And now, the only reason to watch Guys and Dolls (starting at 1:10):
Saturday, July 26, 2014
Wednesday, July 23, 2014
The view of World War I from World War II
In honor of the centennial of World War I, TCM is showing many (many, many) movies set during World War I. And it is so interesting to see movies about World War I, made during World War II (especially British films). I watched a movie tonight called British Intelligence (starring Margaret Lindsey and Boris Karlof [with a limp, a facial scar, and a French accent]). There were so many veiled references to Hitler, it was practically a propaganda movie. There were several mentions of a man thinking he was better than others, and put himself above everyone (as well as lines similar to "it has happened in the past, it is happening now, and it will happen in the future"). Those British Intelligence officers were practically clairvoyant.
As a side note, the other World War I movies I've been watching/planning to watch include Ever in my Heart (which was unexpectedly depressing) and The Dark Journey (also known as Those Anxious Years). And all those movies feature women either as spies or dealing with the consequences of being married to a spy. I really think that women had much more interesting roles back then. And really, I think the term "a woman's picture" shouldn't be quite so derogatory. Sure, while a lot of those pictures quickly veered in to over-drawn/over-wrought melodrama, some of them were very subtle and often featured women doing what every was necessary to survive (especially during wartime), like Since You Went Away and Mrs. Minever.
As a side note, the other World War I movies I've been watching/planning to watch include Ever in my Heart (which was unexpectedly depressing) and The Dark Journey (also known as Those Anxious Years). And all those movies feature women either as spies or dealing with the consequences of being married to a spy. I really think that women had much more interesting roles back then. And really, I think the term "a woman's picture" shouldn't be quite so derogatory. Sure, while a lot of those pictures quickly veered in to over-drawn/over-wrought melodrama, some of them were very subtle and often featured women doing what every was necessary to survive (especially during wartime), like Since You Went Away and Mrs. Minever.
Summer Stock
I'm finally getting around to writing about a musical. And the first I am going to talk about is the MGM film starring Gene Kelly and Judy Garland, in their final movie together, Summer Stock. And the movie opens with this:
The plot is not very heavy/difficult, a shade above the classic "let's put on a show" variety. Judy Garland (Jane) and (my beloved) Marjorie Main (Esme) are attempting to keep a farm afloat. After the two farm workers quit, Jane procurs financing to get a tractor (which is predicated on her marriage to the son of the bank owner). Which leads to this sequence:
Jane's younger sister Abigail then arrives with Gene Kelly (and Phil Silvers) and an acting company in tow. There is several dance numbers and disagreements between Judy and Gene and in exchange for helping around the farm, Jane allows the acting troupe to practice in her barn. Judy and Gene fall in love and really all you need to know about the end of the movie is this:
This film is a little overshadowed by Judy Garland's personal problems. The movie took six months to shot and during that time, she was being treated for drug dependency and saw a hypnotist and lost about 20lbs before the movie was finished (she is much thinner in the final number). However, despite that, I think the movie is very enjoyable. The songs are well-written and well-performed and the choreography is interesting (Gene Kelly choreographed most of his numbers but not Get Happy). And that last song is so well done. I always get a little sad watching Judy Garland movies, knowing what happens to her (A Child is Waiting is devastating to watch not only because of the content of the movie, but is it her second to last film role).
The plot is not very heavy/difficult, a shade above the classic "let's put on a show" variety. Judy Garland (Jane) and (my beloved) Marjorie Main (Esme) are attempting to keep a farm afloat. After the two farm workers quit, Jane procurs financing to get a tractor (which is predicated on her marriage to the son of the bank owner). Which leads to this sequence:
Jane's younger sister Abigail then arrives with Gene Kelly (and Phil Silvers) and an acting company in tow. There is several dance numbers and disagreements between Judy and Gene and in exchange for helping around the farm, Jane allows the acting troupe to practice in her barn. Judy and Gene fall in love and really all you need to know about the end of the movie is this:
This film is a little overshadowed by Judy Garland's personal problems. The movie took six months to shot and during that time, she was being treated for drug dependency and saw a hypnotist and lost about 20lbs before the movie was finished (she is much thinner in the final number). However, despite that, I think the movie is very enjoyable. The songs are well-written and well-performed and the choreography is interesting (Gene Kelly choreographed most of his numbers but not Get Happy). And that last song is so well done. I always get a little sad watching Judy Garland movies, knowing what happens to her (A Child is Waiting is devastating to watch not only because of the content of the movie, but is it her second to last film role).
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