Turner Classics was playing it and we had to watch it. It really never gets old. And they’ve cleaned up and remastered it for sound and pictures, so it sparkles like the gem it is.
There is a lot of back story to this movie. Debbie Reynolds hasn’t been shy about sharing her story, the dissatisfaction of Kelly at having to work with Reynolds — who had to be taught to dance for her role. By the end of each day of shooting, her feet would be bleeding. Kelly was a perfectionist and a bit of a slave driver. But it’s hard to argue with the result.
Whatever was going on behind the scenes, the result is a masterpiece. Sixty-one years after the original opening, it’s fresh and funny, and the choreography is a wonder and carefully works around Debbie Reynolds more limited dancing skills. If you watch “Good Morning” carefully, notice how often she is posed while Kelly and O’Connor carry the most complex parts.
The plot is a light-hearted look at the movie business during the transition from silent to talking movies.
There had been several versions ofSinging In the Rainbefore, but none of them enjoyed the success of this version. Rightfully so. It’s delightful. After more than 60 years, it still plays beautifully. A pleasure to watch and a family favorite. Many great musicals have been produced since this classic. Many were and are brilliant, but although they may be as good, they are not better. In many way, Singing in the Rain set the bar.
Until they make a new Gene Kelly, they won’t improve on it.
It was greeted with no great enthusiasm when released, yet with each passing year, its popularity grows. That is, perhaps, the true definition of a classic when the years only increase respect for a film. Time has not diminished Singin’ In the Rain.
“To Boldly Go, Where No One Has Gone Before”… a simple, yet iconic phrase that has delighted TV viewers and film fans for decades and is attached to the journeys of “Star Trek” in all of its forms. Open today in theatres everywhere “Star Trek: Into Darkness” takes us deep into the universe in ways that will delight the hardcore fans and not alienate the casual ones either.
After an attack of terror from one of their own within the Federation, Captain James Tiberius Kirk (Chris Pine) leads the crew of the Enterprise into uncharted waters risking interplanetary war to try and track down this one man weapon of mass destruction.
As J.J. Abrams gets to dive into this world for a second time, the results range from thrilling and brilliant to occasionally maddening but it is never dull and even the most dedicated and hardcore ‘Trekker’ cannot deny that “Star Trek: Into Darkness” is a wall to wall thrill ride that will delight all ranges of fans considering how brazenly nervy the material does get at times. The script from frequent Abrams collaborators Roberto Orci, Alex Kurtzman and Damon Lindelof have craft a big and bold action adventure told on a pretty grand scale, that flows like an easy current allowing us more time to really get to know and exist with these characters. The differences and similarities that we saw in the first film that referenced the original franchise, weren’t as subtle this time out as they clubbed the viewer over the head with some obvious story parallels but it is such a fun ride, that even the ardent ‘Trekker” won’t give up on this one. Always visually stunning to a fault, the film successfully never loses sight of the human element of the “Star Trek” universe as it is these interpersonal stories that have always made the franchise click. As Abrams throws as many lens flares at the screen as he possible can, this film like so many of his other projects keeps the people first and that is truly where the magic lies as the ensemble returns getting fully ensconced in their characters with some excellent performances.
Surprisingly enough, in this second film it is the supporting cast that shines just a brightly as the leads. Chris Pine is embracing the swarthy, arrogant swagger of Kirk that will all love so very much as he leads his crew into battle against this new villain. Benedict Cumberbatch simply tears up the screen as the best kind of bad guy there is, the one we love to hate and he gloriously chewed the scenery at every turn.
Zachary Quinto truly became Spock in this one channelling both emotional sides of his character really becoming Spock’s equal this time out. Karl Urban chews the scenery with his one liners and Simon Pegg provided some fantastic comic relief as John Cho, Anton Yelchin, Zoe Saldana and newcomer Alice Eve rounded out the supporting ensemble making this film a real ensemble piece, just like a Star Trek film should be.
As they pay homage to the old, while trying to bring in new fans, “Star Trek: Into Darkness” despite the occasional hiccup works as an across the board action ode to the countless adventures that are out there in the universe for this crew to explore.
“Star Trek: Into Darkness” is now playing at theatres all across the country; please check with your local listings for show times.
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Growing up all three of these men were an integral part of my childhood. Specifically John "Pappy" Ford in the cinemas and of course John Wayne 'Duke' and Ward Bond as well, but Mr Bond had the added distinction of being in my folks' living rooms each week as Major Seth Adams, in Wagon Train.
Of course, I saw all the films and television shows long after they were initially made.
Surprises are the cherries on top of the cake of life (or something else if you don’t like cherries). They can brighten up your day because they show that the one giving them has taken the time to think about you and therefore are so cherished. They are the little moments you would like to have all the time and as a movie watcher I enjoy it when a movie is able to surprise me. I make sure movies are able to do that to read as little about them as possible and not watching trailers and for this movie, The Company You Keep I knew nothing. I knew Robert Redford and Shia LeBeouf were in it because they were on the cover, but as I was watching I was treated to one nice surprise after the other.
Robert Redford not only stars, but also has directed this movie (which is his 9th one) and has been able to get an amazing list of actors and actresses together to appear in this movie. Scene after scene I was thrilled to see another well-known actor play a role (some smaller than others) and this kept happening all through the movie. Susan Sarandon, Anna Kendrick, Stanley Tucci and Richard Jenkins are just a few examples, but there are many more. It’s a funny thing, but seeing familiar faces can really add to your enjoyment of a movie. Of course it is the reason why some actors get payed so much, because the general audience likes to see them and buys tickets. If you walk into a party and you don’t know anyone you won’t be as comfortable as when people you have seen before are present. As you know I watch all type of movies, also ones not starring well-known actors, but with this movie it was a joy to be surprised by the appearance of those actors/actresses.
You might be wondering though: “That’s all fine Nostra, but what is this movie about?” It is about former members of the Weathermen, a radical left organisation who protested against the Vietnam war and tried to overthrow the government. A couple of them have been on a “wanted” list for years and when one of them is captured over 30 years later the other ones are also in danger of being discovered. Ben Shepard (Shia LaBeouf) is an investigative reporter who looks into the case and wants to question a local lawyer, Jim Grant (played by Robert Redford) who has declined to do the case. Once he starts investigating he finds out that Grant might have a reason to not take part in the case. When he disappears with his daughter he decides to follow the breadcrumbs and track him down. He’s not the only one doing so however.
I thought The Company You Keep was an enjoyable movie, with enough unexpected twists to keep you guessing where it was all going. The appearance of all those actors only added to my enjoyment, but I have to say the journey was more interesting than the destination, which I thought was extremely disappointing. Although he movie is partly based on some true events, it is obvious this is a work of fiction. Because of its ending I really didn’t take away too much from it, but it was an enjoyable time waster.
Marilyn Armstrong‘s insight:
Sounds like a good one. At the very least, good entertainment.
LOS ANGELES — Oscar voters will no longer be required to see certain nominated films in a theater to cast their ballots.
The Academy of Motion Picture Arts and Sciences announced Saturday that members will be mailed DVDs of documentaries, shorts and foreign language nominees – categories that don’t typically get lengthy stays on multiplex big screens.
President Hawk Koch says the move is an effort to expand member participation by giving voters as many opportunities as possible to see all the nominated films.
Prior to the final round of voting, the academy will mail members DVDs of films in Foreign Language Film, Documentary Feature, Documentary Short Subject, Animated Short Film and Live Action Short Film categories.
Revenge, or at least the quest for justice, is a theme frequently featured in westerns. Relentless duplicity, on the other hand, is more often to be found in crime movies. Ride Clear of Diablo (1953) is a pretty good example of a conventional western that blends both of the aforementioned elements into its brief running time. By using the revenge motif mainly as a device to drive the narrative, rather than indulging in any especially deep analysis, and thus keeping the focus firmly on the various double-crosses, the film manages to provide plenty of exciting, pacy entertainment.
A fine review of a movie and genre that is rarely given its due. I hope this will also serve as an introduction to a website that presents exceptionally high quality reviews. Superb work!
For more than 50 years, I have been nurturing this idea and I have to thank you for giving me an opportunity to tell the world.
Back in my bright college days, I was for the first 2 years, a music major. When my fellow wannabe musicians hung out on the quad on warm sunny days, we would plan projects that were going to make us famous. Symphonies were planned. Great achievements as conductors and composers were spun as glorious dreams, although I don’t know that my class actually produced anyone who really hit the big time. Medium time seems to be as good as we got.
But my dream, my great project, was a full musical comedy based on the story of Leda and the Swan. I thought Broadway because in those days, there were no computer generated graphics to make the impossible real on-screen. Now, I think perhaps Hollywood would be the correct venue for this masterpiece.
In the Greek myth of Leda and the Swan, Zeus, in the form of a swan, seduces, or rapes Leda. Which is never made entirely clear, but I vote for seduction since I have a lot of trouble visualizing rape by a swan. I mean, even as Zeus … swans are not agile except on water. They have trouble with take offs being rather heavy-bodied. Moreover, the lack of hands and arms seems to make rape a rather difficult to manage business. Regardless, Leda becomes pregnant from the experience. She bears Helen and Polydeuces, both children of Zeus. Simultaneously (and I’d like to know how she managed this), she also gives birth to Castor and Clytemnestra who are the offspring of her human husband Tyndareus, King of Sparta.
In the myth, Leda is able to convince her parents and husband that despite all logic or reason, her extraneous pregnancy was not the result of a lover or promiscuous sexual behavior. No, no! Honest to gods (we are in a polytheistic world, remember), really, no kidding, it was Zeus who did it. Not merely was it Zeus, not some guy, but he was in the form of a swan!
I figured there were a couple of potential show-stopping moments with high comedic potential embedded in this.
The first … and perhaps my favorite scene … would have to be the first act closer. In this highly emotional musical extravaganza, Leda pours out her distress in a heart-rending lyric soprano rich with passion. In it, she explains that it really truly was Zeus.
Leda: Even in the form of a swan, I knew it was Zeus. And you all know how much I love birds and feathers, right? I mean … what girl could resist such a gorgeous bird who is, after all, the top God in the Pantheon? No kidding. I wouldn’t lie to you.
Tyndareus, King of Sparta: I want to believe you, but I’m having a few problems with this.
Leda: Trust me, dear. It was Zeus. As a swan. You know how clever he can be.
Later, we all get to see the central event, Leda’s experience. In the carefully choreographed dream sequence, Leda relives the heady romance of the seduction. I’m assuming it was seduction rather than rape. I mean, how big was that swan anyhow? And, uh, some of the technical aspects of the experience make for interesting mental meanderings. How, exactly, did … well … this is a G-rated site, so I won’t get too specific. Suffice to say it would make one heck of a scene on stage. Even better, now that CGI has come of age, with some well done special effects?
Wow, this could have the audience on its feet! I can hear the applause from here. I see the royalties rolling in. I ought to add that depending on which version of the story you read, Leda either gave birth to babies … or eggs.
Eggs open up a whole new set of possibilities. If she birthed eggs, did she have to sit on them until they hatched? As Queen of Sparta, could she order her court attendants sit on the eggs in her place while she performed her royal duties? Did she build a nest? In the palace? Did the issue of this union feel a lifelong need to dive into lakes and ponds? Were they born knowing how to swim?
Zeus?
Inquiring minds want to know! Details, details. Please?
I’m a bit long in the tooth now for writing a full musical comedy, but I freely offer this incredible concept to anyone who feels inclined to flush it out. I think it might just launch more than one career. You think?
We both like to listen to Web radio while we work. We were particularly pleased to discover that Radio Classique, which we listen to in Paris (at call number 101.1) is available on the Internet. (Go to the site, click on “En direct” and then choose “Haut débit” or “Bas débit” and it will begin.) The music is enjoyable and you can practise your French comprehension by listening to the news broadcasts or the occasional interview.
Garry and I love "A Little Romance." I've always wondered why it's shown so rarely. It's a gem of a movie, one of Hill's best. The story is charming, the settings are deliciously romantic, Olivier is Olivier -- and the two kids will make you nostalgic about being young. This was Diane Lane's screen début, by the way. If you can, see this one!
With camera in hand, exploring European lands, cultures, food, and drink...mostly with a plan, but sometimes enjoying the adventure of just getting lost.
