up tracks and trains. They're lead by the enigmatic El Khobar...who is actually Paul Hudson (Morgan), a pianist and reporter who respects the Riffs and their way of life. He works in an Arabic cabaret owned by Peter FanFan (Lockhart) and lives with perpetually drunk fellow writer Johnny Walsh (Lynne Overman). Paul falls for beautiful singer Margot (Manning), but she's in love with Colonel Fontaine (Cabot) of the French Army. Paul has to dodge the Nazis and bring Fontaine and Margot on the same page, before the Nazis build that train and destroy the Riffs' way of life.
The Song and Dance: Morgan makes an especially charming freedom fighter in this swashbuckling World War II adventure. He's surrounded by a nice cast of character actors, including Lockhart as the head of the cabaret where the Riffs hang out and have their headquarters, Cabot as Paul's stoic rival for Margot's affection, and Overman as Paul's cynical roommate who just wants to know who this El Khobar guy is, anyway. Some of the changes to the story are fascinating, especially how the Riffs are treated by the Nazis and how they finally rebel. There's some lovely Technicolor camera work, especially in the beginning on the desert.
Favorite Number: Most of the big numbers are performed as part of the cabaret show. Margot's "French Military Marching Song" is especially fun and colorful. Morgan and Manning do a lovely, simple duet to "One Alone" when they're covering the Riffs escaping the cafe before the Nazis arrive. "The Riff Song" gets a nice run-through in the opening by Morgan and the chorus just after they attack the Nazis.
What I Don't Like: Manning lacks her male co-stars' charisma and looks stiff and bored as the singer turned spy. I didn't mind the topical story changes, but I really wish they let the songs tell the story as they originally did, rather than relegating them to nightclub numbers. This feels more like an action movie with songs.
The Big Finale: If you don't mind the story changes and love the cast or World War II adventure films, you'll want to ride out into the desert and give this tale of "Romance" a look.
Home Media: Currently only available on DVD from the Warner Archives.
DVD
Starring Dennis Morgan, Irene Manning, Bruce Cabot, and Gene Lockhart
Directed by Robert Florey
Music by Sigmund Rombert; Lyrics by Oscar Hammerstein II, Otto A. Haurbach, and Jack Scholl
Like Show Boat, The Desert Song was first filmed in the early talkie era. It was, in fact, Warners first flat-out musical in 1929, a huge epic featuring John Boles as the mystery man of the desert, the Red Shadow. While that version does exist, it's very hard to find today. The 1943 version was also hard to find until very recently, thanks to a load of legal red tape. Now that it's back in the public eye, how does the wartime version of this romantic operetta look now? Let's head to Geneva, Switzerland in 1939 to find out...
The Story: The Nazis have invaded North Africa. They've captured the Riff tribes, using them to build a railroad that'll bring supplies to their garrisons. The Riffs fight back by blowing up tracks and trains. They're lead by the enigmatic El Khobar...who is actually Paul Hudson (Morgan), a pianist and reporter who respects the Riffs and their way of life. He works in an Arabic cabaret owned by Peter FanFan (Lockhart) and lives with perpetually drunk fellow writer Johnny Walsh (Lynne Overman). Paul falls for beautiful singer Margot (Manning), but she's in love with Colonel Fontaine (Cabot) of the French Army. Paul has to dodge the Nazis and bring Fontaine and Margot on the same page, before the Nazis build that train and destroy the Riffs' way of life.
The Song and Dance: Morgan makes an especially charming freedom fighter in this swashbuckling World War II adventure. He's surrounded by a nice cast of character actors, including Lockhart as the head of the cabaret where the Riffs hang out and have their headquarters, Cabot as Paul's stoic rival for Margot's affection, and Overman as Paul's cynical roommate who just wants to know who this El Khobar guy is, anyway. Some of the changes to the story are fascinating, especially how the Riffs are treated by the Nazis and how they finally rebel. There's some lovely Technicolor camera work, especially in the beginning on the desert.
Favorite Number: Most of the big numbers are performed as part of the cabaret show. Margot's "French Military Marching Song" is especially fun and colorful. Morgan and Manning do a lovely, simple duet to "One Alone" when they're covering the Riffs escaping the cafe before the Nazis arrive. "The Riff Song" gets a nice run-through in the opening by Morgan and the chorus just after they attack the Nazis.
What I Don't Like: Manning lacks her male co-stars' charisma and looks stiff and bored as the singer turned spy. I didn't mind the topical story changes, but I really wish they let the songs tell the story as they originally did, rather than relegating them to nightclub numbers. This feels more like an action movie with songs.
The Big Finale: If you don't mind the story changes and love the cast or World War II adventure films, you'll want to ride out into the desert and give this tale of "Romance" a look.
Home Media: Currently only available on DVD from the Warner Archives.
DVD
Saturday, August 17, 2019
Family Fun Saturday - Annie (2014)
Columbia, 2014
Starring Quevenzhane Wallis, Jamie Foxx, Cameron Diaz, and Rose Byrne
Directed by Will Gluck
Music by Charles Strouse and others; Lyrics by Martin Charmin and others
The success of a hip-hop "Hard Knock Life" prompted Columbia to remake this story in a modern-day setting, with a very sassy 21st century Annie. Will Smith's daughter Willow was originally to appear, but by the time they finally got it off the ground, she was too old and Wallis was in. How does the story of the little orphan girl who warms the heart of a crusty rich businessman work in current times? Let's head to Harlem in New York City to find out...
The Story: Annie Bennett (Wallis) lives in Harlem with several other girls who are foster children to Colleen Hannigan (Diaz), a former rock singer who is generally too drunk to really take care of them. Annie holds out hopes that her parents will come for her someday, waiting outside an Italian restaurant every Friday in the hopes that they'll be there. Her luck starts to change when she's almost run over chasing a dog, but is saved by electronics mogul William Stacks (Foxx). Stacks is running for Mayor of New York City. His campaign manager Guy Danilly (Bobby Cannavale) points out that saving Annie boosts his popularity and insists he take her out to dinner, then unofficially adopt her for a week.
Annie's thrilled to live in Stacks' fancy penthouse apartment and befriend his pretty British assistant Grace Farrell (Byrne). She finally bonds with Stacks when she discovers that he too started out poor in New York, even letting her adopt the dog she was chasing and convincing him to take her and her foster friends to a big movie premiere. Things start to unravel when Annie reveals that she can't read, and Guy decides that she's more of a hindrance than a help to Will's campaign. He and Miss Hannigan orchestrate an elaborate scheme to hire people to play Annie's parents and get rid of her. "Get rid" turns out to be "kidnap." When Stacks realizes what's going on, he sends half the city to stop them...and realizes just how important this little girl has become to him and Grace.
The Song and Dance: The cast is the thing in this colorful rags-to-riches tale. Byrne and Foxx work well together as the germaphobe, workaholic businessman and his devoted secretary, both of whom soften with Annie. Cannavale is appropriately smarmy as the obnoxious manager who only cares about popularity, not people's feelings. The little girls are funny, and Wallis is a ball of energy as Annie, the little girl who will never give up believing, whether it's in her parents' return or Stacks being a good person inside.
Favorite Number: "Opportunity" is the best of the new songs, and it's performed twice. I prefer the energetic finale that has everyone together to celebrate the opening of Stacks' newest endeavor. "Hard Knock Life" has some nice choreography as the girls whirl around Miss Hannigan's apartment building. Annie, Grace, and the secretary Miss Kovacevic (Stephanie Kurtzuba) get to enjoy the delights of Stacks' elaborate condo in "I Think I'm Gonna Like It Here."
What I Don't Like: A lot of the plot is contrived, overly sentimental, and simply does not make sense. First of all, Annie did go to school. How is it she's never learned to read? Everything with Annie and Stacks, especially how he literally runs into her, happens way too fast. One minute, Annie's chasing the dog, and the next, she's an internet sensation and almost everyone adores her. The first performance of "Opportunity," where she's clearly trying to play matchmaker to Will and Grace, is more annoying than cute. The movie is just trying too hard to be both adorably sweet and hip enough for the rap crowd...and doesn't really succeed at either. (And they still didn't need the tacked-on action sequence in the end.)
And then, there's Diaz. She's supposed to be a drunk former rock star, but she's really way out of her league in a musical. Her "Little Girls" has the girls join in to complain about how they want parents, and it's neither funny nor cute. Her sudden about-face works even less well than it did in the original. Like Stacks changing his mind about Annie, it's just too sudden and has no real explanation.
The Big Finale: In the end, despite them frequently drawing parallels between the Great Depression and the recession of the early 2010's, they just try too hard to make everything modern. If you have a little girl who does enjoy rap, she might want to see this; everyone else will probably be fine with the 1982 version.
Home Media: As one of the more recent movies I've reviewed, this is easily found in all formats, including many streaming companies.
DVD
Blu-Ray
Amazon Prime
Starring Quevenzhane Wallis, Jamie Foxx, Cameron Diaz, and Rose Byrne
Directed by Will Gluck
Music by Charles Strouse and others; Lyrics by Martin Charmin and others
The success of a hip-hop "Hard Knock Life" prompted Columbia to remake this story in a modern-day setting, with a very sassy 21st century Annie. Will Smith's daughter Willow was originally to appear, but by the time they finally got it off the ground, she was too old and Wallis was in. How does the story of the little orphan girl who warms the heart of a crusty rich businessman work in current times? Let's head to Harlem in New York City to find out...
The Story: Annie Bennett (Wallis) lives in Harlem with several other girls who are foster children to Colleen Hannigan (Diaz), a former rock singer who is generally too drunk to really take care of them. Annie holds out hopes that her parents will come for her someday, waiting outside an Italian restaurant every Friday in the hopes that they'll be there. Her luck starts to change when she's almost run over chasing a dog, but is saved by electronics mogul William Stacks (Foxx). Stacks is running for Mayor of New York City. His campaign manager Guy Danilly (Bobby Cannavale) points out that saving Annie boosts his popularity and insists he take her out to dinner, then unofficially adopt her for a week.
Annie's thrilled to live in Stacks' fancy penthouse apartment and befriend his pretty British assistant Grace Farrell (Byrne). She finally bonds with Stacks when she discovers that he too started out poor in New York, even letting her adopt the dog she was chasing and convincing him to take her and her foster friends to a big movie premiere. Things start to unravel when Annie reveals that she can't read, and Guy decides that she's more of a hindrance than a help to Will's campaign. He and Miss Hannigan orchestrate an elaborate scheme to hire people to play Annie's parents and get rid of her. "Get rid" turns out to be "kidnap." When Stacks realizes what's going on, he sends half the city to stop them...and realizes just how important this little girl has become to him and Grace.
The Song and Dance: The cast is the thing in this colorful rags-to-riches tale. Byrne and Foxx work well together as the germaphobe, workaholic businessman and his devoted secretary, both of whom soften with Annie. Cannavale is appropriately smarmy as the obnoxious manager who only cares about popularity, not people's feelings. The little girls are funny, and Wallis is a ball of energy as Annie, the little girl who will never give up believing, whether it's in her parents' return or Stacks being a good person inside.
Favorite Number: "Opportunity" is the best of the new songs, and it's performed twice. I prefer the energetic finale that has everyone together to celebrate the opening of Stacks' newest endeavor. "Hard Knock Life" has some nice choreography as the girls whirl around Miss Hannigan's apartment building. Annie, Grace, and the secretary Miss Kovacevic (Stephanie Kurtzuba) get to enjoy the delights of Stacks' elaborate condo in "I Think I'm Gonna Like It Here."
What I Don't Like: A lot of the plot is contrived, overly sentimental, and simply does not make sense. First of all, Annie did go to school. How is it she's never learned to read? Everything with Annie and Stacks, especially how he literally runs into her, happens way too fast. One minute, Annie's chasing the dog, and the next, she's an internet sensation and almost everyone adores her. The first performance of "Opportunity," where she's clearly trying to play matchmaker to Will and Grace, is more annoying than cute. The movie is just trying too hard to be both adorably sweet and hip enough for the rap crowd...and doesn't really succeed at either. (And they still didn't need the tacked-on action sequence in the end.)
And then, there's Diaz. She's supposed to be a drunk former rock star, but she's really way out of her league in a musical. Her "Little Girls" has the girls join in to complain about how they want parents, and it's neither funny nor cute. Her sudden about-face works even less well than it did in the original. Like Stacks changing his mind about Annie, it's just too sudden and has no real explanation.
The Big Finale: In the end, despite them frequently drawing parallels between the Great Depression and the recession of the early 2010's, they just try too hard to make everything modern. If you have a little girl who does enjoy rap, she might want to see this; everyone else will probably be fine with the 1982 version.
Home Media: As one of the more recent movies I've reviewed, this is easily found in all formats, including many streaming companies.
DVD
Blu-Ray
Amazon Prime
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