Category Archives: Musical

2006 Films, Beyonce, Bill Condon, Danny Glover, Drama, Eddie Murphy, Jamie Foxx, Jennifer Hudson, John Krasinski, John Lithgow, Musical, Musical Drama

Dreamgirls-2006

July 20, 2018 scottmet99 Leave a comment

Dreamgirls-2006

Director Bill Condon

Starring Beyonce, Jennifer Hudson, Eddie Murphy

Scott’s Film Review #792

Reviewed July 20, 2018

Grade: A

Dreamgirls (2006) is a glossy show business-style drama with plenty of glitz and glamour. Adapted from the Broadway production of the same name, the story is loosely based on the trials and tribulations of The Supremes, a popular all-girl group from the 1960s.

Despite the film being heavily focused on the drama and tension between the characters, it boasts a wonderful soundtrack and fantastic acting- most notably newcomer Jennifer Hudson, who garnered a surprising Best Supporting Actress Oscar win for her role.

The film tells the story of the evolution of American R&B music during the 1960s and the 1970s- the action mainly taking place in Detroit, Michigan, where the genre began.

Taking center stage is the incarnation of a girl group called The Dreams, who are controlled by their manipulative record label executive.

A womanizer and creep, Curtis Taylor (Jamie Foxx), guides the girls to stardom, but beds both the beautiful Deena (Beyonce) and the talented yet overweight Effie White (Jennifer Hudson). This leads to conflict as Curtis decides that less talented Deena is more marketable and thus should be the central figure of the band.

With a stellar cast in tow, Dreamgirls contains a plethora of talent and a good history lesson to boot. The main draw in the acting department is the revelation of the talented Jennifer Hudson.

Winner of the talent show American Idol, many pooh pooed her film direction, apparently assuming she was a flash in the pan and a “reality television” star. The challenging role of Effie is perfectly suited for Hudson- brazen, pipes for days, and plenty of attitude.

Her acting aside, Hudson scorches through an unforgettable rendition of “And I Am Telling You I’m Not Going”, which is assuredly what won her the Oscar.

Otherwise, the supporting cast is worthwhile and impressive is Beyonce in a pivotal role. Surely, the singer/actress faced her share of detractors, along with Hudson, but their chemistry is amazing and she nails all of her songs.

Eddie Murphy is a gem in the role mirrored after James Brown, James “Thunder” Early. The role is perfect for Murphy- a far cry from his standard comedic roles that have grown stale over the years.

This role rejuvenates the actor’s credibility.

Dreamgirls does at times falter a bit with the drama, almost soap opera-like situations. A triangle develops between Effie, Curtis, and Deena, which leads to tension, bad blood, cattiness, and melodrama.

If the film were a standard drama this would undoubtedly make the film suffer from a tired script or generic writing.

But the musical numbers are so riveting that these flaws can be overlooked completely. The ritzy glamour and sparkles that erupt during “Dreamgirls” and “One Night Only” are wonderful fun and the songs are memorable leaving audiences humming along as they dance in the aisles.

The story has been told many times before. A dream of rising to musical stardom and the many trials and tribulations that go along with these hopes and desires.

Comparisons can be made to Chicago (2002), Valley of the Dolls (1967), or even Gypsy (1962), but the mostly black cast and the 1960s Motown theme is interesting, particularly as the Civil Rights movement of the time was upon us.

The film does not invest much time in politics, sticking mainly with drama and music, which may be a wise move to avoid too much of a message theme.

As the film concludes in 1975, Effie is reaffirmed as a meaningful member of The Dreams after her career has tanked and she has wound up on welfare.

A paternity twist is also thrown in for good measure, but the film has a clear “happily after ever” vibe to it which softens the film and keeps it more on the PG-13 level instead of going for darker themes.

Dreamgirls (2006) is a musical that is highly memorable for me because it made Jennifer Hudson a household name and confirms the talent and glory that she is rightfully due.

In subsequent years the star lost weight, softened her image a bit, and became, well, more generic. But thankfully we have a gorgeous performance to always appreciate her for.

Oscar Nominations: 2 wins-Best Supporting Actor-Eddie Murphy, Best Supporting Actress-Jennifer Hudson (won), Best Original Song-“Listen”, “Love You I Do”, “Patience”, Best Sound Mixing (won), Best Art Direction, Best Costume Design

2007 Films, Biography, Emmanuelle Seigner, French, International, International Drama, International Musical, Marion Cotillard, Musical, Musical Drama

La Vie en Rose-2007

July 18, 2018 scottmet99 Leave a comment

La Vie en Rose-2007

Director Olivier Dahan

Starring Marion Cotillard

Scott’s Review #790

Reviewed July 18, 2018

Grade: A

As a true fan of French actress Marion Cotillard, La Vie en Rose (2007) is the tremendously talented lady’s finest role to date- and I would venture to say one of the best in film history.

She immerses herself into the pivotal role of singer Edith Piaf and churns out a breathtaking performance.

Besides the vehicle to showcase her acting chops, the film as a whole is lovely, offering the poignant life story of the troubled star, adding enough French zest to offer more than just a biography.

The way that the plot is constructed is quite interesting as the story of Edith Piaf is told in a non-linear fashion. The highly complex singer’s biography is recounted first telling elements of her childhood and concluding with events occurring shortly before her death.

Her childhood is difficult so she is raised by her grandmother in a bordello and discovered on the streets to begin her meteoric rise to acclaim. The events of the film are known to be fairly accurate making the song-stresses life story awe-inspiring.

The visual aspects and cinematography elements of La Vie en Rose are lovely. With soft, muted tones, the film is rich with culture and has a wonderful French way about it.

Since the story commences in 1918 the period is fraught with a rich history including World War II and a lavish trip to New York City where Edit performs.

To say nothing of the lavish Parisian settings, the “look” of the film is enough reason to watch in wonderment.

Enough praise cannot be reaped upon Cotillard as Piaf and as enjoyable and profound as the film itself is, the casting of the French actress is both perfect and unimaginable to think of anyone else in the role.

As treasured a performance as Cotillard gives, the filmmakers wisely choose to leave Piaf’s actual voice in the musical numbers. Anyone else mimicking her would be unimaginable and frankly insulting. And an imitator would not have served the film well.

Regardless of the voice-overs, Cotillard delivers such a flawless and brave performance that it makes the film what it is. Piaf was known as a very difficult woman to deal with both personally and professionally, though there were many sympathetic qualities to her given her tough life.

Cotillard’s facial expressions and mannerisms perfectly mimic the star’s qualities so much so that the actress seemingly becomes the singer. The actress deservedly won the Best Actress Academy Award for her layered performance.

The final scene of the film is both profound and ghastly. A very ill Edith, looking haggard, clown-like with heavy makeup, decides to take the stage for the final time, aware that she is dying.

Refusing to cancel her show, she performs her well-known number, “Non, Je ne regrette rien”. She then exits the stage in a frail manner and dies shortly thereafter. She was the consummate professional and star until the moment of her death. This particular scene is a wonderful culmination of the film.

La Vie en Rose (2007) solely judged as a biopic is a very good piece of filmmaking that tells a graceful, sometimes moving story of incredible talent.

With a performance such as Cotillard’s the film goes to another level and the performance becomes the main event. The emotions and the characteristics the actress undertakes are astounding and go down as one of the finest depictions in cinematic history.

Oscar Nominations: 2 wins-Best Actress-Marion Cotillard (won), Best Makeup (won), Best Costume Design

2015 Films, Agnieszka Smoczyńska, Horror, International, International Horror, Marta Mazurek, Michalina Olszańska, Musical, Polish

The Lure-2015

April 12, 2018 scottmet99 Leave a comment

The Lure-2015

Director Agnieszka Smoczynska

Starring Michalina Olszanska, Marta Mazurek

Scott’s Review #741

Reviewed April 12, 2018

Grade: B

2015’s The Lure is as odd a film as one can imagine- dreamlike and sometimes even absurd. The story mixes a strange blend of the horror genre with musical numbers, but I would wobble to the side of gothic horror for classification purposes.

Oddly enough, some of the choreography numbers are reminiscent of 2016’s La La Land, but that is where the comparisons between those films end as the former musical numbers dark and the latter cheery.

A tough film to review, The Lure is rather disjointed, but kudos for creativity and unpredictability.

Bravely directed by a female (more kudos!), Agnieszka Smoczynska, a Polish filmmaker, the story is a cross between an autobiography of her troubled youth, and a retelling of the Hans Christian Anderson fairy tale, The Little Mermaid.

Besides the obvious Polish language content the film does not appear overly Polish- it might have been nice to be exposed to some of the cultures.

The film immediately gets off to a mysterious start as two teenage girls, later revealed to be mermaids/vampires named Silver and Golden, emerge from the water and follow a rock band back to a tacky nightclub where the band regularly performs for patrons there for the strippers.

It is sometime in the 1980s.

The girls perform music and strip, becoming an act called “The Lure”. While Golden continues to thirst for blood, Silver falls in love with a bassist causing her to yearn to be a real girl, and subsequently has surgery to remove her tail and grow real-girl legs.

As part of the fairy tale, if her intended marries someone else Silver will turn into sea foam and die.

The story is perplexing and difficult to follow, yet something is mesmerizing and escapist about it.

I wonder if Smoczynska intended the film to make total sense or left it open to a bit of interpretation. The film is a mix of fairy tales and real-life experiences.

Some portions appear to be rather dream-like, for example, the nightclub singer has thoughts or visions involving Silver and Golden, but what is unclear is whether she is experiencing reality or imagination.

Props must be given to The Lure for originality alone. The film stirs up multiple genres and creates something truly unique.

In particular, the characters of Silver and Golden are transfixing, at times they are sweet and kind, then fangs come out at a moment’s notice revealing evil and a carnivorous bloodthirst revealing a grotesque, haunting countenance.

How Smoczynska created these characters is awe-inspiring and the up-and-coming director must have a wealth of imagination deep within.

On the other hand, the plot never really comes together enough to grab hold of the viewer in a riveting way.

While Silver and Golden are clever characters and we feel some empathy for them, I also never felt completely gripped by them either. I felt no connection to any of the supporting characters either.

Any attempt at figuring out the plot will only leave the viewer frustrated. I would advise taking The Lure as an experience, not a puzzle to unravel.

The Lure (2015) has elements of immeasurable fascination and an enormous creative edge. Attempts to create a unique fable meshed with a disturbing central theme are successful.

The overall story is way too confusing for the average user and ultimately ends up dragging towards the final portion with the final climax a wee bit unsatisfying.

A brave and inventive attempt at achieving something fresh and imaginative in cinema.

1954 Films, Brock Peters, Diahann Carroll, Dorothy Dandridge, Drama, Harry Belafonte, Musical, Musical Drama, Otto Preminger

Carmen Jones-1954

April 3, 2018 scottmet99 Leave a comment

Carmen Jones-1954

Director Otto Preminger

Starring Dorothy Dandridge, Harry Belafonte

Scott’s Review #736

Reviewed April 3, 2018

Grade: B+

It was pretty taboo at the time of release (1954) because it featured an all-black cast with no white members. Carmen Jones is to be celebrated for contribution to film history for this groundbreaking feat alone.

Directed by Otto Preminger (who ironically is Caucasian), the film features legendary actress Dorothy Dandridge in a Marilyn Monroe-style performance worthy of the talents of the stars.

The film is a musical with an inevitable tragedy at the conclusion.

The 1954 feature is based on a 1943 stage production of the same name, based on the music of the famous 1875 Georges Bizet production of Carmen. These facets add to the richness of the film as it is layered with good history, and the well-known tragic elements make the conclusion unsurprising.

Brazen and beautiful, Carmen is a seductress who works in a parachute factory in North Carolina during World War II. After trading fists with a co-worker, Carmen is jailed and assigned handsome Corporal Joe (Harry Belafonte) to escort her to the authorities.

While Carmen is not shy about pursuing the young man, his fiancee, virginal Cindy Lou, fumes and schemes to keep her man.

The result is a triangle. Carmen and Joe eventually fall madly in love, leaving poor Cindy Lou behind, but their love faces hurdles.

The somewhat lighthearted first portion of the film, with coquettish humor mixed in, is offset by a much darker path the film takes. As Carmen and Joe finally profess their love and share a night of passion, she leaves him in the middle of the night, unable to endure prison time.

This results in Joe being imprisoned as the couple ultimately cannot stay away from one another despite repeated obstacles to their happiness. An additional character, a boxer named Husky, with designs on Carmen, is introduced, complicating matters.

In sad form, much like the opera Carmen, the final scene is devastating and startling as Joe treads down a dark and gloomy path of destruction. The character of Joe is nuanced- at first, a “nice guy”; the character is an example of complexity and what a man will do for love.

The viewer wonders what will become of Joe and how he could risk his life performing an act in the heat of passion.

In 1954, what a profound and fantastic role for a female, let alone a black female. Typically cast in roles such as maids, servers, or even less glamorous parts, how wonderful for Dandridge to capture a challenging role of this caliber.

She is a vixen as she sinks her teeth into the meaty and flirtatious Carmen. Dandridge’s pizzazz, flare, and singing and dancing performances made her a star, and she is forever known as a groundbreaking talent.

There cannot be enough said about the importance of casting all-black actors in Carmen Jones. Monumental, of course, given the time. The result is a film of significance to black culture, showing that they no longer needed to appear in “white films” as supporting players but could carry a movie on their own.

How profound and remarkable this was!

My only criticism of the film is undoubtedly related to the progress made for black actors and characters, though there is still plenty more work.

At times, the filming feels a shade dated (presently, there are more great roles for black actors) and has a slightly grainy look.

Some of the supporting characters’ acting is also not the strongest, but as Carmen Jones is a historical film, liberties must be taken.

Thanks to the genius and the funding of Preminger, who needed to produce the film independently due to lack of interest, the result is a film that has gone down in history as worthy, edgy, and open-minded.

Wisely casting talented stars with great pipes, the film is a solid success.

Oscar Nominations: Best Actress-Dorothy Dandridge, Best Scoring of a Musical Picture

1950 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Cinderella-1950

March 7, 2018 scottmet99 Leave a comment

Cinderella-1950

Director Clyde Geronimi, Hamilton Luske, Wilfred Jackson

Voices Ilene Woods, Eleanor Audley

Scott’s Review #731

Reviewed March 7, 2018

Grade: A-

Cinderella is a lovely 1950 Walt Disney production that rejuvenated the animated film genre after a sluggish 1940s.

The film glistens with goodness and bright colors, offering a charming fairy tale-based story based on hope and “happily ever after.”

Cinderella is enchanting on all levels.

The story is told mainly in narration, especially to explain its history. We learn that Cinderella’s parents have both died, leaving her an orphan who lives with her wicked stepmother, Lady Tremaine.

Her stepsisters, Drizella and Anastasia, are jealous of Cinderella’s natural beauty. She is regularly abused and berated, and forced to work as a servant in a rundown chateau, tending to the trio’s needs and demands.

Despite her unhappy life, Cinderella makes the most of it and befriends mice, birds, and many other animals she meets, singing and dancing merrily.

Life chugs along for our heroine until one day, the King of the royal palace decides to throw a lavish Ball for his son, the Prince, to find his soulmate and marry her finally. The King requests that all eligible unmarried women attend.

As Cinderella excitedly requests to go, Lady Tremaine cruelly grants her request, provided all of her work is done. She has no intention of making things easy on her.

In proper fairy tale form, the Prince falls madly in love with Cinderella while facing many hurdles on the pair’s way to happiness.

Given the time when Cinderella was made (1950), the timing was excellent for a lavish production, to say nothing of the fantasy that many young girls undoubtedly experienced a handsome prince rescuing them, whisking them away from a life of doldrums to undying love.

Female empowerment had not yet taken hold during the 1950s, so the male-rescuing female message was palpable and appealing to many. Dated not the least bit, a story of true love overcoming hardship can always find an audience.

The production’s colors and animations are lush and powerful, oozing perfection and dripping with fantastic elements of romance and spectacular wealth.

An example of this is the lavish ball at the palace. As Cinderella’s Fairy Godmother transforms the young girl and her transportation into a magical fantasy of horses, gowns, and carriages, the ball is pretty extravagant in its beauty.

Engaging, with a bit of humor mixed in, are the supporting characters of the three evil ladies and the bumbling Grand Duke- interestingly voiced by the same person as the King. As Drizella and Anastasia attempt to impress Prince Charming, their awkward and haphazard mannerisms and scowls perfectly counterbalance the charm and grace of Cinderella in a sometimes comical fashion.

Comparisons must be made to 1937’s masterpiece, Snow White and the Seven Dwarfs. Both could easily be companion films, watched sequentially to better study and marvel at their similarities.

Snow White and Cinderella are purely “good” characters, singing lovely tunes, embracing animal friends and various forms of wildlife- they are both more or less “saved” by men.

In the present day, instead of being offensive or “old-fashioned,” it remains enchanting and a celebration of true love.

Cinderella is a treasure to be enjoyed after all these years. It never ages or becomes dated or irrelevant, which is a true testament to the power of film. Carving a story of values, honesty, hard work, and good payoff, generations of fans can appreciate this everlasting treasure.

Oscar Nominations: Best Scoring of a Musical Picture, Best Original Song-“Bibbidi-Bobbidi-Boo,” Best Sound Recording

1940 Films, Animated, Ben Sharpsteen, Children, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Pinocchio-1940

February 1, 2018 scottmet99 Leave a comment

Pinocchio-1940

Director Ben Sharpsteen, Hamilton Luske

Voices Cliff Edwards, Dickie Jones

Scott’s Review #723

Reviewed February 1, 2018

Grade: B+

As a follow-up to the marvelous 1937 Walt Disney production of Snow White and the Seven Dwarfs, 1940’s Pinocchio is a darling tale of a wooden puppet longing to become a real boy.

The film vastly differs from its predecessor in that the protagonist is male, and the thematic elements are Italian (based on an Italian children’s novel). Still, similarly, Pinocchio is a touching experience and is magical and whimsical, telling a humanistic story about wishes and dreams coming true.

As narrated by a fantastic, cheerful little insect named Jiminy Cricket, an elderly woodcarver named Geppetto creates a wooden puppet named Pinocchio and wishes upon a star for the puppet to become a little boy.

A mysterious yet lovely Blue Fairy arrives one night and tells Pinocchio that he must be brave and truthful for the desired effect to occur- Jiminy serves as his conscience. Throughout the remainder of the film, Pinocchio’s morals are tested by unsavory characters who attempt to steer him down a dark path.

Certainly, Pinocchio is intended to be a message film for little boys and girls everywhere about the importance of honesty and truthfulness. However, some comic elements are mixed to avoid making the experience too dark or scary.

This is evidenced by the legendary way Pinocchio’s nose grows longer with each fib he tells. The film preaches a valuable lesson, which is why the adorable story holds up so well in the present.

Some values never go out of flavor.

In superb Disney form, Pinocchio features an emotional tearjerker of a scene towards the end of the film as Geppetto mourns the loss of his son.

The scene is sweet and touching and will fill even the hardest of hearts with feelings- regardless of age. In this way, Pinocchio becomes even more of a timeless treasure and is a film that the entire family, generations upon generations, can enjoy together.

Films of this nature are so important as a bonding form.

Enough praise cannot be given to Pinocchio’s incredibly effective theme song, “When You Wish Upon A Star,” belted out by Jiminy Cricket. The resounding tune is as emotional as it is timeless and bold. It is belted out at just the ideal time during the film and is still associated with the legendary film.

In fact, over the years, the song has become synonymous with the Walt Disney Company itself.

One slight oddity of the film is that Geppetto—clearly at the grandfather’s age—is the father of a young boy. This might have been perceived as sweet in 1940, but in 2018, it may have been perceived as a bit creepy or at least unusual.

Still, this is a minor flaw that can be easily overlooked. I have come to assume Geppetto is the grandfather in the story.

For those in the mood for a charming, classic animated Disney picture, 1940s Pinocchio is a mesmerizing and creative experience. At its core, it is a timeless benevolent lesson in goodness and purity.

Pinocchio is artistically filmed and told, and it can be enjoyed by anyone, regardless of age or gender.

Oscar Nominations: 2 wins Best Original Score (won), Best Original Song-“When You Wish Upon a Star” (won)

1959 Films, Animated, Bill Shirley, Children, Clyde Geronimi, Disney, Eric Larson, Fantasy, Les Clark, Mary Costa, Musical, Wolfgang Reitherman

Sleeping Beauty-1959

January 30, 2018 scottmet99 Leave a comment

Sleeping Beauty-1959

Director Clyde Geronimi, Les Clark, Wolfgang Reitherman, Eric Larson

Voices Mary Costa, Bill Shirley

Scott’s Review #721

Reviewed January 30, 2018

Grade: B+

Sleeping Beauty is a 1959 musical fantasy film and Walt Disney’s sixteenth animated production. By this point, Disney was a master at crafting wonderful and magical productions, and Sleeping Beauty was a solid work.

However, due to mixed reviews and poor box office performance, Disney films were retired for many years. The effort achieves a lighter tone than heavies like Dumbo and Bambi but is enjoyable nonetheless.

In a magical land of royalty, fairies, and both good and evil, King Stefan and Queen Leah, the benevolent leaders of the land, finally conceive their first child, Princess Aurora.

After proclaiming a memorable holiday and celebration, a festive scene turns dark when an evil and powerful fairy, Maleficent, jealous with rage, puts a curse on the innocent baby.

Thanks to a kindly fairy, the curse of death on Aurora’s sixteenth birthday is slightly blocked in favor of Aurora falling into a deep sleep- only to be awakened by true love’s kiss.

The characters in Sleeping Beauty are pretty lovely and, overall, sweet and kind. My favorite characters are the three fairies: Flora, Fauna, and Merryweather. Each has her personality but wields special magical powers—all good-natured.

While Flora and Fauna possess song and beauty, which they bestow on Aurora, Merryweather arguably saves the young girl’s life. The three women are also instrumental in being the unsung heroes of the film, while the handsome Prince Phillip gets star billing.

Compared to many other Disney films, Sleeping Beauty is quite the show. It is lush with colors as bright as stars, and the sparkles that drizzle from the fairies’ wands ooze magic that will make children giggle with delight and adults marvel with adoration.

In this regard, Sleeping Beauty is extravagant and the most expensive Disney production to date.

Maleficent is a fantastic villain, and when she finally turns into a lethal, fire-breathing dragon, this is sure to scare youngsters watching the film for the first time. Sure to mention, Maleficent’s web of thorns that she uses to surround Aurora’s castle is a spectacle in and of itself.

Upon watching the film, I continue to draw comparisons to another of Walt Disney’s famous films, 1937’s Beautiful Snow White and the Seven Dwarfs, as both films resemble each other in a sheer mass of ways.

The beautiful and innocent main female characters, both in peril from devious, older women, clearly jealous of Snow White’s and Aurora’s goodness, are apparent.

Besides, both contain dashing princes who come to the rescue in just the nick of time and kindly little things who assist in the drama.

Perhaps Sleeping Beauty’s similarities to Snow White and the Seven Dwarfs—in fact, the pair would be perfect to watch together on a rainy Saturday afternoon—led me to conclude that Snow White is the more charming and grabbing of the two films.

Also, Sleeping Beauty does not triumph in the important humanistic lessons that the Dumbo and Bambi (my favorites of all the Disney films) have.

Sleeping Beauty contains elements of an empathetic, feel-good animated experience. A King, a Queen, a Prince, a vicious villain, giddy fairies, and a beautiful heroine are all represented in this delicate and satisfying Disney venture- not the greatest in the pack, but assuredly a good time.

Oscar Nominations: 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

January 7, 2018 scottmet99 Leave a comment

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

2017 Films, Michelle Williams, Musical, Rebecca Ferguson

The Greatest Showman-2017

December 26, 2017 scottmet99 Leave a comment

The Greatest Showman-2017

Director-Michael Gracey

Starring-Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical, escapist film, The Greatest Showman holds a dear and relevant message and elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in those days- the 1800’s in New York.

The film is quite joyful and light with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion of the film. The Greatest Showman is a rag to riches story and a thoroughly enjoyable film.

Jackman is charismatic and likable as the entrepreneur and showman, Barnum, who we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young Charity (Michelle Williams) and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity at first struggle to make ends meet as they begin to raise a family, but eventually, find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers. Zac Efron is wonderful as Barnum’s eventual business partner, Phillip Carlyle.

The supporting characters that director Michael Gracey offers up are creative, if not typical mainstays of carnivals and circuses everywhere- the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

Unclear to me is whether these characters actually existed or are created simply for plot purposes, but rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for the wonderful message this film contains- acceptance and celebrating diversity.

Certainly, in today’s chaotic world this is of prominent importance for young people everywhere.

Those expecting anything of more substance than a cheery and bright holiday slice of enjoyment may be disappointed- some mainstream critics were not too high on this film, but I am okay with a little escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me”, and Keala Settle is fabulous as the bearded lady, who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but not altogether vacant either. Rather, it is simply decent, and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer, Jenny Lind.

Their “romance” is unfulfilled however and we will just need to imagine the possibilities of that one.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy) and his performance as Phillip is great. Sharing a good bond with Barnum, he has his romance with acrobat, (and of mixed race) Anne Wheeler.

His values and earnestness make the character very appealing as he is torn between riches and standing on principle.

The Greatest Showman may not go down in history as the ultimate tops in filmmaking or even one of the best musicals, but the film does succeed in dazzling the audience and providing a couple of hours worth of fun and entertainment- similar to the way P.T. Barnum energized the crowds with a slice of make-believe, this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

1979 Films, Beverly D'Angelo, Milos Forman, Musical, Treat Williams

Hair-1979

July 14, 2017 scottmet99 Leave a comment

Hair-1979

Director Milos Forman

Starring Treat Williams, John Savage, Beverly D’Angelo

Scott’s Review #664

Reviewed July 14, 2017

Grade: B+

Hair is a 1979 musical film that, in addition to catchy singing and dance numbers, possesses quite a serious theme- that of the Vietnam War.

This film is not your traditional Metro-Goldwyn-Mayer style musical prevalent in the 1950s. Rather, the entire experience is a unique one with an underlying dark tone and is presumably a message film with a liberal slant.

Made in 1979, set in the late 1960s, Hair centers primarily around two young men, along with a bevy of hippie friends, while most of the action is set in New York City.

Despite the time, the film does not always succeed in the authenticity category- many of the costumes and hairstyles scream the late 1970’s. The film also has the late 1970s “look”, on the cusp of the 1980s with poofy hair associated with the times.

This forces the viewer to escape into a world largely of make-believe.

Claude (John Savage) is a naïve young man from folksy Oklahoma, having lived a sheltered and religious life, proper and away from big city living. He is drafted and sent to the Big Apple, where he will wait for the assignment.

Charismatic Berger (Treat Williams) and company befriend Claude after he gives them spare change, soon becoming the best of friends. Claude falls in love with socialite Sheila Franklin (Beverly D’Angelo) in town from neighboring Westchester County, NY and a love story ensues.

When Claude, Berger, and company interrupt a lavish dinner party hosted by Sheila’s parents, a hilarious yet informative scene develops. While Sheila secretly is gleeful at the arrival of her new friends, Sheila’s parents are none too pleased, which results in a standoff between Berger and Sheila’s family.

Partly comical, this scene also displays the severe class distinctions between many of the characters.

The rest of the film centers on the friend’s antics involving drug use, and relationship trials and tribulations, and culminates in a cross-country drive to desperately see Claude before he is shipped to Vietnam.

Multiple scenes involve songs concerning the turbulent race issues of the times- my personal favorites are the opening number, “Aquarius” and the scandalous, “Black Boys” and “White Boys”, performed by Nell Carter.

Never one to be disappointed with a film set in Manhattan, Hair is a film basking in fantasy and the entire production seems to be one big dream as the carefully crafted musical numbers interspersed with the more dramatic elements.

Still, much of the film consists of the group prancing around Manhattan, and wonderful areas such as Washington Square Park are featured as well as several changes of seasons, giving the film a slice-of-life feel.

My favorite performance is that of Treat Williams as Berger. Part showman, part jokester, and part earnest, he fills the role with dynamic energy that comes full circle in the last act when he drastically changes his appearance for the sake of a friend.

The ending of the film is melancholy and an inevitable reminder of the coldness and finality of war about human life.

The encompassing song is “Let the Sunshine In”, a powerful and worthy conclusion to the film as the gang visits Arlington National Cemetery, to join an anti-war peace rally and say goodbye to a friend.

The film version of Hair (1979) may be drastically changed from the stage musical version, a version I shamefully have yet to see, but on its own merits, the film is a poignant, powerful, and wholly entertaining musical adventure.

2017 Films, Children, Disney, Fantasy, Luke Evans, Musical, Stanley Tucci

Beauty and the Beast-2017

April 18, 2017 scottmet99 Leave a comment

Beauty and the Beast-2017

Director-Bill Condon

Starring-Emma Watson, Dan Stevens

Scott’s Review #634

Reviewed April 18, 2017

Grade: A-

Upon going to see 2017’s spring release offering of the live-action version of the Disney animated classic, Beauty and the Beast, I was not sure what to expect.

Would it be a cheesy or amateurish retread of the 1991 animated smash only with human beings? Why the lackluster March release date? Surely this is telling, otherwise, why not release the film in the coveted fourth quarter with potential Oscar buzz?

I do not have the answers to all of these questions, but this version of Beauty and the Beast is enchanting, romantic, and lovely- a spring treat for the entire family to enjoy.

Our protagonist, Belle, (producers wisely casting Harry Potter legend Emma Watson), is a kindly farm girl living with her father, Maurice (Kevin Kline), in a quaint village outside of Paris.

Considered a bit odd by her village mates because she loves to read, she rebuffs the advances of the dashing soldier, Gaston, because he is arrogant- the other village ladies (as well as Gaston’s gay companion LeFou) flaunt over Gaston’s good looks.

When Maurice ventures into parts unknown and stumble upon a dilapidated castle, he is locked up by a vicious beast, having once been a handsome prince, since cursed by a beggar woman.

The only way the beast can return to his former self is to find true love before a wilted rose loses all of its peddles- enter Belle to the rescue. Belle convinces the Beast to let her stay prisoner and release her father. Will Beast and Belle fall madly in love?

Of course, they will. The fated romance is part of what makes the film heartwarming and nice.

The now-legendary classic fairy tale feels fresh and energized with the Disney-produced project. Director Bill Condon carefully, and successfully, crafts an honest effort, making sure that while providing a fairy tale happy ending, not to make the film seem contrived, overblown, or overdramatized.

I fell for the film hook, line, and sinker. it is an uplifting experience. The song and dance numbers abound with gusto and good costumes- my personal favorites being the rousing “Be Our Guest” and the sentimental “Beauty and the Beast”.

The crucial romance between Watson’s Belle, and the Beast, earnestly played by Dan Stevens (Downton Abbey fame), works in spades, as their chemistry feels authentic and passionate. As Belle is at first held captive by the misunderstood bad boy instead of Maurice, the pair at first loathe each other, but this is done with innocence and no malice.

Condon wonderfully exudes the right amount of slow build to make the pair beloved by audiences with the correct amount of pacing.

The CGI is heavy in Beauty and the Beast, as is expected. The distraction of the Beast is a bit confusing. Was the Beast a complete CGI creation save for the close-ups or was Watson dancing with Stevens when filming commenced in certain scenes? I am unsure.

The controversial “gay storyline”, which helped the film be banned in the southern United States and Russia, as well as other countries, is pure and utter rubbish.

The subject is explored extremely superficially and not worthy of all the fuss.

Worthier of mention is the wonderful diversity that is featured in the film, most notably in the opening sequence. Interracial couples appear in the form of Madame de Garderobe (Audra McDonald), the opera singer turned wardrobe, and Maestro Cadenza (Stanley Tucci) turned harpsichord.

On the gay issue, how sweet that the implied gay character of LeFlou to find love with another man at the end of the film.

A minor complaint is the scattered authentic French accents by many of the household staff and village people, but Belle and Maurice speak in British tongue. Being a fairy tale, liberties must be taken and suspension of disbelief is certainly a necessity, but this was noticed.

Beauty and the Beast is a lovely experience that mixes fantastic musical numbers with romance with a side of diversity mixed in for good measure.

Since the film will undoubtedly be seen by oodles of youngsters and teens this is a wonderful aspect of the film and hopefully, a shining, positive example in film making.

Oscar Nominations: Best Production Design, Best Costume Design

1937 Films, Animated, Ben Sharpsteen, Best Film of the Year, Children, David Hand, Disney, Eric Larson, Fantasy, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Snow White and the Seven Dwarfs-1937

March 18, 2017 scottmet99 Leave a comment

Snow White and the Seven Dwarfs-1937

Director David Hand

Starring Various Voices

Scott’s Review #625

Reviewed March 18, 2017

Grade: A-

Snow White and the Seven Dwarfs (1937) is Walt Disney’s debut feature-length production and the first animated feature.

Until their release, animated stories were not features at all but shorts that were shown as gag-filled entertainment not to be taken very seriously.

Snow White and the Seven Dwarfs made animated films something to be appreciated and respected. The 1937 film was re-released in theaters many times until the 1990s and is a blueprint for what animated features would become.

The film is based on the famous fairy tale of the Brothers Grimms, and it is a cherished treasure.

Beautiful inside and out, Snow White is a lonely princess who lives with her devious, wicked stepmother, the Queen. Making the most of her troubled life, Snow White hums and sings with her bird friends, who gather to keep her company as she is forced by her stepmother to work as a scullery maid.

The Queen is a vain woman, jealous of Snow White’s natural beauty. She constantly consults her mirror to ask, “Who is the fairest one of all?”

One day, the Queen decides to put an end to Snow White and orders a henchman to kill her in the forest and return her bloody heart to her in a box. When the henchman cannot do the deed, he pleads with Snow White to flee.

She winds up in a bit of cottage housing seven dwarf men whom she befriends as the Queen is determined to take drastic measures to find her.

Circa 1937 and for years to come, animated features were not created as they are today. Instead, they were simplistic- and excellent- in using storyboards and drawings in their creation.

This daunting task and the creativity involved make them just lovely to look at.

Since Snow White and the Seven Dwarfs was the debut animated feature, the drawings are fantastic to view- like pictures- and to appreciate the craftsmanship involved.

The characters are richly created, with bright, vivid colors that distinguish them from one another—Snow White’s bright red lips and the blue and gold colors of her dress contrast with the regal purples used on the Queen, to say nothing of the deep red color of the poison apple.

The color makes the apple appear delicious but also dangerously blood red. These nuances make the characters deep with texture.

The friendships Snow White makes with the dwarfs and the animal life in the forest are whimsical and filled with love, and the animal element later becomes a staple of Disney’s works- Dumbo and Bambi.

The animals are naturally fond of Snow White because she is joyous and kind. They, in turn, warn her of impending danger as the Queen turns herself into an old woman and lumbers towards Snow White, snug in the cottage.

Snow White and the Seven Dwarfs features an old-style romance. The handsome Prince takes a shine to Snow White, noticing her natural beauty as she sings, and is later determined to save her—which he does when he magically kisses her in the film’s finale.

The songs featured only enhance the love story—”Some Day My Prince Will Come” is a lovely ode to romance, tenderly sung by Snow White as she longs for the Prince’s touch, frustrated with her life.

The seven dwarfs are created magically, and seven little men living together seem quite natural in those innocent times.

Each is distinctive—Dopey is my personal favorite in his innocence and playfulness—and Happy, Doc, Grumpy, Sneezy, Sleepy, and Bashful are all written with great zest. We fall in love with each of them from the first moment we meet them as they belt out “Heigh-Ho” in unison.

Since Snow White and the Seven Dwarfs deserve merit for being Disney’s first, overlooked can be the omission of any family members of Snow White’s besides the evil Queen. Where are Snow White’s father and mother? Any siblings? Indeed, they are presumed dead, but they are never mentioned.

Also, why does the Queen have a Magic Mirror and has special powers that nobody else has?

At one hour and twenty-three minutes, Snow White and the Seven Dwarfs is a quick film but does not feel underdeveloped. The story and the characters are rich with appeal and intrigue, making the film a classic that should be shared with all youngsters.

It is a classic tale of good versus evil and a great love story, and it sets the tone for other Disney masterpieces to follow.

Oscar Nominations: Best Scoring

1975 Films, Ann-Margret, Camp, Jack Nicholson, Ken Russell, Musical, Oliver Reed, Robert Powell

Tommy-1975

February 15, 2017 scottmet99 Leave a comment

Tommy-1975

Director Ken Russell

Starring Roger Daltrey, Ann-Margret

Scott’s Review #617

Reviewed February 15, 2017

Grade: B+

The film version of Tommy (1975) is a musical fantasy, rock opera based on the famous album recording by The Who in 1969.

Composed and adapted by The Who member Pete Townsend, the film tells the story of a deaf, dumb, blonde kid named Tommy.

Featuring a star-studded cast of actors and singers performing musical numbers, the film is an over-the-top treat and quite campy late-night fare. The stage version is usually a bit more serious and sedate than the film.

I enjoy the film but it pales in comparison to the stage versions- which I was fortunate enough to see at my local community theater recently.

The film is directed by Ken Russell.

Set during the 1940s and told mainly through song, we see a montage of Captain Walker (Robert Powell) and his wife Nora (Ann-Margret) on their honeymoon and Walker subsequently being sent off to war leaving a pregnant Nora behind.

When his fighter plane is shot down and he is presumed dead, the montage skips ahead five years, and Nora is now involved in a relationship with Frank (Oliver Reed).

Tommy is five years old and is visited by his father, who is very much alive. After a struggle with Frank and Nora, Powell is killed and a traumatized Tommy is unable to speak, see, or hear (except within his mind) as Frank and Nora are desperate to make sure he keeps quiet.

As Tommy grows into a young man, he becomes a “Pinball Wizard”, a prodigy at pinball, creating great wealth for Nora and Frank. Still unable to speak or see, he is first abused by his Uncle and Cousin but then championed as they are all able to get rich off of his abilities.

Through the years Nora and Frank attempt to “cure” Tommy of his ailments via a preacher (Clapton) leading a Marilyn Monroe cult and a prostitute (Turner).

The joy in Tommy (the film) is seeing the star-studded cast- Elton John, Tina Turner, and Eric Clapton, as well as Roger Daltrey, bring a sense of wonderment to the film. Who doesn’t like to see rock stars perform?

Famous actors Jack Nicholson, Ann-Margret, and Reed are featured.

The musical numbers are the splendid part of the film and one must be prepared to escape into a world of fantasy. Musical highlights for me include, “Acid Queen”, “It’s A Boy”, and “We’re Not Gonna Take It”.

My most recent viewing of the film Tommy disappointed me slightly, and this may be due to recently seeing the stage version- far superior in my mind.

Ann-Margret, while superb and believable as Tommy’s mum, is not the character that Townsend had in mind.

Sultry and sexy, she is cast to bring some sex appeal- nothing wrong with this, but the stage character is more of a working-class woman and more in line with the rest of the cast.

The film also seems a bit too over the top almost silly at times. But Tommy is an escapist film- based on the album, which is more serious.

I wonder if Russell was going for a more late-night, Rocky Horror Show or Little Shop of Horrors type of feel.

Tommy (1975) has its place, certainly, but I would first recommend the stage or the album version as a starting point and move to the film as escapist fare.

Oscar Nominations: Best Actress-Ann-Margret, Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation

1970 Films, Albert Finney, Alec Guinness, Children, Christmas, Musical

Scrooge-1970

December 25, 2016 scottmet99 Leave a comment

Scrooge-1970

Director Ronald Neame

Starring Albert Finney, Alec Guinness

Scott’s Review #561

Reviewed December 25, 2016

Grade: A

A classic that is perfect to watch around the holidays, accompanied perhaps by a roaring fire and a bit of brandy, Scrooge (1970) is a magical, musical experience, that should be adored by the entire family.

The film is a re-telling of the 1843 Charles Dickens story, A Christmas Carol.

Set in London with spectacular London-style art direction, it is perfect in its depiction of life around the holidays in the historic city, circa the nineteenth century.

To be clear, this is the musical version of the popular tale- not to be confused with the 1935 or the 1951 versions of the story.

The film is not as dark or scary as those films are. Rather, the 1970 Scrooge would be a fantastic companion piece to the 1968 classic, Oliver!, both based on Dickens stories, as both mix fantastic musical scores with dramatic elements.

Albert Finney takes center stage in flawless form as the old, cantankerous, miser, Ebenezer Scrooge. He plays the character as both an old man and, via flashbacks, as a young man (Finney was merely thirty-four years old at the time of filming).

Guinness, certainly a high-caliber actor, is effective as the ghost of Jacob Marley- Scrooge’s former business partner. Scrooge is a money-lender, mainly to the working class, and is unforgiving in his collection of debts.

Filled with hatred for all things good, especially the Christmas holiday, Scrooge refuses to attend a family Christmas dinner hosted by his nephew, Fred, or to give to any charities. He begrudgingly gives his minion and bookkeeper, Bob Cratchit, Christmas day off.

Finally left alone on Christmas Eve night, Scrooge is visited by the spirit of Jacob Marley, who tells Scrooge that he will be visited by three ghosts during the night.

In a chilling scene, Marley takes Scrooge on a journey through the sky where he is greeted by spirits doomed to traverse the Earth as Jacob is, with shackles acquired from their life as living beings.

Since they are greedy and wicked, they are doomed in the afterlife, just as Scrooge will be if he does not change his ways.

In a wonderful sub-plot, we get to know the Cratchits, led by father Bob, a poor, but earnest man. The family has little, but make the most of what they do have, and appreciate the glorious holiday. They prepare a meager Christmas bird and savor being together as a family.

Their youngest, Tiny Tim, is lame, and he lusts over a lavish train set in the local toy shop. Cratchit epitomizes goodness and richness of character and contrasts Ebenezer Scrooge.

As Scrooge is visited by the ghosts of Christmas past, present, and Christmas yet to come, he slowly realizes he needs to change his ways before it is too late, and the audience is treated to stories of Scrooge’s youth, as we realize what has made him the miserly old man that he is today.

The clear highlight of this film is its musical numbers that will leave even the most tone-deaf humming along in glee. Throughout each sequence, we are treated to various numbers.

My favorite is “Thank You Very Much”, as first appears during the Ghost of Christmas Yet To Come sequence.

By this time feeling more sympathetic and appreciative, Scrooge merrily dances and sings along with the townspeople, unaware of the fact that they are celebrating his death and are dancing on his coffin to celebrate the fact that their debts are now free and clear.

This catchy tune is a reprise at the end of the film.

Other cheery numbers are “Father Christmas” and “I Like Life”, which perfectly categorize the film as a merry, holiday one, despite the occasional dark nature of the overall film. This is necessary to avoid making Scrooge too bleak.

I also adore the vivid set designs as the gorgeous city of London is perfectly recreated to show the festive Christmas holiday. The film is not high budget but makes the most of it by using small, yet lavish sets.

Scrooge is a perfect holiday film that contains fantastic tunes, and a meaningful story, that comes across on film as a celebratory of life, never edging toward contrived or over-saturated.

A wonderful holiday feast.

Oscar Nominations: Best Original Song Score, Best Song Original for the Picture-“Thank You Very Much”, Best Costume Design, Best Art Direction

1953 Films, Ava Gardner, Cyd Charisse, Fred Astaire, James Mitchell, Julie Newmar, Madge Blake, Musical, Oscar Levant, Robert Gist, Vincente Minnelli

The Band Wagon-1953

December 15, 2016 scottmet99 Leave a comment

The Band Wagon-1953

Director Vincente Minnelli

Starring Fred Astaire, Cyd Charisse

Scott’s Review #549

Reviewed December 15, 2016

Grade: B

The Band Wagon, made in 1953, is a second-tier MGM (Metro-Goldwyn-Mayer) production- and by that, I mean it is not as stellar as other musicals of its time.

It lacks the majestic appeal of similar musicals like An American in Paris and Singin’ in the Rain.

Directed by Vincente Minnelli- a legendary music director of the 1950s, and starring Fred Astaire, The Band Wagon tells the story of a washed-up movie star trying to revive his career on Broadway.

He meets opposition from his co-star and prima ballerina, Gabrielle, played by Cyd Charisse, ironically, an actress who appeared in Singin’ in the Rain.

The Band Wagon is a fun movie, but it is not nearly as good as the film mentioned above. Instead, it is a pale imitator. While other musicals of similar style can be watched numerous times, The Band Wagon is a one-and-done affair.

The story starts slowly but gets much better towards the end.

The film has a few memorable musical numbers, notably “That’s Entertainment.”

Oscar Nominations: Best Story and Screenplay, Best Scoring of a Musical Picture, Best Costume Design, Color

1940 Films, Animated, Ben Sharpsteen, Children, David Hand, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Fantasia-1940

December 11, 2016 scottmet99 Leave a comment

Fantasia-1940

Director James Algar, Various

Starring Leopold Stokowski, Walt Disney

Scott’s Review #544

Reviewed December 11, 2016

Grade: B+

Before viewing this 1940 gem by Walt Disney, I was naive about precisely what Fantasia was about. Indeed, I had heard of it and knew it was an animated production, but I was also mystified by it. Now embarrassed, I realize what a creative treat I missed out on.

Better late than never.

I expected a Walt Disney animated story like Snow White or Pinocchio, but this assumption mistook me. While the film took me a bit to get into, it is a marvel and quite extravagant.

The combination of classical pieces and the animated story is brilliant and visually impressive. There are eight pieces in total, all with stories to tell.

Animated films are not typically my genre of choice, but this one impressed me quite a bit if nothing more than the imagination involved.

A Fantasia reboot emerged in 2000.

2016 Films, Comedy, Damien Chazelle, Drama, Emma Stone, Finn Wittrock, J.K. Simmons, John Legend, Musical, Musical Comedy, Musical Drama, Romantic Comedy, Romantic Drama, Rosemarie DeWitt, Ryan Gosling, Tom Everett Scott

La La Land-2016

December 6, 2016 scottmet99 Leave a comment

La La Land-2016

Director Damien Chazelle

Starring Emma Stone, Ryan Gosling

Scott’s Review #538

Reviewed December 6, 2016

Grade: A

La La Land (2016) breathes new life into the classic musical genre of the 1950s and offers a fresh glimpse into Hollywood.

The film explores the glitz and glamour, triumphs and heartbreaks, and dreams both broken and fulfilled in a town laden with broken hearts.

The bright, colorful film stars two of today’s top young, talented actors: Emma Stone and Ryan Gosling. The chemistry between the leads and the dynamic musical numbers is incredible.

It’s a masterful nod to old Hollywood.

Mia (Stone) is an aspiring young actress struggling to survive the Hollywood scene. She serves lattes in a coffee shop on a studio lot and auditions endlessly for film and television parts without much luck.

Her passion is acting, but she also writes a one-woman play she plans to star in.

On the other hand, Sebastian (Gosling) is a dedicated jazz musician, struggling to make ends meet by playing demoralizing gigs that ruin the essence of jazz, meeting many people who tell him that jazz is a dying genre.

Sebastian’s dream is to open his nightclub one day.

Through circumstances, Mia and Sebastian meet and continue to run into each other, forging a wonderful friendship that eventually leads to romance.

The film is a gorgeous experience with bright sets, creative sequences, and numerous song and dance numbers to keep you humming. Mia and Sebastian even tap-dance one beautiful night following a Hollywood party under the moonlight with the Los Angeles skyline in view as they bond.

It is one of the best scenes in the film.

La La Land is seasonal and begins in the winter, though this is strictly an attempt to separate the chapters. Los Angeles is always warm, but the timing is Christmas, which is engaging in a warm climate.

In the first scene, we are immediately treated to a musical number. Stuck in stifling freeway traffic, the car drivers get out in unison, sing and dance, and then return to their cars to continue their mundane day.

Director Damien Chazelle cleverly balances the cheerful tone with the everyday redundant tasks and the struggles of artists hoping for a dream.

La La Land excels during the scenes of Sebastian and Mia as the chemistry is palpable. Gosling and Stone have something.

Supporting players like J.K. Simmons and Rosemarie Dewitt add pizzazz to their small but meaningful parts.

I adore the odes to classic Hollywood films that director Chazelle incorporates into his movie.

Classics such as Alfred Hitchcock’s Notorious (1946) and the legendary film Casablanca (1940) are mentioned twice.

During a sweet moment, Sebastian takes Mia to see Rebel Without a Cause (1956) at an old-style theater; he is shocked that she has never seen the film and eagerly excited to introduce her to it.

This continues as he shares his love for jazz music with her.

Later, the theater closes, and the film takes a more dour tone as the struggles of both characters overwhelm them.

The film’s finale is terrific.

Suddenly, five years later, many events have happened. In a brilliant sequence, the characters’ lives are explained through a song as we see the period play out until we reach the point of the film where the song began, a treasure of an ode to the truth of the characters.

The sequence is emotional, heartbreaking, and choreographed without missing a beat,

Gosling and Stone sing all their songs, not live as in Les Miserables (2012), but wisely on a sound stage. They are neither novices nor Grammy winners, but they are honest, truthful, and with heart.

It is refreshing to see classic Hollywood told in such a riveting fashion, as seen through the young’s eyes.

Films and styles of decades past are renewed through this excellent piece of cinema.

I noted similarities to An American in Paris (1951) and countless other gems from years ago and stood proudly, knowing that a nostalgic piece of cinema is precisely what we need.

Oscar Nominations: 6 wins-Best Picture, Best Director-Damien Chazelle (won), Best Actor-Ryan Gosling, Best Actress-Emma Stone (won), Best Original Screenplay, Best Original Score (won), Best Original Song-“City of Stars” (won), “Audition (The Fools Who Dream),” Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography (won), Best Costume Design, Best Film Editing

1953 Films, Charles Coburn, Comedy, George Chakiris, Howard Hawks, Jane Russell, Julie Newmar, Marilyn Monroe, Musical, Romantic Comedy

Gentlemen Prefer Blondes-1953

March 13, 2016 scottmet99 Leave a comment

Gentlemen Prefer Blondes-1953

Director Howard Hawks

Starring Jane Russell, Marilyn Monroe

Scott’s Review #384

Reviewed March 13, 2016

Grade: B+

One of the iconic and legendary stars Marilyn Monroe’s better-known offerings from her brief career is Gentlemen Prefer Blondes (1953), a fun musical/romantic comedy.

To create this wonderful gem, she stars alongside Jane Russell, another popular Hollywood star from a golden era.

Together, they have great chemistry and an easy yin-yang relationship, which makes the film light and cheerful but not meaningless or too fluffy.

It is just right for the genre that it is.

As mentioned, romantic comedy has changed in modern cinema, and Gentlemen Prefer Blondes contains the innocence and charm that has since been lost. The 1950s were a perfect time for this genre of film.

Lorelei Lee (Monroe) and Dorothy Shaw (Russell) are American showgirls and best friends who perform a stage show together. Lorelei loves diamonds and rich men- she is dating Gus Esmond, an awkward yet lovable young man who is wealthy but controlled by his father.

Dorothy is less interested in being showered in wealth but prefers handsome, in-shape men.

The adventures begin when the girls board a cruise ship to Paris. A private investigator (Malone) hired by Gus’s father observes and follows Lorelei while the Olympic swim team pursues Dorothy.

The film is entertaining and a must-see for all Monroe fans, as it was at the time when she was at her best- Gentlemen Prefer Blondes and Some Like it Hot are my personal favorites, and she was in the prime of her tragically short film career- sure she plays the “dumb blonde” character with gusto. Still, there is something innocent and fun about her portrayal of Lorelei, and we immediately fall in love with her.

Dorothy is the leader—the smart one—and complements Lorelei’s naivety. More worldly and sophisticated, she watches out for her counterpart.

The chemistry between Monroe and Russell makes the film work so well. The audience buys them as best friends and the two actresses (who reportedly got along famously).

Monroe shines during the legendary number, “Diamonds are a Girls Best Friend,” a performance that famously inspired the 1984 Madonna video “Material Girl” that will forever live on in music history.

My favorite scene is on the ship when Lorelei gets into trouble. She sneaks into the private investigator’s cabin to obtain incriminating evidence and gets stuck in the tight cabin window.

The shot of Monroe sticking halfway out the window is funny. She then hilariously enlists a young child to help her avoid recognition and fool a man with a sub-par vision.

Vision also comes into play when Dorothy disguises herself as Lorelei in a silly fashion (looking more like a drag queen) in a courtroom scene over hi-jinks involving a stolen tiara.

Interesting is the scene in which Dorothy is flocked by dancing Olympic gymnasts and is as provocative for 1953.

Undoubtedly unable to show any form of nudity whatsoever, the dancers are clad in nude-colored shorts, which indeed suggests elements of sexuality, an illusion of nudity, and fits the scene perfectly as Dorothy is in testosterone heaven. It is like a big, giant fantasy for her.

Gentlemen Prefer Blondes (1953) is a triumphant offering from another cinematic era—a sorely missed time. Cute but not trivial, the film is worth watching for the iconic Marilyn Monroe.

2000 Films, Best Film of the Year, Bjork, Drama, Independent, Independent Drama, Joel Grey, Lars von Trier, Musical, Peter Stormare, Scott's Top 100 Films

Dancer in the Dark-2000

January 9, 2016 scottmet99 Leave a comment

Dancer in the Dark-2000

Director Lars von Trier

Starring Bjork, Catherine Deneuve

Top 100 Films #95

Scott’s Review #365

Reviewed January 9, 2016

Grade: A

Dancer in the Dark is in my opinion one of the most important, inventive films of the 2000s and proudly is one of my favorites of all time.

However, the film is not pleasant to watch, and is quite painful and depressing, if the truth be told. But the relevance and sheer emotion the film elicits is more than enough reason to be exposed to it- if only, but perhaps, once.

Director, Lars von Trier, is a master at creative and disturbing, dream-like films that are either odd, non-linear, or otherwise open to interpretation in some way.

He has directed such gems as 2011’s Melancholia and 1996’s Breaking the Waves, to name but two.

With Dancer in the Dark, he uses handheld cameras which add much grit to the film so it almost feels documentary style, and a grainy, shaky look.

The addition of musical numbers mostly written and performed by the star, Bjork, is a wonderful touch.

Speaking of Bjork, words cannot express what a brilliant performance she gives in the film, and the raw emotion she expresses in her starring role is awe-inspiring.

So much was the stress of filming Dancer in the Dark, that she, to my knowledge, has never made another film.

She was shamefully overlooked in the Best Actress Oscar category- an omission that is one of the biggest fails in Oscar history.

Tensions were reportedly high on the set of Dancer in the Dark, as Bjork reportedly despised her director, never missing a chance to tell him so, disappeared from the set for days on end, and spat in his face. Co-star Deneuve, a former French mega-film star, reportedly did not get along well with Bjork.

Despite all the drama, the stars managed to pull together a masterpiece.

Bjork plays Selma, a Czech immigrant, living in Seattle with her young son. The year is 1964. Selma is poor, struggling to survive by working in a clothing factory along with her best friend Cvalda (Deneuve).

Selma and Cvalda escape their dull lives by watching classic musical films at their local cinema. To make matters worse, Selma is suffering from a degenerative eye disease causing her to gradually lose her sight. She struggles to save enough for surgery for her son, who is sure to suffer the same fate without it.

Selma frequently imagines musical numbers in her day-to-day life involving friends and co-workers. When a tragic turn of events occurs and Selma is accused of a crime, the film goes in a very dark direction.

The conclusion of the film will always require handkerchiefs as it is as powerful as it is gloomy. The aspect I love most about Dancer in the Dark is that it smashes barriers about what film art is and throws all of the rules out the window.

Lars von Triers, famous for this created a dreamy, independent hybrid musical and drama, a dynamic, tragic, emotional experience all rolled up into one great film.

Oscar Nominations: Best Original Song-“I’ve Seen It All”

Independent Spirit Award Nominations: 1 win-Best Foreign Film (won)

1978 Films, Dody Goodman, Eve Arden, John Travolta, Musical, Olivia Newton-John, Romantic Comedy, Scott's Top 100 Films, Stockard Channing

Grease-1978

January 9, 2016 scottmet99 Leave a comment

Grease-1978

Director Randal Kleiser

Starring John Travolta, Olivia Newton-John

Top 100 Films #70

Scott’s Review #354

Reviewed January 9, 2016

Grade: A

Grease (1978) is the ultimate musical fantasy that comes to life and can be appreciated by anyone looking to re-live their high school days through song, or merely escape life’s stresses with a fun, bright, musical, that is very well made.

Is it realistic? Not, but sometimes escapism is just what the doctor ordered, and Grease is one of my favorite films that meet that criteria.

It is light-hearted and sweet, and above all contains wonderful legendary musical numbers.

The time is the 1950s, and we meet Danny and Sandy on a windswept beach with cascading waves and bright sunshine. It is summer break for the two high school students, who meet in California, she vacationing from Australia, and he is a local boy.

They say their goodbyes and return to normal lives, but cannot forget about each other.

Suddenly, Sandy arrives at Rydell High in Los Angeles, coincidentally where Danny goes to school. Her parents (whom we never see) decided to stay in California.

Danny is a “tough guy” in high school, much different from who he was on the beach with Sandy. He is the leader of the infamous T-birds, a group of boys who love their black leather jackets and cars.

Torn, he continues his tough image and he and Sandy find their way back to each other through classmates, songs, and dancing, intermingling fun supporting characters who encourage each of them to find true love.

Travolta and Newton-John have magical chemistry, which allows this film to work.

Grease has appeared on stage numerous times, but these actors are fine together. I bought them as teenagers in love, although both were well beyond their teen years.

The supporting cast is excellent- specifically Stockard Channing as the lead Pink Lady, Rizzo, and Sandy’s kind-hearted friend Frenchy.

Interestingly, no parents ever appear in the film as it is not about the adults.

However, Rydell’s female principal, Mrs. McGee (played by Eve Arden), and her dotty Vice Principal, Blanche (Dody Goodman), are simply marvelous as comic relief.

Rizzo is an interesting character and can be argued is the only one who threatens to steal the thunder from Danny and Sandy. Containing a tough exterior, she is also vulnerable as she fears she has become pregnant mid-way through the film.

Unwed and pregnant in the 1950s was quite the scandal and Channing gives layers of emotion during her solo number, “There Are Worse Things I Could Do”.

The wonderful high school dance scene is choreographed amazingly well. The excitement of the student body at being filmed for a special television show is apparent as dance numbers and dance contests, some raunchy, follow.

The musical numbers are intrinsically memorable from “Grease”, “Greased Lightning”, “Hopelessly Devoted To You”, and “Beauty School Dropout”, all of which are personal favorites of mine.

Grease (1978) is a film that is not meant to be analyzed but rather enjoyed for the fantastic chemistry and energy in which it has.

Sometimes in a film, all of the elements simply come together perfectly and Grease is an excellent example of this.

Oscar Nominations: Best Song-“Hopelessly Devoted to You”

2015 Films, Bill Pohlad, Biography, Drama, Elizabeth Banks, Independent, Independent Drama, John Cusack, Musical, Musical Drama, Paul Dano, Paul Giamatti

Love and Mercy-2015

July 17, 2015 scottmet99 Leave a comment

Love and Mercy-2015

Director Bill Pohlad

Starring John Cusack, Paul Dano

Scott’s Review #258

Reviewed July 17, 2015

Grade: B+

The life and times of the Beach Boys’ famous and troubled lead singer, Brian Wilson, is finally played out on the big screen (apparently many attempts were made to make a film) as Love and Mercy (2015) chronicles his difficult upbringing, unrivaled success, and his interesting life in later years.

He suffered from schizophrenia, traveled down a paranoid, nervous path, and was manipulated by a family friend who served as his doctor and main caregiver.

Thankfully, he weathered the storm due to his future wife, and remarkably still performs and entertains in 2015.

His musical career began in the 1960s.

The biopic features many well-known Beach Boys tunes to hum along to and be entertained by. It’s not a happy film nor a downer either.

It’s somewhere in the middle of the two and the life story of a rock star.

There is a risk in this. If the film is too sentimental it will fail. Love and Mercy do it correctly.

The film is not a sing-along, trip-down-memory lane film for lighthearted film fans. Rather, it is dark, murky, and troubling at times (the psychedelic scene when a young Brian is imagining different voices and noises in his head is rather frightening).

Wilson is played by two actors, first in the 1960s and later in the 1980s.

Paul Dano stars as a young Wilson in the early stages of his career, filled with passion for life, art, music, and talent beyond belief, but clearly in the onset stages of paranoia, thanks to his critical father. He is a demanding, angry man, possibly envious of Brian’s talents as a songwriter, who always wanted more from Brian.

Wilson’s father managed Brian and his brothers success but at a huge cost, and was ready to bail when the “next big thing” came along.

Miraculously, through conflict with his father and other members, Wilson completed the Beach Boys masterpiece, Pet Sounds, a groundbreaking album from the late 1960s. The film shows the struggles faced to achieve this success.

In later years John Cusack takes over the role of Brian. By this point in his life, he is damaged and he is a full-blown neurotic, insecure, and dependent on his psychotherapist, Dr. Landy, brilliantly played by Paul Giamatti.

Landy has control of Wilson’s assets and will destroy anyone who interferes in this.

The scenes in which he screams at and berates a drugged-out Brian Wilson to create music are tough to stomach. When Wilson romances their future wife Melinda Ledbetter, played by Elizabeth Banks, she ultimately saves his life as she is determined to rescue Brian from the wicked abuse and adjust the toxic levels of medications he was kept on.

I left the movie theater unsure of the factual accuracy and pondered the following questions.

Did Brian’s wife swoop into his life and “save” him as neatly as the film explains? How instrumental was the maid in this process? Was the Wilson brothers’ father as much a monster as the movie portrayed him? Was Giamatti’s vicious psychotherapist role true to life or were the aspects of Love and Mercy embellished ever so slightly for moviemaking magic?

One wonders, but from a film perspective, Love and Mercy (2015) works well as a work that takes risks, does not go for softness or niceness, and gives a character study that is quite admirable.

Independent Spirit Award Nominations: Best Supporting Male-Paul Dano

1967 Films, Catherine Deneuve, Fantasy, French, Gene Kelly, International, International Fantasy, International Musical, Jacques Demy, Musical

The Young Girls of Rochefort-1967

June 30, 2015 scottmet99 Leave a comment

The Young Girls of Rochefort-1967

Director Jacques Demy

Starring Catherine Deneuve, George Chakiris

Scott’s Review #252

Reviewed June 30, 2015

Grade: B

The Young Girls of Rochefort (Les Demoiselles de Rochefort) is a musical fantasy set in a small French town outside of Paris.

The story focuses on a set of gorgeous twin sisters, Delphine and Solange, played by real-life sisters Catherine Deneuve and Francoise Dorleac, who yearn to escape their small town for the bright lights of Paris and hope for romance in their lives.

The twins can have any man they want, but enjoy the thrill and excitement of conquests and being chased and sought after by seemingly all available French men. They spend their spare time discussing and fretting over various loves.

The film is so French and pure musical fantasy and logic are not the main focus. Much of it does not make much sense in fact, nor does it need to. It is pure fantasy.

The film excels by being dreamlike, bright, and sunny. The vivid, bursting colors and lovely sets enhance the look of the film.

In particular, the coffee shop set is a dream. All the central characters gravitate to the café for drinks, gossip, and song and dance.

A great deal of the action takes place here, which is a major plus to the film.

The Young Girls of Rochefort, which was made in 1967, is very state-of-the-art in terms of art direction and colors.

The loose plot, which is not at all the reason to watch this film, is silly. The twins, longing for love, meet several men, all possible suitors, but their true motivation is to get out of Rochefort and find real excitement in the big city of Paris.

One cannot help but realize that the men are a means to an end for the girls.

The heartfelt part of the story belongs to that of the twin’s mother, Yvonne, who also longs for love. Yvonne runs the café and still pines for a long-lost love whom she jilted because of a funny last name. She now regrets her decision and the audience’s roots for her to find happiness.

She is a wholesome character whereas Delphine and Solange are selfish and are attempting to further their careers as musical artists.

My main criticism of the film is the casting of Gene Kelly as one of the love interests of the sisters. Far too old and well past his prime at this point, the casting just doesn’t work. Yes, he is an amazing dancer, but the age is too great to be believable.

In the end, the main reason to watch The Young Girls of Rochefort (1967) is to escape, let loose, and enjoy a bright, cheery, fantasy film.

Certainly not to be analyzed, the film succeeds in providing good escapist cultured, French fare.

Oscar Nominations: Best Score of a Musical Picture- Original or Adaptation

2014 Films, Anna Kendrick, Billy Magnussen, Chris Pine, Christine Baranski, Disney, Emily Blunt, Fantasy, James Corden, Jon Bernthal, Meryl Streep, Musical, Rob Marshall, Tracey Ullman

Into the Woods-2014

May 8, 2015 scottmet99 Leave a comment

Into the Woods-2014

Director Rob Marshall

Starring Emily Blunt, Meryl Streep

Scott’s Review #241

Reviewed May 8, 2015

Grade: B

Based on the stage production of the same name, Into the Woods (2014) is a feature-length Disney film that incorporates several different fairy tales into the main story.

The film is a fantasy musical with numerous songs performed by the cast, featuring a large ensemble of seasoned actors.

The classic fairy tales are modern versions of Little Red Riding Hood, Rapunzel, Jack and the Beanstalk, and Cinderella.

The action mainly revolves around a baker and his wife (James Cordon and Emily Blunt) who are sad and lonely because they cannot conceive a child due to a long-ago curse put upon the baker’s family by a witch- played by Meryl Streep.

Circumstances surrounding the baker’s father caused the once beautiful witch to be turned ugly. The witch offers a bargain to the baker and his wife- if they bring her four items (a white cow, a red cape, yellow hair, and a gold slipper) for a special potion, she will lift the curse, enabling them to conceive a child and live happily ever after.

This prompts the couple into the dark forest to obtain the requested items. From this point, the couple intersects with other characters from the fairy tales as they all question various aspects of their lives.

There are subsequent stories- the witch is Rapunzel’s adoptive mother and keeps her locked in a tower to prevent her from being hurt by the world.

Cinderella (Anna Kendrick) escapes her taunting stepsisters and attends a ball only to flee when noticed by the handsome prince (Chris Pine).

Jack attempts to sell beans to provide food for his mother- and Little Red Riding Hood brings sweets to her Grandmother but is confronted by the Big, Bad, Wolf (Johnny Depp), a strange Woman Giant is stomping through the forest searching for Jack.

All these stories revolve around the baker and his wife’s efforts to retrieve the witch’s requests.

The production and art direction in the film is great. I love the dark, gloomy forest, which translates so well on the screen and gives the magical effect of a mysterious, secret forest.

I enjoyed the songs quite a bit- especially the catchy “Into the Woods”. However, some of the songs are quite one-dimensional and bland and not discernible from each other, let alone memorable.

The duet of the Prince’s, “Agony” is silly and useless to the plot, with gyrations, and dance moves.

Meryl Streep- dynamic in anything she appears in again steals the show as the vile witch turns beautiful at the end. She has a fantastic solo number mid-story, entitled “Stay with Me”.

One drawback I found with the film is, at times it drags a bit and I was not sold on the casting of Anna Kendrick as Cinderella. Something about her performance was lacking, perhaps she was not as sympathetic or convincing as another actress might have been.

Also, I would have enjoyed seeing Johnny Depp as the Wolf be more prominently featured and a larger role for the Woman Giant. As integral as she is to the plot, it was tough to get a clear glimpse of her face let alone anything more substantial.

An entertaining feast of fairy tales immersed in one film, Into the Woods (2014) has some compelling moments but lost opportunities that bring it far from the reaches of a masterpiece level.

A solid film, but not a great film.

Oscar Nominations: Best Supporting Actress-Meryl Streep, Best Production Design, Best Costume Design

2014 Films, Ashton Kutcher, Bobby Cannavale, Bobby Moynihan, Cameron Diaz, Children, Comedy, Jamie Foxx, Lowest Rated Films, Michael J. Fox, Mila Kunis, Musical, Musical Comedy, Patricia Clarkson, Quvenzhané Wallis, Rihanna, Rose Byrne, Will Gluck

Annie-2014

March 25, 2015 scottmet99 Leave a comment

Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis, Jamie Foxx

Scott’s Review #231

Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one variation in television exists, and all based on the Broadway hit of the same name, is a saccharin-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me begin with the one redeeming quality of the film, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question, which I might not want to know the answer to.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child and I sensed awkwardness to the part. Regardless it did not work.

I did not buy her in the role and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes for the limited choices in 2014.

Jamie Foxx completely phones in his performance as Cell-phone technical mogul, running for mayor, William Sparks. Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew, who towards the end of the movie somehow “turns good”, with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, very one-note performances in their respective roles of Sparks’s assistant, love interest, and right-hand man.

The film chooses to change so many aspects of the original stage version of Annie, that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s, Annie is no longer an orphan but is in foster care. Miss Hannigan’s first name is changed to Colleen instead of Agatha and now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily are not featured at all.

The story has zero interest and zero believability.

But the worst part of the film is the corniness of it. It is so overwrought with contrived scenes that it is tough to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film contains one inconsistency after another and is a horrendous modern take of a long-loved treasure, the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, and forgotten for good.

1971 Films, Children, Fantasy, Gene Wilder, Jack Albertson, Musical, Roald Dahl, Scott's Top 100 Films

Willy Wonka and the Chocolate Factory-1971

December 18, 2014 scottmet99 Leave a comment

Willy Wonka and the Chocolate Factory-1971

Director Mel Stuart

Starring Gene Wilder, Jack Albertson

Top 100 Films #17

Scott’s Review #206

Reviewed December 18, 2014

Grade: A

More than just a children’s movie, Willy Wonka and the Chocolate Factory (1971) is a terrific, imaginative, fantasy film that is timeless and meant for all ages to enjoy.

The mastery and creativity of the sets and art direction are astounding and the story is sweet, whimsical, and capturing. Often with children’s movies, we are treated to dumb or contrived stories that will entertain five-year-olds, but make adults bored or cringe.

Willy Wonka and the Chocolate Factory is none of the above. It is intelligent and filled with magic and heart.

Charlie Bucket is a poor child whose mother washes clothes for a living. Along with his four bedridden grandparents, they live a meager existence in a small cottage somewhere in Europe.

Particularly close with his Grandpa Joe, the two of them become obsessed with a contest held by mysterious Willy Wonka, the owner of an enormous chocolate factory nearby.

The contest consists of five “Golden tickets” being hidden in Wonka bars. The five lucky winners will receive a lifetime supply of candy and a tour inside the long-since-closed chocolate factory.

After a series of circumstances, Charlie obtains one of the tickets and the adventure begins.

The build-up to the trip into Willy Wonka’s factory is gripping- mainly because the viewer knows that a magical treat is in store and is filled with curiosity- what will the chocolate factory look like? What is Mr. Wonka like?

The four other winners- Augustus Gloop, Veruca Salt, Violet Beauregarde, and Mike Teevee are all unique and creatively written characters- all spoiled brats in their way, so Charlie is the “normal” child and has a true rooting value to him.

As the five children, along with a designated parent- or in Charlie’s case, Grandparent, begin their journey throughout the chocolate factory the audience is treated to a psychedelic experience with fantastic sets- a river made of chocolate, an entirely edible garden, lickable wallpaper, a bubble room, and a frightening riverboat.

The film is bright and colorful within the walls of the factory which perfectly contrasts Charlie’s dreary existence in the outside world.

As the four bratty children meet their fates in joyfully imaginative ways- gum chewer Violet blows up like a blueberry after chewing experimental Wonka gum that she is warned not to, Veruca is deemed rotten after throwing a fit and topples down a garbage chute.

The film is breathtaking and imaginative, filled with wonderment.

Gene Wilder plays the role of Wonka as over-the-top and it works tremendously.

All of the child actors play their roles competently as each character is distinguished from the others.

I love the scary riverboat tunnel scene as it is frightening, psychedelic, and magnificent. I also love the contrast between the enchanting colorful second half to the bleakness of the first. The sets are some of my favorites in their lavishness.

Specifically, the relationship between Charlie and Grandpa Joe is wonderful. Grandpa Joe is a father figure to Charlie, but so is Willy Wonka in a completely different way.

The greed of the children is also interesting and one hurrahs as each one gets his or her comeuppance.

The songs from the film are remarkable and quite cutting edge- each time one of the lucky five golden ticket winners meets their doom, the Oompa Loompas sing a tune that visually has weird shapes and colors-psychedelic and very hippy, of the late 1960’s-early 1970s era.

Other numbers such as “I’ve Got a Golden Ticket”, “Cheer up Charlie”, and “The Candy Man” are memorable.

A film for the ages, Willy Wonka and the Chocolate Factory (1971) is a celebration of creative film and quite cerebral at times and is far superior to most children’s fantasy/musical films.

Skip the 2005 remake starring Johnny Depp and enjoy the original.

Oscar Nominations: Best Scoring: Adaptation and Original Song Score

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.