Category Archives: Theater

1960 Films, Comedy, Musical, Musical Comedy, Theater

Let’s Make Love-1960

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Let’s Make Love-1960

Director George Cukor

Starring Marilyn Monroe, Yves Montand

Scott’s Review #1,520

Reviewed February 22, 2026

Grade: C+

Let’s Make Love (1960) is a mediocre musical comedy starring Marilyn Monroe in one of her last film roles. It would be her final musical film performance before she died in 1962.

Ironically, the iconic star plays a strong character, too frequently known for playing dimwits or money-hungry women.

While refreshing, her role is almost a supporting turn for the star, playing a love interest to an uninteresting character portrayed by Yves Montand.

A very wealthy businessman, Jean-Marc Clement (Montand), has all the material possessions money can buy, but he has no love life. He seeks someone who loves him for who he is, not for his fortune.

One day, Clement learns that he is the subject of a satirical theater production and visits the set during a rehearsal. Unrecognized, the show’s unwitting producers offer him the part as himself, and he takes the gig to be close to the gorgeous yet down-to-earth actress Amanda Dell (Monroe).

This leads to a series of hijinks, misunderstandings, and, finally, an unfulfilling, predictable conclusion.

Monroe is terrific, of course, playing a character rich with honesty, integrity, and support for her theatre company. Amanda is not looking for a sugar daddy or a meal ticket and is content to while away the days doing what she loves on stage.

The film’s highlights occur when Monroe performs in showy outfits sparkling with glitter and color, oozing with sex appeal.

Visually, she does not look as good as she did five years prior, appearing washed out and tired, but this can be attributed to knowing the personal turmoil she was in.

Numbers like the Cole Porter song “My Heart Belongs to Daddy,” and the title track, “Let’s Make Love,” are moderately memorable and, because Monroe performs them, are worth hearing.

It’s also cool to see exterior shots of New York City in the early 1960s grace the screen, and the backdrop of a low-key theatre is appealing.

I couldn’t help but find Clement’s character harshly unlikable and incapable of sympathy. We are asked to root for a rich man who wants a loving woman but doesn’t treat others very well.

When female staff who take dictation are called into his office, he isn’t particularly warm to them. His assistant, Alexander Kaufman, played by Tony Randall in a tepid performance, caters to Clement’s every whim but isn’t treated kindly in return.

In fact, the irritation is increased because the character of Tony Danton, Amanda’s boozy co-star, is very likable and a perfect match for Amanda.

Why the writers decided Clement and Amanda were better suited for each other is a mystery we’ll probably never figure out.

The biggest mistake is the lack of chemistry between Clement and Amanda, who have none. On the other hand, in the few scenes they share, Tony and Amanda have a tremendous connection.

What a missed opportunity.

Besides the main storyline, there is a silly side story about financing the production and a pissing match over who controls the theatre and its show.

This was terribly unnecessary and would have been better if Amanda had been given her own side story, or better yet, a triangle between Amanda/Clement/Tony.

Troubles surrounded the production with various starts and stops, restarts, and proposed reshoots. This affects the film’s look and feel, and it’s apparent that the pacing is terribly uneven.

Even the incorporation of big stars like Milton Berle and cameos by Gene Kelly and Bing Crosby does nothing for the film.

It’s hard to believe that, aside from the outfits and musical numbers, George Cukor directed the film, since he would direct the sensational My Fair Lady in 1964.

Since I adore Marilyn Monroe, I desperately wanted to like Let’s Make Love (1960), but didn’t. The misplaced characters, the lukewarm pacing, and missed opportunities for a better story led to boredom and disappointment.

Oscar Nominations: Best Original Score

Golden Globe Nominations: Best Picture-Musical

1950 Films, Best Picture Oscar Winners, Comedy, Dark Comedy, Drama, Theater, Top 250 Films

All About Eve-1950

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All About Eve-1950

Director Joe Mankiewicz

Starring Bette Davis, Anne Baxter

Top 250 Films #155

Scott’s Review #73

242142

Reviewed June 27, 2014

Grade: A

All About Eve is a cynical masterpiece from 1950 set in the competitive world of the New York theater.

Insecure Margo Channing, played to perfection by Bette Davis, is an aging actress whose career is declining. She meets naïve Eve Harrington, played by Anne Baxter, who insinuates herself into Margo’s life and career.

One interesting aspect of this film is the opening scene of Eve’s acceptance speech. The look of anger and disdain on the front table indicates what is to come.

The film backtracks from the first time the two women meet, and the story begins.

It is undoubtedly a dark film, and jealousy and back-stabbing are common themes throughout, as had never been done before, set in the world of theater.

One by one, Margo’s friends catch on to Eve’s plot, but at what cost?

This is Bette Davis’s comeback performance as a talented Broadway star, and she makes the most of the opportunity as she deliciously delivers her famous revenge-minded line, “Fasten your seat belts. It’s going to be a bumpy night.”

Marilyn Monroe has a cameo as a debutante in her first film.

The film deservedly won the 1950 Best Picture Oscar.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-Joseph L. Mankiewicz (won), Best Actress-Anne Baxter, Bette Davis, Best Supporting Actor-George Sanders (won), Best Supporting Actress-Celeste Holm, Thelma Ritter, Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won), Best Film Editing

Golden Globe Nominations: 1 win-Best Picture, Best Director-Motion Picture-Joseph L. Mankiewicz, Best Performance by an Actress in a Motion Picture-Drama-Bette Davis, Best Performance by an Actor in a Supporting Role in any Motion Picture-George Sanders, Best Performance by an Actress in a Supporting Role in any Motion Picture-Thelma Ritter, Best Screenplay-Motion Picture (won)

2004 Films, Drama, Musical, Musical Drama, Paris, Period Drama, Romantic Drama, Theater

The Phantom of the Opera-2004

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The Phantom of the Opera-2004

Director Joel Schumacher

Starring Gerard Butler, Emmy Rossum

Scott’s Review #1,336

Reviewed January 23, 2023

Grade: A-

Having been fortunate enough to see the legendary Broadway production of The Phantom of the Opera makes any film version seem impossible to compare to the live stage show.

The lights, the sets, the booming music, the dreaded chandelier, and presumably phenomenal acting all make for an unforgettable experience.

Since we are talking film, the cinematic version of The Phantom of the Opera (2004) is breathtaking and nearly twenty years late to the game; I should be scolded for not having seen it earlier, like when it was initially released.

It’s based on Andrew Lloyd Webber’s 1986 musical of the same name, which in turn is based on the 1910 French novel Le Fantôme de l’Opéra by Gaston Leroux.

Critics were not kind to the film, though most audiences liked it, so I almost didn’t see it, save for my hubby renting it and encouraging us to watch it.

I am glad I did because this film encompasses a feast of riches.

I wonder aloud if the fact that it was directed by Joel Schumacher, who created the dreadfully bad Batman & Robin, made seven years earlier in 1997, influenced the bad reviews.

After all, nobody likes their superhero movies butchered, and payback’s a bitch after all.

For the novice fan, the summary is as follows. Gerard Butler stars as the disfigured, reclusive Phantom who roams beneath the Paris Opera and takes budding star Christine (Emmy Rossum) under his wing.

But as he falls for her, she finds love with handsome and porcelain-like Raoul, played by Patrick Wilson, leaving the Phantom none too pleased.

If nothing else, and there is something else, the film is a spectacle. Gorgeous Parisian sophistication drips from the screen in nearly every scene, from the gloomy catacombs to the enthralling opera stage.

The costumes reek of French style, glamour, and texture, and the principal cast is easy on the eyes, to say the least.

These treats are merely a warm-up for the astounding, professional art direction, making the winter sequences dreamlike and gothic while perfectly capturing the tone.

This encapsulates the dire sequence of events and helps the viewer feel the Phantom’s pain.

The all-too-familiar numbers are modernized in just the right places, especially “The Music of the Night,” which could have been played on popular radio stations.

The lively “Masquerade” parleys into the lovely “The Phantom of the Opera” duet between the Phantom and Christine in his ugly lair.

I didn’t feel the chemistry between Rossum and Wilson the same way I did between Butler and Rossum, and maybe that’s the point. Wilson has little to work with, since the character isn’t the main attraction.

I never wanted Christine to ride off into the unknown with Raoul, but I ached for the pain that the Phantom felt for Christine’s kindness.

As much as I like Wilson the actor, I champion the casting of Rossum (unknown at this time) and Butler, who is the top draw in the talent department.

His loud, colorful musical numbers enrapture me as a viewer and grip me with their pain. The passion and magnificence are on full display.

Butler is my favorite actor.

Minnie Driver is perfect as the spoiled diva, and the supporting cast, including veteran Simon Callow, lends further credibility.

I was transported to another world while watching The Phantom of the Opera (2004) by the sheer extravagance on the screen. Schumacher more than deserves top accolades and respect for his production.

Oscar Nominations: Best Art Direction, Best Cinematography, Best Original Song-“Learn To Be Lonely”

1933 Films, Musical, Musical Drama, Theater

42nd Street-1933

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42nd Street-1933

Director Lloyd Bacon

Starring Warner Baxter, Ruby Keeler, Bebe Daniels

Scott’s Review #1,281

Reviewed July 28, 2022

Grade: A-

Whenever I watch a film made in the 1930s, I am reminded of cinema’s vastness and blossoming.

Filmmakers could do unique things back then, having very little of what filmmakers have in the modern day for technology’s sake.

I’ve heard it said that films of the 1930s are dated and dusty, the acting style is different, and the musical scores always have a standard sound. I find them like little presents beckoning to be opened to escape to another time, long ago.

The famous musical 42nd Street (1933) has been a Broadway stalwart since its debut. However, this is a falsehood since a stage adaptation of the film debuted on Broadway in 1980, winning two Tony Awards, including Best Musical.

Director Lloyd Bacon creates a slow and steady build to set the drama properly. The final thirty-five or forty minutes culminate in a lavish and fascinating extravaganza of the gala show opening.

All in all, events transpire in a brisk one hour and twenty-nine minutes. If I’m honest, I could have done with another ten minutes of the merriment-laden conclusion.

I giggled with delight at the professionalism inhabiting unique cinematography sequences like a camera rolling through a dozen spread legs to land on a handsome young couple’s face.

The Great Depression Era is the focus in a timely fashion, and props go to all involved for emphasizing this dastardly time with an escapist show.

Revered and impatient Broadway director Julian Marsh (Warner Baxter) has fallen on hard times like the rest of the United States. His doctor warns him to care for his health, but his finances are dire.

He launches an ambitious musical as a final production before his retirement. The lead actress, bitchy Dorothy Brock (Bebe Daniels), is torn between two men, the show’s rich financer, Abner Dillon (Guy Kibbee), and struggling actor Pat Denning (George Brent).

Meanwhile, aspiring young performer Peggy Sawyer (Ruby Keeler) hopes for her big break. She is entirely green and impressionable but humorously looks similar to Dorothy, right down to their curled hairstyle.

It’s easy to see what direction the plot is going in, but instead of an All About Eve (1950) theater story of one actress scheming for the role of another actress, events happen organically.

The first portion of 42nd Street is all well and good. We get snippets of the women traversing amongst their male admirers, and Julian becomes increasingly frustrated with the incompetent talent, but I keep hoping events will finally take off.

The romantic triangles and irritated threats to fire the cast almost get repetitive until the spectacular second act.

When the company is reduced to the opening in Philadelphia, the dregs of society to them, instead of the bright lights of New York City, 42nd Street becomes a different type of film.

A magical and marvelous escapade of leggy performances, astounding costumes, and song and dance numbers emerges onto the big screen before my delighted eyes. It is startlingly like watching the production in real time.

The cherry on top was watching the petrified Peggy fill in for the injured Dorothy. Instead of the women continuing their feud, the older Dorothy gives Peggy a pep talk about how much the crowd wants to like her, and she has no reason to be nervous.

She’s got it, and Dorothy’s got her back.

The moment is filled with sweetness as the veteran passes the baton to the upstart. Dorothy’s words resonated with me as any entertainer, public speaker, or anyone else can take her advice to heart.

The musical numbers are cheery and robust, led by the toe-thumping title track, which I continue to hum along to while writing this review.

A gripe is that, according to legend, Julian is a gay character, but there is never a moment where the film implies this. A pleasant jolt would have been for him to at least flirt with a cast member.

Old-fashioned has rarely felt better because 42nd Street (1933) provides enough flash, dance, and razzle-dazzle to make its audience harken back to the good old days of classic cinema.

There are even some words of wisdom to embrace.

Oscar Nominations: Best Picture, Best Sound