Seven Brides for Seven Brothers (1954)

The title gives a clear indication of what this Stanley Donen musical will be about but it does not tell us how we will arrive at that conclusion. It all begins when woodsman Adam (Howard Keel) comes to town intent on finding himself a cute and handy bride. That he does in Milly (Jane Powell) and soon enough in a whirlwind they are married and heading back to his home. There she is greatly surprised to meet his rambunctious and rough younger brothers. Six to be exact, but you already guessed that.

Once she accepts her new life, it becomes Milly's mission to straighten them out and find them girls to court. It isn't easy but soon they learn table manners and proper etiquette before the big barn raising takes place. There the boys make quite the impression and the audience is given quite the show complete with bright colors and inventive-foot-tapping choreography. It's an understatement to say that the Pontipee brothers are not popular with the locals and not only is there a barn-raising but some hell-raising as well.

Adam is proud of their showing but the rest of the lads are lovesick as the long cold winter begins, separating them indefinitely from their girls. With Adam's encouragement they decide to do as the Romans and kidnap their sweets but they fail to think about the consequences. The town's in an uproar, the girls are frightened and a man made avalanche means there is no contact with the outside world for at least 5 months!

Milly is appalled by their actions, especially Adam's part, and the lads are made to sleep in the barn as she dotes over the scared group of girls. Not liking what he's seeing, Adam heads off on his own for a while. Spring brings a fresh start as young love flourishes and the boys are forgiven. Milly gives birth to a baby girl and Adam finally returns home with a new perspective. But what about the town folk you ask? They do come after the  Pontipees and they don't like what they see when they ride in. Needless to say it is a happy ending with each boy getting his girl, thanks to a few shotguns.

With catchy songs, beautiful color cinematography, lively dance numbers and an amusing premise this is a very strong MGM musical even if it is not the best of the lot. That is not saying much because the studio could hardly go wrong with such previous titles as On the Town, An American in Paris, Singin' in the Rain and The Band Wagon. Seven Brides is a nice addition although I will say it vaguely reminded me of Oklahoma. However, it is different enough to be well worth it. The only question left to ask is, "Are Adam, Benjamin, Caleb, Daniel, "Frank," and Gideon natural red-heads? I'm not sure I know the answer but I could wager a guess.

4/5 Stars

The Young Girls of Rochefort (1967)

If the Umbrellas of Cherbourg is a piercing operatic drama, The Young Girls of Rochefort is pure, unadulterated escapism at its finest. 

Directed by Jacques Demy and starring an ensemble cast including Catherine Deneuve, Francois Doreleac, Gene Kelly, Michel Piccoli, George Chakiris, Grover Paul, and Danielle Darrieux, this is a whimsical French musical that has no equal. 


The film opens with a group of performers coming into the town of Rochefort to get ready for a big outdoor show. They become acquainted with the local hangout that includes a kindly matron and many locals including an idealistic artist and sailor who is searching for his ideal lover. Nearby her two adult twin daughters hold piano and ballet lessons as they two get their little prodigies ready for the big show.  Delphine is fed up with her suitor and desires a new love while Solange on her part hopes to advance her career as a pianist. She goes to the proprietor of a local music store to see if he can introduce her to a prestigious American friend. 

A great deal of dramatic irony sets in and the plot is constantly moved forward through song. Yvonne at the café is still depressed over a split with a lover 10 years prior because he had an unfortunate name. Solange has a chance encounter while stopping to pick up her kid brother Booboo and Delphine becomes curious about an artist who painted a portrait that looks strikingly like her. All of these events reach their apex on the Sunday of the big performance and in need of some performers the Carnies enlist the help of the twins. They are a huge success and things wind down. 

The next morning the performers get ready to leave for Paris and the girls decide to follow suit. However, Solange has another encounter that changes her plans and then Yvonne is reunited with her love. That leaves only Delphine to go with the boys to Paris, but not to worry she would be united with her painter soon enough. 

The light and very French sounding tunes are hard not to like, but that is only the very beginning. Demy pays homage to the Hollywood musicals of old going so far as casting Gene Kelly (Singin' in the Rain) and George Chakiris (West Side Story) in his film. He undoubtedly owes a debts to Vincente Minnelli and Stanley Donen with some striking moments reminiscent of An American in Paris (1951). It makes sense. Demy the pastels and costumes of a Hollywood musical extravaganza while also including dashes of French style. 

Rochefort takes place in a real location but it truly is a fantasy world that the characters inhabit, full of perpetual dancing and dialogue that is delivered through song. The real life sisters do a wonderful job in this film and there is something reassuring seeing Gene Kelly in this film. Rather like an old friend who gives comfort in a whimsical, but altogether new experience. The story arc of dashed, renewed and found love allows Demy to once more explore issues of fate and chance that always seem to enchant him.  His partnership with Michel Legrande is once again bountiful including the endearingly memorable Chanson Des Jumelles. 

There's nothing much else to say except The Young Girls of Rochefort is one of those under appreciated gems that is thoroughly enjoyable and laden with all sorts of fun. It delivers a serving of something that is a familiar flavor while giving it a little extra panache. It's about as playful and fluffy as you can get which in this case is not a bad thing at all. 

4.5/5 Stars

The Umbrellas of Cherbourg (1964)

It is hard to remember a time when I was so devastatingly sad due to a film and it does not leave a deep hurt but a far more wistful despondency that is far more real. But that's enough misery for the time being. Directed by Jacques Demy and starring a exquisitely young Catherine Deneuve, this cinematic opera is a moving musical piece that looks to be conventional and turns out to be quite the opposite. 

The story begins in November of 1957 with a young mechanic named Guy (Nino Casteinuovo) who is deeply in love with the beautiful 16 year old Genevieve (Deneuve). Guy cares a great deal for his godmother Elise who has a caregiver to look after her. Genevieve helps out her mother in running a small umbrellas shop in Cherbourg which allows them to scrape by. They must sell some family heirlooms to a kindly jeweler who is smitten with Genevieve. However, Genievieve and Guy have plans of marriage until Guy learns suddenly that he has been drafted for the war in Algieria. They spend their last hours together and she vows to wait for his return. 

In the following months it becomes evident that Genevieve is pregnant, but her mother tells her that Guy has probably forgotten her already. The jeweler, Roland Cassard (Marc Michel), professes his love for Genevieve and agrees to adopt her unborn child. Thus, partially on the urging of her mother Genevieve accepts his proposal and they are soon married leaving Cherbourg for good. 

Finally, Guy returns from the war and things have changed. He now has a limp and is fed up with his old work at the garage. Furthermore, the Umbrellas shop is sold and Geneivieve is wed and gone. Adding insult to injury his godmother soon passes away. With no one else to turn to he looks to the caretaker Madeleine, and he realizes her love for him. They get married and he turns his life around with her help. 

The years pass, and now during Christmas of 1963 a car pulls into Guy’s new gas station. After many years the two former lovers come face to face once mroe. Now they have marriages and children, and their interactions are painfully aloof. They have moved on with their lives and they have moved on from their passionate romance. 

True, their lives have become sensible, but in this opera that Demy has constructed, this conclusion is sad and bittersweet. And yet if this were the only painful moment that would be one thing, but there are so many that touch the heart and move the viewer. When Guy goes off to the army and takes off on the train we can feel the great anguish. More often than not you can read the sadness on the face of these characters which complement the beautiful ballads they utter. In other words it's one thing to recount the plot and quite another to watch the events unfold.

I have to say that I had never seen a film that played out entirely through song and even in the opening sequence Demy consciously melds the diverse forms of film and opera. Umbrellas has the vibrancy and color of movies and takes the dramatic story line and songs of opera to create a unique piece of musical art complete with acts and all. Its colors are bright and vibrant--utterly distinct in their composition. Everything from the bikes to the umbrellas and even back alleyways are beautiful. Although there are many beautiful melodies rather surprisingly there is not one song that stands out (Well, maybe the theme), but instead it plays rather like one continuous song with different sections and overtures that complement but do not overshadow each other.  


Demy's earlier film Lola also gives interesting insight into the character of Roland Cassard who once again becomes acquainted with a mother and her daughter in a shop. This time around he has accomplished his dream of traveling the world as a diamond merchant, however, Lola is still heavy on his heart. Another thing that is remarkable about the film is the weather which in many ways plays as another character. The varying degrees of rain and snow dictate the mood and shift with the changing seasons. There's no doubt that Jacques Demy and his collaborator Michel Legrand created something special here that elevates the musical to a heartfelt tragedy of romance. That's something many men would not be brave enough to do. 

4.5/5 Stars

The Band Wagon (1953)

Going into this film I must admit that despite hearing good things, I had zero expectations. I must say I was pleasantly surprised by this Minnelli musical because it was a fun and often beautiful production. Channeling the same vein as Singin' in the Rain and The Red Shoes, this film is a spectacle in its own right. You have headliners Fred Astaire and Cyd Charisse matched nicely. Oscar Levant and Nanette Fabray are wonderful comic relief as the wedded playwrights who also do some song and dance. Finally, there is Jack Buchanan, as the stereotypical theater maestro Jeffrey Cordova.

It all begins with Tony Hunter (Astaire) a washed up has-been who is headed to New York for some relaxation. There is little fanfare during his arrival except from his friends the Martons, who have a new production for him to star in. They get the famed Cordova on board and next comes an up and coming choreographer and his girlfriend who is none other than the young starlet Gabrielle Gerard (Charisse)

Following an initial misunderstanding the leads finally clear up their differences and push forward to make The Band Wagon the smash hit it is destined to be. However, Cordova has turned it into a modern day Faust and when opening night comes the after party is more like a wake.

All the players seem strangely nonchalant and then the idea hits! Make The Band Wagon over again and take it on the road. Everyone in the cast from the bottom up is excited for the second chance with Hunter at the helm. All that is except choreographer Paul Byrd.

Despite Paul's departure, Gaby is still enthusiastic and they turn the Band Wagon into the production that the Martons had envisioned from the beginning. Tony is a success once again and he receives a round of cheers from his new family. Gaby speaks for all of them (and herself) when she says they love him and believe that the show will go forever.

I immensely enjoyed many of the numbers including: "Shine Your Shoes," with the camera following Astaire as he frolics around at an arcade with a shoeshine man. The extras, beautiful set and Astaire himself all culminate in a often comical and always upbeat number that is great fun to watch. Then, of course is the ever memorable "That's Entertainment," which even spawned a series of musical documentaries, and for good reason. The words and melody are quite a catchy ode to the stage. Perhaps the most beautiful sequence in the film involves Astaire and Charisse in "Dancing in the Dark" where they positively glide through Central Park together in perfect cadence. They move not as individuals but as a poetic unit in motion. It is fitting that it was there first dance together in the film.

For never seeing Cyd Charisse in another film (except briefly in Singin' in the Rain), I must say that I really did enjoy her performance opposite the always likable Fred Astaire. Furthermore, I am in complete agreement with her character, "I don't think a dancer should smoke," it's bad for the lungs.

The cameo of Ava Garner was an odd surprise (especially due to her resemblance to Charisse). Furthermore, I never thought it could exist but this film proved me wrong. There is such a thing as a film-noir musical! That's The Band Wagon for you folks! That's Entertainment!

4.5/5 Stars

Guys and Dolls (1955)

Headlining this film are Marlon Brando and Frank Sinatra as Sky Masterson and Nathan Detroit respectively. Both men are high stakes gamblers and things have heated up in town because the police are trying to crack down on a floating crap game. That's not the only thing that turns hot though. Masterson is bet by Detroit that he cannot get a sidewalk missionary (Jean Simmons) to fly with him for an evening in Cuba. Detroit has his own problems brought on by his reluctance to marry the girl he has been going with for 14 years. All along the way money constantly switches hands and "markers" are doled out as IOUs.

Both Masterson and Detroit ultimately show their noble sides and as you would expect the guys get the dolls.

This musical certainly had its moments and it looked lavishly beautiful in color like many of the contemporary musicals. I will say that there were some great personalities here including Vivian Blaine. However, Brando seemed painfully out of his element here and I'm pretty sure Sinatra had better roles. I wonder what this film would have looked with a different cast? We can only speculate now.

Also, the dialogue almost completely lacking in contradictions was quite noticeable, but I'm not sure if that was a bad thing or not. Overall I think this one would be better for the stage than on film. But don't get me wrong a lot of the numbers like Sit Down You're Rocking the Boat were catchy. I will say I was surprised that Brando ended up singing Luck Be a Lady and not Sinatra. I had previously only heard the Sinatra version.

3.5/5 Stars

Singin' in the Rain (1952) - Updated

I always seem to get goosebumps during Gene Kelly's Singin' in the Rain number, because each time I see and hear it, there is still a new magic to it every time. You see when I was young, before I knew all the classics, first and foremost I knew this gem of a film. It is such a wonderful buildup to that moment with such personal favorites as Make em' Laugh and Moses Supposes. Then you have the always popular Good Morning with not only Kelly but Donald O'Connor and Debbie Reynolds performing. Great stuff!

As the story goes the three friends save the failing "Dueling Cavalier" by losing the simple "talkie" gimmick and making it a musical by dubbing Lena Lamont. Cathy no longer is a bit player and she gains the acknowledgment that she deserves. Then Don Lockwood gets the girl who burst out of a cake. Cosmo Brown is along for the ride staying with Don through thick and through thin, even calling him a cab when necessary. He's a true friend in a million.

Although Kelly had a career with other high points (arguably never as high as this one), I am always slightly saddened that O'Connor and Reynolds never reached another peak like this ever again in their careers. They were both great so we must simply cherish this film for what it is.

Even to this day the film holds up and that is a tribute to the writing of Betty Comden and Adoph Green highlighting the infant Hollywood and the advent of talkies. The only film with a similar dissection of Hollywood's Golden Age is another 50s classic is Sunset Boulevard. The big difference is Wilder's film is chock full of drama and darkness. Singin' in the Rain will always and forever be a light, fun musical with a lot of laughs.  It is constantly quotable whether it is "dignity, always dignity" or "I can't stand it!" Jean Hagen is always the butt of everyone's jokes, but she is indeed very funny with the most annoying voice in the history of cinema (She can't act, she can't sing, she can't dance. Triple threat). You also have other fine performers like Millard Mitchell as studio head R.F. and then appearances by Cyd Charisse and Rita Moreno who made a name for themselves as dancers. Is is just me or does Donald O'Connor remind others of Danny Kaye? He not only cracks the jokes, but he is a wonderful all around performer. Although O'Connor was probably a better dancer.

All in all this is a timeless classic and it will undoubtedly keep that title for who knows how long. I know I will be coming back to it again and again. Now I hope it starts pouring buckets so I can go outside and stomp around in the puddles. I will let you know if I come down with pneumonia.

5/5 Stars

The Sound of Music (1965)

I would like to dedicate this post to my sister since this is her favorite movie !
Starring Julie Andrews and Christopher Plummer, this musical follows a light-hearted nun who becomes the governess for the seven children of a widowed Austrian naval captain. When she first meets the children they are hostile towards her but they quickly become fond of Maria. However, when the captain gets wind of their adventures he is angry. Initially Maria is sent away but then the captain has a change of heart. After an evening full of fun, Maria is sent off this time by a jealous baroness. She returns later on the urging of a nun and Von Trapp then realizes his true love for Maria. However, everything is not well as the Von Trapps get ready for the Salzburg Music Festival since the Nazis are on the rise. With a little kindly help they are able to make their getaway in the end. I have to say that this is not one of my favorite films but the soundtrack is one of the most memorable of all time and Andrew's voice is truly beautiful.

                                                               4.5/5 Stars

Singin' In the Rain (1952)

This movie is a comedy, a romance, and above all a musical. However along with the immortal dance routines there is a plot and characters that are memorable as well. It helps to glorify a very different time in Hollywood and delivers a film that is funny and full of excellent song and dance.

There is something about this film that makes it extremely special. Even after seeing it many times I am still captivated by every joke and every unforgettable song. What can beat the brilliance and antics of Gene Kelly and Donald O'Connor backed by Debbie Reynolds? There is a touching love story to go along with these great actors and songs. Gene Kelly's sloshing about in the title song is timeless and O'Connor delivers a hilarious performance in such songs as Make 'em Laugh. There are a few dance sequences that are drawn out but the rest is top notch and keeps the audience enamored the entire time. This truly is a classic movie and musical that is both funny and heartwarming.

                                                   5/5 Stars

                                                 "Dignity. Always, dignity"
                                                  ~ Don Lockwood

The Umbrellas of Cherbourg (1964)

It is hard to remember a time when I was so devastatingly sad due to a film and it does not leave a deep hurt but a far more wistful despondency that is far more real. That's enough misery for the time being. Directed by Jacques Demy and starring a exquisitely young Catherine Deneuve, this cinematic opera is a moving musical piece that looks to be conventional and turns out to be quite the opposite. 

The story begins in November of 1957 with a young mechanic named Guy (Nino Casteinuovo) who is deeply in love with the beautiful 16 year old Genevieve (Deneuve). Guy cares a great deal for his godmother Elise who has a caregiver to look after her. Genevieve helps out her mother in running a small umbrellas shop in Cherbourg which allows them to scrape by. They must sell some family heirlooms to a kindly jeweler who is smitten with Genevieve. However, Genievieve and Guy have plans of marriage until Guy learns suddenly that he has been drafted for the war in Algieria. They spend their last hours together and she vows to wait for his return. 

In the following months it becomes evident that Genevieve is pregnant, but her mother tells her that Guy has probably forgotten her already. The jeweler, Roland Cassard (Marc Michel), professes his love for Genevieve and agrees to adopt her unborn child. Thus, partially on the urging of her mother Genevieve accepts his proposal and they are soon married leaving Cherbourg for good. 

Finally Guy returns from the war and things have changed. He now has a limp and is fed up with his old work at the garage. Furthermore, the Umbrellas shop is sold and Geneivieve is wed and gone. Adding insult to injury his godmother soon passes away. With no one else to turn to he looks to Madeleine, and he realizes her love for him. They get married and he turns his life around with her help. 

The years pass, and now in Christmas of 1963 a car pulls into Guy’s gas station. After many years the two former lovers come face to face again. Now they have marriages and children, and their interactions are painfully aloof. They have moved on with their lives and they have moved on from their passionate romance. 

True, their lives have become sensible, but in this opera that Demy has constructed, this conclusion is sad and bittersweet. And yet if this were the only painful moment that would be one thing, but there are so many that touch the heart and move the viewer. When Guy goes off to the army and rides off on the train we can feel the great anguish. More often than not you can read the sadness on the face of these characters which complement the beautiful ballads they utter. In other words it's one thing to recount the plot and quite another to watch the events unfold.

I have to say that I had never seen a film that played out entirely through song and even in the opening sequence Demy consciously melds the diverse forms of film and opera. Umbrellas has the vibrancy and color of movies and takes the dramatic story line and songs of opera to create a unique piece of musical art complete with scenes and all. Its colors are bright and vibrant--utterly distinct in their composition. Everything from the bikes to the umbrellas and even back alleyways are beautiful. 


Demy's earlier film Lola also gives interesting insight into the character of Roland Cassard who once again becomes acquainted with a mother and her daughter in a shop. This time around he has envisioned his dream of traveling the world as a diamond merchant, however, Lola is still heavy on his heart. Another thing that is remarkable about the film is the weather which in many ways plays as another character. The varying degrees of rain and snow dictate the mood and shift with the changing seasons. There's no doubt that Jacques Demy and his collaborator Michel Legrande created something special here that elevates the musical to a heartfelt tragedy of romance. That's something many men would not be brave enough to do. 

4.5/5 Stars

Swing Time (1936)

Starring Fred Astaire and Ginger Rogers with director George Stevens, this light film is like a screwball romance with a lot of added dancing. Astaire is a man who has missed his wedding and he agrees to go off to the city with a friend so he can make money to bring back. There he meets a fiery dance teacher accidentally and then they begin to perform together. As "Lucky" (Astaire) and his friend try to survive by gambling with the little money they have, he begins to fall for Penny (Rogers). However, she does not find out until later that he already has a fiancee. When she realizes the situation she goes to marry another. In the end everything is all a big mistake full of laughter and of course everything is made right again. There is no denying that Astaire and Rogers are not only good dancers but good performers. Many of the numbers they dance and sing are memorable like "The Way You Look Tonight," Pick Yourself Up," and of course "Waltz in Swing Time."

                                                         4.5/5 Stars

West Side Story (1961)

In this 1960s, musical adaption of Romeo and Juliet, two lovers become infatuated with each other but the problem is that none of their friends would ever approve. They come from two different classes and backgrounds which are constantly at odds. The two sides frequently clash as represented by the Shark and Jet gangs. Naively, the lovers believe they can get away and be happy forever. However, the situation escalates when the gangs take part in a rumble. Pretty soon the situation is out of control and it has become something nobody wanted. Hope for the future finally seems possible for the pair but it is brutally crushed in an instant. The viewer is left with a feeling of tragedy. This is a very good film for the most part and many of the songs are great, sticking with you afterwards. I suppose it is quite difficult to go wrong with a story from Shakespeare .

                                   4.5/5 Stars

Yankee Doodle Dandy (1942)

Starring James Cagney and an array of others, the film tells the real life story of writer, singer, and dancer George M. Cohan. The story begins with an older Cohan recounting his life story. He began his career with his family in Vaudeville. Slowly he made a name for himself in Broadway and married his love. He and his partner kept making musicals and then the Cohans reunited for one last show. Eventually everyone in the family settled down before they died. The only one left was George who was living with his wife. In his final performance, Cohan gets the country to rally around the flag again as he has done his whole life. This movie has many commendable moments but there is an apparent conflict between biography and musical. Cagney for his part gives a stellar performance as the energetic and ambitious Cohan. The film also doubled as a nice piece of propaganda during World War II.

4.5/5 Stars

Top Hat (1935)

Starring Fred Astaire and Ginger Rogers with Edward Everett Horton, this musical opens with Astaire in London as he gets ready to star in the show of his good friend Horace (Horton). However, after a late night confrontation with an annoyed neighbor Jerry is hopelessly in love. Multiple times he tries to spend time with her while the show is running. Then, he is eager to travel to Italy when he learns that the woman Dale will be there along with Horace and Madge Hardwicke. After a case of mistaken identity, Dale gets the wrong idea and believes that Jerry is married to her good friend Madge. Unaware of the mix up, he continues to pursue her, madly in love. She feels bad and at the same time tries to stave off Jerry's advances. The whole mess leads her to marry a buffoon of an Italian designer. However, Jerry catches wind of what happened and tries to resolve their relationship. Through a hilarious loophole they get back together and dance off into the sunset. Some memorable routines include "No Strings (I'm Fancy Free)," "Isn't This a Lovely Day (to be Caught in the Rain)," "Top Hat, White Tie, and Tails," then "Cheek to Cheek." I found the supporting cast    to be good and aside from Swing Time this is a good Astarie/Rogers pairing.

4/5 Stars

An American in Paris (1951)

Starring Gene Kelly and Leslie Caron with director Vincente Minneli, this musical follows an American painter in Paris (Kelly) as he struggles with life and love. Jerry Mulligan is a painter who loves Paris and has made friends with many of the locals. The only problem is that he has no money. That all changes when a rich patron begins to sponsor him and his luck begins to change. Soon he becomes enchanted with a French girl (Caron) and after initial conflict they try to meet up whenever they can. At the same time Jerry is tied up with his patron and Lisa is engaged to a kind Frenchman who Jerry knows. When Jerry learns this he is devastated, however in the end he does get the girl. Although the final dance sequence seemed out of place, awkward, and too long, much of the rest of the musical is enjoyable. I Got Rhythm and The American in Paris Theme are catchy Gershwin tunes that Gene Kelly performs to perfection.

4/5 Stars