Category Archives: Musical

1968 Films, Best Picture Oscar Winners, Carol Reed, Children, Hugh Griffith, Jack Wild, Joseph O'Conor, Mark Lester, Megs Jenkins, Musical, Oliver Reed, Ron Moody, Scott's Top 100 Films, Shani Wallis

Oliver!-1968

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Oliver! -1968

Director Carol Reed

Starring Mark Lester, Oliver Reed

Top 100 Films #55

Scott’s Review #203

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Reviewed December 10, 2014

Grade: A

Oliver! is a 1968 film based on the Charles Dickens novel Oliver Twist, which was then adapted into a successful stage musical. The film surprisingly won the Academy Award for Best Picture that year.

Surprising, not because Oliver! is poor, it is magnificent, but it was not predicted to take home the honor.

Telling the tale of the woeful orphan Oliver, the film wonderfully comes across as a dark musical with a wholesome happy ending feel, largely due to the musical compositions which inevitably make for a cheerier tone.

When the film begins, Oliver lives in a despicable orphanage outside of London. A drawing of straws forces meek Oliver to ask for more gruel.

After being deemed a problem child he is sold for cheap to an undertaker where he is bullied. Defeated, Oliver makes his way towards the big city in hopes of finding his fortunes.

He then meets sinister characters such as Fagin, the Artful Dodger, and Bill Sykes, as well as the sympathetic Nancy and Mr. Brownlow.

I love the musical numbers of the film and for me, it is the strongest aspect of Oliver. The film would have been much darker had it not been for the musical that it was.

Numbers such as “Consider Yourself”, “Food, Glorious Food”, and “As Long As He Needs Me” stick with audiences for days.

The entertaining songs lighten the somber moments- as noted earlier when meek Oliver dares to ask for more gruel, the enchanting “Food Glorious Food” cannot help but be hummed along to, which lightens the mood of the scene.

I also enjoy how the film contains the long-ago popular trend of containing two acts with an intermission in between- very grand and classy and an aspect of the film I wish would return in today’s movies.

The London art direction is magnificent, revealing a cold, industrial feel, mixed in with a warm, sunny atmosphere when Oliver stays at the palatial estate of Mr. Brownlow.

The bright and enchanting musical number “Who Will Buy?” is the perfect backdrop for this setting and my favorite number.

Nancy (Wallis) is one of the most complex characters- a prostitute, she happily sings, in denial about her life, in “It’s a Fine Life”, secretly wishing her life was better than it is.

Later, conflicted over helping Oliver or standing by her man she sings a melancholy number, “As Long As He Needs Me”, which cements her role as a tragic, sad character.

However, as she leads a drunken barroom in a dance of “Oom-Pah-Pah”, the drama is thick when she attempts to help Oliver at the risk of putting her own life in severe jeopardy.

Shani Wallis fills the character with heart and feeling.

Oliver! is a much darker film than one might imagine.

Curiously rated G, the film should have at least been rated PG. The film’s heart is that of a children’s movie- to me personally a turn-off, but the film is much stronger than that.

Some subject matters (like pedophilia) are toned down from Dicken’s novel, but not completely toned down.

Examples- the novel made clear overtones of child abuse by the thieves by Fagin, yet there is none of that in the film. Contrasting this, the film blatantly shows the beating death of Nancy- albeit out of camera range, but the audience gets enough of a glimpse to ascertain what is happening.

The shooting and swinging death of Bill Sykes border on brutality.

A glaring flaw of the film is that the voice of Oliver is dubbed by a female singer and not voiced by actor Mark Lester. To me, this seems quite obvious that the voice is not male.

The character of Bill Sykes is convincingly played by Oliver Reed, nephew of director Carol Reed.

Perfect around holiday time, Oliver! (1968) is a terrific musical drama, to be enjoyed for eons to come.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Carol Reed (won), Best Actor-Ron Moody, Best Supporting Actor-Jack Wild, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation (won), Best Sound (won), Best Costume Design, Best Art Direction (won), Best Cinematography, Best Film Editing

1961 Films, Best Film of the Year, Best Picture Oscar Winners, George Chakiris, Jerome Robbins, John Astin, Musical, Natalie Wood, Richard Beymer, Rita Moreno, Robert Wise, Russ Tamblyn, Scott's Top 100 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 100 Films #64

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a musical from 1961 (based on the Broadway stage production from the 1950s), during a period in Hollywood where every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most of its contemporaries within this genre. The dreary ending, fantastic and compelling in its dramatic elements, does not detract from the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Best Picture Oscar winner.

West Side Story is undoubtedly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets,” with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after fashion.

Loads of suspension of disbelief must be taken- How many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some gang characters do not look so authentic- in clearly dyed hair, bronzed with tan, or some other phony-looking get-up.

The film is a cherished friend, and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turfs of the rough streets of Manhattan’s west side for many years.

The gang’s girlfriends and one female, “Anybodys,” are in tow. She longs for the day when she can join the Jets and fight alongside the boys.

The other supporting characters primarily include various policemen (Lieutenant Schrank and Officer Krupke) who attempt to keep the gangs apart. They also include a local shopkeeper, Doc, who is the story’s moral compass. Doc encourages the gangs to get along and questions the logic of gang fights.

After a scuffle, the gangs decide to fight after an upcoming dance, and the Jets elect Tony to face Bernardo.

The story is surprisingly dark, especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery, catchy numbers (I Feel Pretty, Jet Song) and love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their significantly different backgrounds.

Throughout the film, we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along quickly with standoffs, fights, and plots to get the other gang, a failed attempt at a dance to co-mingle the two groups and girlfriends, and Tony and Maria sneaking off to meet.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is noticeable, primarily upon multiple viewings. Still, decades later, it is also challenging to imagine anyone else in either role—so ingrained is the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is fascinating, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still somehow works very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

1954 Films, Drama, George Cukor, Jack Carson, James Mason, Judy Garland, Lucy Marlow, Musical, Musical Drama

A Star is Born-1954

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A Star is Born-1954

Director George Cukor

Starring Judy Garland, James Mason

Scott’s Review #175

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Reviewed September 25, 2014

Grade: B+

A Star Is Born (1954) was considered Judy Garland’s much-touted comeback film and was very expensive for Warner Bros. to produce.

Garland delivers her finest career performance, even better than her portrayal of Dorothy in The Wizard of Oz (1939). The performance is multi-faceted, complex, comical, silly, poised, emotional, dramatic, and heartfelt.

Playing Esther Blodgett- later changed to Vicki Lester for more Hollywood potential, she is a struggling lounge singer who meets a successful actor named Norman Maine, played wonderfully by James Mason.

Esther saves Norman from public humiliation at a function where he attempts to take the stage while inebriated.  They strike up a friendship, and he convinces her to pursue films. However, through a series of misunderstandings, she assumes he has ditched her.

Determined to become a star anyway, Esther forges her path to success. They reconnect, and Norman recognizes her talent and pursues her professionally and romantically. They marry, and she becomes a star while his career hits the skids, mainly due to his alcoholism.

The talented Mason and Garland are at the forefront of the film and are the reasons for its success.

A few key scenes stand out to me as powerful or essential- The scene involving a musical number over a dinner of sandwiches in their posh living room is wonderfully merry and light; a delivery boy who does not know who Norman is ruins the mood and causes jealousy to come to a head in his marriage to Esther.

Garland’s emotional scenes are excellent, especially in her dressing room, where she crumbles when she realizes Mason has hit rock bottom.

The best scene is the Academy Awards scene, where a drunken Norman causes a public spectacle as Esther receives her top honor, spoiling her night and accidentally hitting her in the face in front of millions.

What a forgiving woman Esther is for staying with him and ultimately choosing him at the risk of ruining her career.

An interesting aspect of the story is that Garland’s character is not some ugly duckling transformed into Hollywood royalty—she already has the talent. She needs a break but is not down on her luck or starving. She makes a decent living with a touring band and is torn about leaving them.

The musical numbers are inspiring and one is reminded why Garland is such a star as she belts them out of the park like nobody’s business, however, they do little to further the plot.

The film sometimes drags a bit, as is often the case in the first half, but the second half (post-intermission) is brilliant, and the ending is tragic yet heartwarming.

Will Esther’s career continue to flourish?

A major flaw with the film is the usage of still frames with dialogue overlapping due to lost footage. This makes following the story very tough, and the continuity is affected. It also looks ridiculous, and for the viewer to be captured by the story and only view a discolored still shot with audio is disappointing.

Indeed, this can be corrected.

A Star Is Born (1954) is the perfect vehicle for Garland to return to her grand position among the Hollywood treasures.

Oscar Nominations: Best Actor-James Mason, Best Actress-Judy Garland, Best Scoring of a Musical Picture, Best Song-“The Man That Got Away,” Best Art Direction, Color, Best Costume Design, Color

1964 Films, Charlotte Rampling, Comedy, Documentary, George Harrison, John Lennon, Musical, Musical Comedy, Paul McCartney, Phil Collins, Richard Lester, Ringo Starr, Susan Hampshire

A Hard Day’s Night-1964

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A Hard Day’s Night-1964

Director Richard Lester

Starring The Beatles

Scott’s Review #154

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Reviewed August 18, 2014 

Grade: C

Why this rock documentary, a day in the life film, is considered among the Top 100 films of all time completely escapes me. I’m a huge fan of the band The Beatles, but this is a letdown.

The segments consisting of musical numbers performed by the band are excellent, and, humming along, I enjoyed the black and white filming of the “documentary.” Still, the film is not a documentary in the traditional sense and is very difficult to categorize.

Is it a rock opera, a comedy, a documentary, or a musical? It is somewhat of a hybrid as the viewer journeys through a typical day in the life of a Beatle.

But everything else seems fluff to the point of silliness. Countless scenes of the band running through the streets with adoring fans screaming and chasing after them become irritating. The film has little plot.

The Beatles were a huge band. We get it.

Paul, George, Ringo, and John do a capable job in the film, considering they are non-actors. I’d much rather have been exposed to a straightforward documentary focusing on the background of some of the songs or the band members themselves instead of a lightweight tale of a day in the life of The Beatles with silly attempts at humor thrown in.

A Hard Day’s Night (1964) influenced the 1960s television comedy starring The Monkees.

Oscar Nominations: Best Story and Screenplay Written Directly for the Screen, Best Scoring of Music-Adaptation or Treatment

1988 Films, Camp, Debbie Harry, Divine, Independent, Jerry Stiller, John Waters, Josh Charles, Mink Stole, Musical, Pia Zadora, Ric Ocasek, Ricki Lake, Sonny Bono

Hairspray-1988

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Hairspray-1988

Director John Waters

Starring Ricki Lake, Divine

Scott’s Review #130

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Reviewed July 23, 2014

Grade: B+

Hairspray (1988) is one of director John Water’s later and much more mainstream comedies.

Influencing the Broadway musical of the same name that was created years later and inspiring a successful remake in 2007, the film is a wonderful watch one late at night accompanied by spirits.

It is fun, fun, fun.

The film tells the story of a cute, yet insecure, overweight teenager named Tracy Turnblad, wonderfully portrayed by Rikki Lake. Tracy lives in Baltimore in the racially conflicted 1960s, and she battles to appear on a local talent show.

With Waters directing, one might expect comedic raunchiness, but Hairspray is quite tame. It is the only Waters film to be rated PG, the others are rated X.

Not to be outdone, however, Hairspray does contain its share of light naughtiness.

The film itself, while campy and over the top, is important since it does its best to break down racial barriers, including interracial relationships, and sends an important message.

Tracy and her best friend Penny Pingleton judge people for who they are, not on race, income, or anything else.

Those characters in Hairspray who are written as racist or less than welcoming to interracial cohabitation (again the film is set in the early 1960s) look like buffoons and not with the progressive social times.

The supporting cast is high caliber- Divine and Jerry Stiller are perfectly cast as Tracy’s open-minded yet cautious and concerned parents.

Famous musicians appear in cameos- most notable are Debbie Harry, Ric Ocasek, and Sonny Bono in small but zesty roles.

The musical dance numbers are plentiful and perfectly fit the time of the film.

Hairspray (1988) is entertaining, relevant, and free with a powerful message mixed in with the entertainment.

Independent Spirit Award Nominations: Best Feature, Best Director-John Waters, Best Female Lead-Ricki Lake, Best Supporting Male-Divine, Best Supporting Female-Debbie Harry, Best Screenplay

1971 Films, Leonard Frey, Michele Marsh, Musical, Neva Small, Norma Crane, Norman Jewison, Paul Michael Glaser, Rosalind Harris, Scott's Top 100 Films, Topol

Fiddler on the Roof-1971

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Fiddler on the Roof-1971

Director Norman Jewison

Starring Topol, Norma Crane, Rosalind Harris

Top 100 Films #91

Scott’s Review #123

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Reviewed July 21, 2014

Grade: A

Fiddler on the Roof is a fantastic musical from 1971 based on the popular stage version. It tells the story of a Russian Jewish family living in conflicted times before and during the RusRevolutionution.

The film has everything and is very well made, truly doing justice to the stage version. It contains dancing, drinking, festive parties, love, and sing-alongs. It also contains politics, hardships, and tragedy.

Led by the patriarch of the family, Teyve, played fantastically by Topol, he explains (often narrating directly to the audience, which is a goldmine in style) life in his Russian village with five daughters and no sons and an overbearing wife. They are a poor family and struggle to make ends meet.

They go through life with the help of song and dance and deal with such situations as romance- focusing mostly on the three oldest girls, and the political upheaval surrounding their country.

It is tough for a film version of a famous musical to be top-notch and even compare to the stage version, but the film is wonderful- “Tradition”, “Matchmaker”, and “If I Were a Rich Man” immediately stick in the viewer’s head.

The film has a rich, earthy feel to it, with lots of brown and grey colors. Russian history is explored giving it complexity and an educational quality instead of only a simple, feel-good experience. To put it simply- the story is layered and not one-note.

Politics, progressive thinking versus conservatism, and the generation gap are explored and the characters learn and adapt to a changing world, especially the parents.

One interesting aspect is the progressive onset of the Russian Revolution as it gradually drew closer.

Fiddler on the Roof is quite lengthy (179 minutes), but does not seem that long. This film (and play) is a marvel.

Oscar Nominations: 3 wins-Best Picture, Best Director-Norman Jewison, Best Actor-Chaim Topol, Best Supporting Actor-Leonard Frey, Best Scoring: Adaptation and Original Song Score (won), Best Sound (won), Best Art Direction, Best Cinematography (won)

1951 Films, Best Picture Oscar Winners, Comedy, Gene Kelly, Leslie Caron, Madge Blake, Musical, Nina Foch, Oscar Levant, Romantic Comedy, Vincente Minnelli

An American in Paris-1951

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An American in Paris-1951

Director Vincente Minnelli

Starring Gene Kelly, Leslie Caron

Scott’s Review #120

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Reviewed July 19, 2014

Grade: B+

A classic film directed by Vincente Minnelli, An American in Paris is a musical from 1951 set in marvelous Paris- though, to be fair, the entire movie, save for the opening scenes of Paris, is shot exclusively on a sound stage.

Gene Kelly stars as Jerry Mulligan, a struggling American artist who lives in a quiet neighborhood with his best friend, Adam Cook.

Jerry optimistically sings and tap dances his way through life, befriending neighbors and school kids and spending time in the local cafe until he is finally noticed by wealthy art buyer Milo, played by Nina Foch.

This sets off a quadrangle when Jerry falls for youthful Lise (Leslie Caron), already dating a suave French singer, Georges Guetary.

An American in Paris is a cheerful fantasy film. It is bright and colorful and filled with musical numbers and dancing.

Highlights in this department are “‘S Wonderful” and “I Got Rhythm”.

The brilliance is the incredible eighteen-minute epic finale, which involves Gene Kelly’s ballet on Parisian sets of various artists. It is as innovative as anything in film history.

The film’s drawback is the lack of chemistry between Kelly and Caron, which I notice more with each passing viewing.

There is more chemistry between Kelly and Foch, who is meant to be the odd woman out, and I still find myself rooting for the two of them instead of the intended couple.

I love that none of the four characters in the story are villains, which adds to the film’s merry feel.

The predictable ending is fantastic and romantic.

An American in Paris won the 1951 Best Picture Oscar, upsetting the heavily favored A Streetcar Named Desire.

Oscar Nominations: 6 wins-Best Motion Picture (won), Best Director-Vincente Minnelli, Best Story and Screenplay (won), Best Scoring of a Musical Picture (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

1938 Films, Allan Dwan, Children, Comedy, Gloria Stuart, Jack Haley, Musical, Musical Comedy, Randolph Scott, Shirley Temple

Rebecca of Sunnybrook Farm-1938

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Rebecca of Sunnybrook Farm-1938

Director Allan Dwan

Starring Shirley Temple

Scott’s Review #113

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Reviewed July 16, 2014

Grade: B

Rebecca of Sunnybrook Farm (1938) is one of several Shirley Temple films released in the 1930s and 1940s.

In this story, Rebecca (Temple) is a confident child singer auditioning for a New York City radio gig with her opportunistic Uncle. Through a series of mishaps, she winds up outside the city with her aunt and other people living on or near the farm.

The radio people race to find Rebecca in time and make her a star. Other romantic subplots involving the supporting characters occur.

The film is innocent and cutesy, but you must be a Shirley Temple fan to enjoy it truly. If not, you might find it contrived and sentimental.

It falls somewhere in the middle for me. While I enjoyed the Shirley Temple musical numbers and the star’s talent, the story was predictable, and no surprises were in store. It felt more like a pleasant trip down memory lane.

The film is harmless and contains the standard Temple curls, smiles, and joyfulness. The supporting cast includes Jack Haley (The Wizard of Oz) and Gloria Stuart (Titanic-1997).

2014 Films, Christopher Walken, Clint Eastwood, Erich Bergen, John Lloyd Young, Musical, Musical Drama, Steve Schirripa, Vincent Piazza

Jersey Boys-2014

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Jersey Boys-2014

Director Clint Eastwood

Starring John Lloyd Young

Scott’s Review #95

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Reviewed July 5, 2014

Grade: B+

Jersey Boys (2014) is a film version of the hit Broadway show of the same name, directed by Clint Eastwood.

It tells the story of Frankie Valli and his friends (later becoming the Four Seasons) growing up in 1950s mob-laden New Jersey and their journey through hardships and petty crime to musical success.

The film is a mainly feel-good experience as the songs alone resonate with the audience and immediately stick in one’s head as catchy as they are (Sherry, Walk Like a Man, Big Girls Don’t Cry, Can’t Take My Eyes Off of You) are prominently featured throughout the film making it tough not to toe-tap along with the musical numbers.

Most of the boys grow up in a heavily Italian neighborhood, which is a delight as Eastwood’s authenticity is impressive: the food, the fights, gangster mob ties.

Admittedly, I found the first thirty minutes a bit slow, but then, the film takes off.

The cast is good- John Lloyd Young is excellent as Frankie Valli, a role he also portrayed on Broadway, and it is very nice to see Christopher Walken as a kindly mob boss who looks out for the kids.

The film is wonderfully shot and the 1950s nostalgia is apparent via set pieces, costumes, etc.

Is this film edgy? Not in the least. Is it a safe crowd-pleaser? Absolutely!

It is a fun musical experience that does not delve into schmaltz and is lots of fun.

1955 Films, Charlotte Greenwood, Eddie Albert, Fred Zinnemann, Gloria Grahame, Gordon MacRae, James Mitchell, Musical, Rod Steiger, Shirley Jones

Oklahoma!-1955

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Oklahoma! -1955

Director Fred Zinneman

Starring Gordon MacRae, Shirley Jones, Rod Steiger

Scott’s Review #51

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Reviewed June 20, 2014

Grade: A-

Oklahoma! (1955) is one of a slew of memorable Rodgers and Hammerstein musicals to emerge from the 1950s and 1960s Hollywood and to be based on a popular stage version.

The film has an old-west, homespun, comfortable appeal. It is best enjoyed during the summer months.

While Oklahoma! seems a bit too hokey and is not my favorite musical compared to other more sophisticated stalwarts such as My Fair Lady (1964), An American in Paris (1951), or The Sound of Music (1965), it emits a flavor and tasteful appeal of the West.

The plot focuses on a love triangle between a good old boy, Curly, a good girl, Laurey Williams, and brooding Jud, though the real rooting couple is Curly and Laurey.

The trio is supported by many townspeople who gossip about them and help Curly and Laurey admit their true feelings and unite as a couple.

Of course, Jud is the villain, and conflicts come into play throughout the production.

A lesser couple, Will Parker and Ado Annie, also enter each other’s arms amid traditional small-town events such as a lively summer fair.

Stars Gordon MacRae (Curly) and Shirley Jones (Laurey) are very handsome and likable in the lead roles, making for a nice pairing.

Gloria Grahame is as appealing and comical as Ado Annie, especially in her rousing turn bellowing out, “I Can’t Say No,” Charlotte Greenwood is the moral voice of reason as Aunt Eller.

What works best in the film are the settings of Oklahoma, as the viewer experiences such a feel for life in the heartland long ago (though the exteriors were shot in Arizona).

It’s pure fantasy enjoyment with a magical Wizard of Oz feel, though no cyclone or munchkins are anywhere in sight. The film version closely follows the original stage version.

The musical numbers are pretty catchy (“Oh What a Beautiful Morning,” “I Can’t Say No,” and “Oklahoma” are my favorites). The controversial mid-number “Dream Ballet” is provocative, artistically enjoyable, and jarringly different from the rest of the traditional tale.

This jaw-dropping number mirrors a similar spectacle in An American in Paris.

Perhaps Oklahoma! is not entirely on par with other musicals of its day but darned close.

Oscar Nominations: 2 wins-Best Scoring of a Musical Picture (won), Best Sound Recording (won), Best Cinematography, Color, Best Film Editing

1965 Films, Anna Lee, Best Film of the Year, Best Picture Oscar Winners, Charmian Carr, Christopher Plummer, Drama, Eleanor Parker, Julie Andrews, Musical, Musical Drama, Peggy Wood, Richard Haydn, Robert Wise, Scott's Top 100 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 100 Films #29

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen over and over. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey, where she studies to become a nun. She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plumber).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all and transforms everyone into a happier existence. The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and von Trapp fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe. Indeed, since it is a family film, the details are glossed over a bit, but so what? It is more the wonderful music that makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters as it is escapism, which is needed sometimes.

I hate to dissect and overanalyze a film like this, a fantasy/musical extravaganza meant to be enjoyed—lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

2013 Films, Angela Bassett, Drama, Forest Whitaker, Jennifer Hudson, Kasi Lemmons, Mary J. Blige, Musical, Musical Drama, Nas

Black Nativity-2013

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Black Nativity-2013

Director Kasi Lemmons

Starring Jennifer Hudson, Forest Whitaker

Scott’s Review #46

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Reviewed June 18, 2014

Grade: C-

Black Nativity (2013) is a family holiday movie about a poor Baltimore teen sent to live with his affluent, estranged grandparents (Forest Whitaker and Angela Basset) in Harlem.

Jennifer Hudson plays the teen’s financially struggling mother.

The estrangement stems from a silly misunderstanding years ago when Hudson’s character was pregnant with her now teenage son.

I enjoyed the performances of Whitaker, Bassett, and Hudson, and the sprinkling of songs performed by the leads was nice, but the story was incredibly sappy and predictable and wrapped up in a nice bow at the end of the film.

Scene one screams predictable and safe.

I did not sense any real conflict or grit throughout the movie and it felt like watching a Hallmark-made-for-television movie- not a compliment.

Black Nativity (2013) is a nice family story, but a little more.

Skip unless you enjoy the watered-down family fare.

2013 Films, Animated, Best Animated Feature Oscar Winners, Children, Chris Buck, Disney, Fantasy, Idina Menzel, Jennifer Lee, Kristen Bell, Musical

Frozen-2013

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Frozen-2013

Director Chris Buck, Jennifer Lee

Starring Kristen Bell, Idina Menzel

Scott’s Review #43

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Reviewed June 18, 2014

Grade: B

The adjective that springs to mind about the latest hit animated film Frozen (2013) that has overtaken the nation is “cute”.

The story is loosely based on the Hans Christian Anderson story (which is modified immensely) and tells the story of two royal sisters (Elsa and Anna), one of whom has special “ice” powers and accidentally injures the other causing a rift.

From this point, there are a series of misunderstandings, love interests, a handsome prince, an adventure through the snow, and a Snow White-type theme.

The story is uplifting, sweet, and targeted to kids and parents seeking a wholesome, safe experience, but is it too safe?

My one criticism is the lack of diversity and culture in the main characters as they are all similar in looks, which doesn’t set the best example for kids watching.

The musical numbers stuck in my head as I hummed them for days. The songs are very trendy, and pop-leaning which may make this film age quickly and have an overly current flavor.

I loved the frozen, icy, wintry animation sets that are perfect while watching in the winter months.

Olaf, the sidekick, the mini snowman is witty and steals the show.

Oscar Nominations: 2 wins-Best Animated Feature Film (won), Best Original Song-“Let It Go” (won)

1962 Films, Ann Jillian, Harvey Korman, Jack Benny, Karl Malden, Mervyn LeRoy, Musical, Natalie Wood, Rosalind Russell

Gypsy-1962

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Gypsy-1962

Director Mervyn LeRoy

Starring Rosalind Russell, Natalie Wood

Scott’s Review #37

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Reviewed June 18, 2014

Grade: A

The film version of the iconic Broadway production is a huge success, mainly due to Rosalind Russell’s superb performance as Mama Rose, a muscled, driven stage mother in the Depression-era show business world.

She is mesmerizing in the role and reminiscent of Joan Crawford and Bette Davis, who would have been wonderful in it.

Russell carries the film with her bombastic, loud, and determined performance- her children will become stars, and Rose will get the stardom and spoils she so richly deserves.

She uses every nook and cranny to her advantage- from borrowing money from her father to scraping leftover Chinese food scraps and stealing silverware.

Rose’s daughters, Baby June, and Louise (Natalie Wood) are in tow to help her achieve her goals- June the talented one, and Louise along for the ride.

When circumstances develop, Louise blossoms and becomes the famous Gypsy Rose Lee.

From masterpieces “Everything’s Coming up Roses” and “Some People” to her heartbreak at being a driven stage mom, Russell’s performance makes the film.

Her best scene comes at the climax. Rose finally admits that she has spent her life needing to be noticed, hits an empty theater stage alone, and has an emotional breakdown.

Natalie Wood and Karl Malden certainly add depth to their characters, especially Wood, who goes from mousy wallflower to seductive stripper Gypsy Rose Lee.

From a casting perspective, I am not sure Wood was quite right for the role- the second time in two years this would occur (her casting in West Side Story being the other misstep), but she was an enormous star at the time and was awarded juicy roles.

Gypsy (1962) is one of the great Hollywood musicals from the 1950s/1960’s heyday.

Witty, smart dialog helps this film emerge at the top of the list of similar types of films.

Bravura!

Oscar Nominations: Best Scoring of Music-Adaptation or Treatment, Best Cinematography, Color, Best Costume Design, Color

1939 Films, Bert Lahr, Best Film of the Year, Billie Burke, Charley Grapewin, Children, Clara Blandick, Fantasy, Frank Morgan, Herman J. Mankiewicz, Jack Haley, Judy Garland, Margaret Hamilton, Mervyn LeRoy, Musical, Ray Bolger, Scott's Top 100 Films, Victor Fleming

The Wizard of Oz-1939

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The Wizard of Oz-1939

Director Victor Fleming

Starring Judy Garland, Ray Bolger, Frank Morgan

Top 100 Films #11

Scott’s Review #34

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Reviewed June 17, 2014

Grade: A

The Wizard of Oz is a magical film and one of my all-time favorites. Made in 1939, it still holds up amazingly well, and the nuances continue to be admired, especially given the period in which it was made. 1939 and Gone With the Wind belong to this film, as both were and are true classics.

This film is so deeply embedded in people’s minds that it can be challenging to examine it objectively. I fondly recall watching this gem annually as it aired on television each holiday season—traditionally around Thanksgiving if memory serves.

It’s a marvel from start to finish and masterfully artistic. How creative to show the first portion in black and white with dusty muted colors, not to mention the astounding twister sequence- done using a stocking.

Then, we are introduced to a magical world filled with luscious colors and mind-blowing depth of art direction. Munchkin-land, Glinda the Good Witch, and Emerald City are beautiful, lavish, and treats.

Who does not become teary-eyed during Judy Garland’s rendition of “Somewhere Over the Rainbow”? The poignancy is becoming given the tragic (yet successful) life the star would lead.

Margaret Hamilton’s performance as the Wicked Witch/Elmira Gulch is deliciously nastiness. She almost sneers at the camera as she mocks Dorothy, who whimpers in tears while missing Auntie Em. One can tell she had a ball with this role.

And The Wizard of Oz is not simply a pop culture hit- it has merit and creativity. The special effects hold up tremendously well and were simplistic back then. There was no CGI in those days, but many ways better than today’s CGI.

Audiences of all ages must see this film at least once, preferably on Blu-Ray. Judy Garland, later a tragic, troubled, and lost figure, captures an innocence that has been sadly lost through the years.

The characters (The Cowardly Lion, Scarecrow, and Tin Man) are perfectly cast and uniquely created without being too over-the-top.

Very few films are timeless, and this is one of them.

Oscar Nominations: 1 win-Outstanding Production, Best Song-“Over the Rainbow” (won), Best Art Direction, Best Special Effects

1956 Films, Alan Mowbray, Deborah Kerr, Musical, Rita Moreno, Walter Lang, Yul Brynner

The King and I-1956

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The King and I-1956

Director Walter Lang

Starring Yul Brynner, Deborah Kerr

Scott’s Review #26

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Reviewed June 17, 2014

Grade: B

The King and I (1956) is another of the many Rodgers and Hammerstein musicals that dominated the 1950s and 1960s film era.

Having seen the stage version, the film contained two gigantic stars of the period (Yul Brynner and Deborah Kerr), Brynner having made this role his legacy.

The story is similar to The Sound of Music, as the teacher takes on the children of the King, but it is not quite as gripping, and the chemistry among the leads is not entirely there.

The Bangkok palace set, and the costumes are stylish and fantastic in design.

As a whole, the songs are not as memorable as some other similar musicals, but that is compared to magnificence.

Much of the cast is not Asian, a characteristic of the stage version that is often overlooked and accepted. This is not a criticism, merely a notice.

It’s a lovely musical, but not as enjoyable as others, but still worth watching.

Oscar Nominations: 5 wins-Best Motion Picture, Best Director-Walter Lang, Best Actor-Yul Brynner (won), Best Actress-Deborah Kerr, Best Scoring of a Musical Picture (won), Best Sound Recording (won), Best Art Direction-Color (won), Best Cinematography, Color, Best Costume Design, Color (won)

1973 Films, Lynne Thigpen, Musical

Godspell-1973

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Godspell-1973

Director David Greene

Starring Victor Garber, Katie Hanley

Scott’s Review #23

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Reviewed June 17, 2014

Grade: C+

Although Godspell (1973) is a popular and legendary Broadway musical production, the film left me with very mixed reactions.

The positives for me are the songs- they are memorable, and they stay in your head for days to come.

My absolute favorite is “Day by Day”.

I also enjoy the cast travels throughout NYC as I love when films are set here.

For the first thirty minutes of the film, I did not like it at all.

There is no plot, but simply a group of college-aged people leaving their crummy jobs and celebrating Jesus as they aimlessly flitter about the city, with nobody else in sight, singing songs of savior and celebration.

Then I started to realize this is not a “message” movie or an attempt to convert people towards religion. Many devout Christians despise the film.

The film left me with questions.

Is it tongue-in-cheek or meant to be taken seriously?

By the end of the film, I simply took it for a fun musical with great songs. It offers nothing more, nothing less.