Category Archives: Stanley Donen

1957 Films, Audrey Hepburn, Comedy, Fred Astaire, Musical, Musical Comedy, Romantic Comedy, Stanley Donen

Funny Face-1957

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Funny Face-1957

Director Stanley Donan

Starring Audrey Hepburn, Fred Astaire

Scott’s Review #1,375

Reviewed July 7, 2023

Grade: B

The results of Funny Face (1957) are mixed, and the word ‘cute’ pops to mind on more than one occasion.

On the one hand, audiences are served a sophisticated look at the fashion industry and the sleek style of Paris, France, in the 1950s. The outfits and set design are fab, revealing the cultured and colorful modeling world, while the makeup and hairstyles match the time with fragrant gusto.

The screenplay is riddled with plausibility issues bordering on offensiveness and silliness. It also provides a good look at the patriarchal mindset of the time. The message is twofold: The fashion industry and Hollywood equally embraced these norms when the film was made.

In a word, the overall film is dated.

New York City fashion photographer Dick Avery (Fred Astaire) is tasked with finding a model for a new assignment. Discouraged, he is struck by the beauty of Jo Stockton (Audrey Hepburn), an intellectual bookstore employee he photographed by accident.

He convinces Jo to accompany him to France, where he continues photographing her against Parisian backdrops. At the same time, they scramble to pull together a fashion show along with crusty Maggie Prescott (Kay Thompson), a fashion magazine publisher.

Dick and Jo fall for one another, only to find hurdles to overcome along the way.

The musical numbers are plentiful but second-tier. Bouncy songs like ‘Funny Face’ and ‘On How to Be Lovely’ are decent but not memorable. The highlight is ‘S, Wonderful,’ which appears during the finale and perfectly wraps the Paris experience and the film in a shiny bow.

Comparisons can be made to An American in Paris (1951), not just because both are set in Paris, use the same tune (S Wonderful), and were composed by George Gershwin. There’s more buried beneath the surface that ties the two films together.

Both lead characters, Jerry and Jo, wind up with the wrong partners, who are, in reality, inappropriate for each other. Jerry should be with the comparable Milo, while Jo should be with the dashing and artistic Flostre (Michael Auclair). Instead, Jerry chooses the waifish Lise while Jo lands the ancient Dick.

Astaire is old enough to be Hepburn’s grandfather, which makes the romance odd.

Of course, Milo and Flostre are made to be the foils in An American in Paris and Funny Face. They are merely obstacles to be overcome by the preferred couple.

Another irritant is the demeaning nickname that Dick calls Jo, ‘funny face.’ Hardly a dog, Hepburn is quite beautiful, although the film makes the audience assume she is wrong for the modeling world. She fits right in, looking perfect in every dress or costume she dons or photograph she appears in.

A better casting choice would not have been classically beautiful singers or actors such as Barbra Streisand or Bette Midler, though admittedly, neither had surfaced at that point.

Though shot on a soundstage, Funny Face rebounds from implausibility with gorgeous ariel views of historic Parisian landmarks that envelope the glitter of the theme.

Shots of the Eifel Tower, Arc de Triomphe, and the broad Champs-Elysees are robust and made me rewatch this sequence again.

In parallel, the Greenwich Village, New York City setting, where other events in the film take place, is an intelligent choice to define the artistic and bookish characters.

The opening titles of Funny Face (1957) are creative and polished, reflecting the maturity of the subject matter and style of the 1950s.

With no chemistry, Hepburn and Astaire carry the film as best they can with a dated and tame screenplay.

Oscar Nominations: Best Writing, Story, and Screenplay-Written Directly for the Screen, Best Costume Design, Best Cinematography, Best Art Direction-Set Direction

1957 Films, Comedy, Doris Day, George Abbott, John Raitt, Musical, Musical Comedy, Romantic Comedy, Stanley Donen

The Pajama Game-1957

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The Pajama Game-1957

Director George Abbott, Stanley Donen

Starring Doris Day, John Raitt

Scott’s Review #1,292

Reviewed August 19, 2022

Grade: B+

Doris Day, the queen of the romantic comedy film during the 1950s and 1960s, was riding high in 1957 when The Pajama Game was adapted into film production. It had taken Broadway by storm in 1954 and achieved immeasurable success.

The actress/singer did not star in it; Janis Paige did. The film version required a Hollywood star in one of the lead roles, and since Frank Sinatra turned down the male lead role, Paige was fired in favor of Day.

This hurts a bit, but how does the Hollywood world of box office receipts work?

Fortunately, Day can sing, as evidenced by her startling good rendition of “Que Sera, Sera” from Hitchcock’s The Man Who Knew Too Much, which won her an Oscar just a year earlier.

Set in the midwest, USA, the boss of an Iowa pajama factory hires superintendent Sid Sorokin (John Raitt) to help oppose the workers’ demand for a seven-and-a-half-cent raise.

Sid’s presence stirs the jealousy of foreman Vernon Hines, who is dating bookkeeper Gladys Hotchkiss (Carol Haney), and attracts worker “Babe” Williams (Day), a strong advocate for the pay increase.

Despite liking Babe, Sid resists the workers’ sabotage attempt and must decide whether to fire activist Babe. Predictably, the two fall madly in love amid catchy song and dance numbers.

I’m a massive fan of the musical genre, especially during the 1950s and 1960s heyday. The Pajama Game falls somewhere in the middle for me, inferior to the brilliant West Side Story (1961) and Gypsy (1962) but holding its own with other fun musicals like Guys and Dolls (1955).

Fun is a perfect adjective to describe The Pajama Game with its bright, fluffy, colorful pajama element, midwestern polite charm, and the romantic comedy bits between Babe and Sid.

This shouldn’t mean that The Pajama Game is juvenile or fluff because it’s solidly crafted and professionally made. Every musical number sounds good and is choreographed well.

It is unsurprising to learn that Bob Fosse is the choreographer, returning to the job he did on the stage production. The principal cast of the Broadway musical reprises their roles for the movie, except Paige and Stanley Prager, whose roles are played by Jack Straw.

As a result, it’s very similar to watching a stage production. Cinema performing is different from stage performing, so there are many giant voices and theatrical-style acting, which I didn’t mind at all.

This is never showcased better than when they all go on the factory picnic.

It’s important to remember that the singing and dancing shouldn’t let the viewer forget that a sneaky liberal slant emerges in the story and that a women’s liberation/progressive woman slant is exposed if the viewer looks carefully enough.

This is an excellent way to add a tidbit of worth to an otherwise story about romance.

Babe is a strong female character, but it’s not bashed over our heads; it’s simmering below the surface. Unfortunately, this may be missed by those focused only on the most prominent elements.

As entertaining as the film is, it lacks something that ranks it below other productions like West Side Story, Singin’ in the Rain, or The Music Man. This might be a lack of serious drama replaced by a corny element or the need for one significant, memorable music number.

The Pajama Game (1957) may not be the most fabulous musical, but it has enough songs and dances to satisfy a musical fan. Day envelopes the role just fine, but I’ll always wonder how Janis Paige would have done in the film role.

1952 Films, Comedy, Cyd Charisse, Debbie Reynolds, Donald O'Connor, Gene Kelly, Jean Hagen, Madge Blake, Musical, Musical Comedy, Rita Moreno, Romantic Comedy, Stanley Donen

Singin’ in the Rain-1952

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Singin’ in the Rain-1952

Director Stanley Donen, Gene Kelly

Starring Gene Kelly, Debbie Reynolds

Scott’s Review #874

Reviewed March 4, 2019

Grade: A-

Singin’ in the Rain (1952) is most closely associated with the entertainment industry in the oversaturated field of musicals released during the mid-twentieth century.

The battle between the transition of silent pictures to “talkies” is the basis of the story, giving the film an important, along with fun, subject matter.

Likable stars and sing-along tunes make the film memorable and decidedly All-American, though perhaps not the greatest in the crowded musical field.

During the late 1920s, Don Lockwood (Gene Kelly) was a famous and well-regarded silent film star. His co-star and studio-created romantic attachment is Lina Lamont (Jean Hagen), an annoying and shallow leading lady with a harsh singing voice.

As more successful “talkies” (films with sound) are produced, Don finds himself smitten with musical chorus girl Kathy Selden (Debbie Reynolds). The plot to dub Lina’s voice with Kathy’s leads to comical chaos and an idea to create a new musical amid a blossoming romance between Don and Kathy.

The fun and frolicking Singin’ in the Rain is lightweight but never silly nor superfluous, thanks to the overriding message of the change in Hollywood priorities.

Critically acclaimed from the get-go, this is unsurprising since Hollywood loves stories about Hollywood, especially since the film was made only slightly more than two decades since sound-laden films overtook the world.

Furthermore, in 1952, television was making its debut to legions of fans, and the accessibility presented a serious threat to the cinema, making the subject matter even more relevant.

Kelly and Reynolds make a nice enough pair, but I never thought they completely knocked it out of the park from a chemistry perspective.

One slight flaw is the lack of hurdles preventing the couple from an inevitable union. Lina is the transparent foil and ultimately played for laughs, so she is not a serious threat.

The plot-driven conflict involving Kathy’s initial dislike of Don because she values stage over film is cute, but ultimately revealed to be a sham since she has been a fan of his all along.

The musical is a comedy, but better hurdles might have made for a more interesting story.

Nonetheless, Singin’ in the Rain is a pleasure and a largely non-threatening experience. The hi-jinks involved as the characters strive and struggle to put on their production are comical, and Lina’s New York accent and shrill singing voice threaten to steal the show from the more grounded central characters.

The musical numbers are a dream, and I especially like favorites like “Make ‘Em Laugh,” “Good Morning,” and the epic title song.

Through no fault of the film’s title number, “Singin’ in the Rain” will forever not be associated with this film for me but rather with the dark and cerebral A Clockwork Orange (1971). As the villain beats and rapes his victim by cheerily singing this tune, the song will forever hold a much darker association for me.

The dramatic final act is the highlight as a lavish premiere of The Dancing Cavalier is unveiled to a live theater audience hungry for something good.

When the crowd chomps at the bit for Lina to perform live, the big reveal of Kathy being the truly talented singer is displayed as the wizard in The Wizard of Oz style as Don and Kathy kiss and ride off into the sunset together in a grand show biz fashion.

In the crowded genre of the 1950s and 1960s musical productions that ravaged American cinema at the time, I mainly chose to watch West Side Story (1961), Gypsy (1962), The Sound of Music (1965), and Oklahoma! (1955) for pleasure, but Singin’ in the Rain (1952), an earlier gem, is worthy of value, especially for the memorable musical soundtrack it offers.

The story is light but also relevant and, most importantly, highly entertaining.

Oscar Nominations: Best Supporting Actress-Jean Hagen, Best Scoring of a Musical Picture

1954 Films, Howard Keel, Jane Powell, Jeff Richards, Julie Newmar, Musical, Russ Tamblyn, Stanley Donen

Seven Brides For Seven Brothers-1954

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Seven Brides For Seven Brothers-1954

Director Stanley Donen

Starring Howard Keel, Jane Powell

Scott’s Review #711

Reviewed January 7, 2018

Grade: B-

Seven Brides For Seven Brothers (1954) is a musical and another in a string of Metro-Goldwyn-Meyer productions, ever so present during the “Golden Age of Hollywood.”

The songs are not quite as memorable as similar musicals of the day, and the film has a sexist slant that is jarring by today’s gender-equal standards. Given the time that the film was made and the timed setting of the mid-nineteenth century, however, things were very different, and the film does contain one semi-strong female character.

Seven Brides for Seven Brothers is a lovely film, but in the present day, it is pretty dated and irrelevant—little more than an ode to yesteryear.

Adam Pompitee (Howard Keel), is a dashing, rugged man, living in the Oregon Territory in 1850. He struts into town and proclaims his desire for a wife- presumably to cook and clean for him and his six younger brothers, all living together in a cabin in the rural mountains.

When he falls head over heels for tavern worker Milly (Jane Powell), they impulsively marry, but she is disappointed to learn she will be caring for seven men- not one. Milly then plots to marry off the unruly bunch to local girls.

Throughout the film, characters partake in song and merriment as the hi-jinks play out.

At its core, Seven Brides For Seven Brothers is meant to be a lighthearted romp, and it succeeds at that. It contains a strong romantic angle, and the message of finding one’s soulmate is palpable- Milly is the sensible female counterpart to erratic Adam, and there is chemistry between the actors.

Milly is strong-willed and eventually puts her foot down, but still accepts her role as the domestic and the caretaker.

Fun is how each of the brothers finds the one girl in town meant for him as the duo pairs off in unison. This is a cute aspect of the film- and perhaps a film such as this one is not entirely meant to be over-analyzed.

Humorous, if not slightly overdone,  is the luscious red hair that each Pontipee brother has- dyed hair or wigs were used as needed.

The film succeeds when it sticks to the song and dancing numbers, which are far more entertaining than the storyline. MGM used actors who were classically trained singers or dancers, giving the film a more authentic choreography.

Given the fourteen principal characters in the production, this must have been a beast to achieve without making things look ridiculous. Keel, as the main character Adam, is a professional singer who has appeared in several musicals, such as Kiss Me Kate and Showboat. Powell, as Milly, holds her own with a gorgeous singing voice and has appeared in other musicals.

Still, Seven Brides For Seven Brothers contains a bothersome sexist story, and women are treated more as objects for men to conquer rather than real people with feelings or emotions. The overall implication within the film is that women are desperate to get married and should be flattered to be chosen by any man.

This is readily apparent when the brothers accost the girls from their homes and take them unwillingly to the cabin, where, predictably, the women succumb to the men’s desires and fall in love with them.

A film to be taken with a grain of salt and a trip back to olden times, Seven Brides For Seven Brothers is a dated picture, but it is fun. It contains grand production numbers such as “Lonesome Polecat,” “When You’re In Love,” and “June Bride.”

These songs are light and airy and a high point of the film.

For those seeking a liberal-minded affair, this film will disappoint, as the film is very conservative with traditional male/female roles and expectations, as much as one could imagine.

Oscar Nominations: 1 win-Best Motion Picture, Best Screenplay, Best Scoring of a Musical Picture (won), Best Cinematography, Color, Best Film Editing