During the 2017 holiday season, I got a great deal on the Best of Warner Bros. 100 Film Collection. Diane and I haven’t seen most of these movies, but we are committed to watching one a week and writing a short review.

Sometimes it can be a real challenge to review a movie with any kind of objectivity. So I won’t. Welcome to our next movie, 1954’s “Seven Brides for Seven Brothers”, a musical about rape and Stockholm Syndrome, all played for laughs.

Set in the 1850s, Adam Pontipee (played by singer Howard Keel) arrives at a nearby town to buy supplies. He and his six brothers live in the wilderness, but every six months or so he comes around for trade. This time, he is also looking for a woman who can cook and clean for him since the food back home sucks and the place looks like seven men live there. One song later, he finds his bride-to-be, Milly (Jane Powell) and convinces her to marry him by withholding everything about where he lives and who he lives with.

I’m here for six months of tobacco and women.

Milly returns with Adam and is immediately disappointed. On the way back, he let her make a fool of herself with a song about it being just the two of them, so the additional six brothers was a bit of a shock. The brothers gawk at seeing a woman, likely for the first time ever, but soon have her cooking and cleaning.

Milly eventually turns things around and ends up teaching the brothers the manners they never learned as uncouth mountain men. The movie seems charming enough at this point, if a bit quaint. After lessons and color-coordinated clothes are made, Milly takes all of the men to a social in town where they can meet women of their own. It leads to the movie’s only redeeming scene in which the brothers dance off against the local suitors in hopes of winning a future bride. It goes on forever, but it is one of the more unique musical sequences we have seen yet. The sequence takes full advantage of having dancers and gymnasts in the cast, including some very innovative dance sequences on a balance-beam like structure.

Ignoring the obvious issues, this movie does have some solid dance sequences and songs.

Despite getting the upper hand in the dancing, the barn raising (literally a contest to build a barn for some other dude, such a hootenanny) doesn’t go so well. Bitter, the local men make multiple homicide attempts by throwing/tossing hammers, wildly swinging wooden boards, or pushing the brothers off ladders. It does a great job of earning sympathy for the brothers, but they eventually cave in at Adam’s urging and a brawl ensues. Women don’t like brutes who practice self-defense, so the brothers and Milly leave the town empty-handed.

It is around this time that the movie takes a dark, troubling turn. When Milly moved in, she brought with her a book by the Roman writer Plutarch that tells the story of the Sabine women. In the story, better known as “The Rape of the Sabine Women” (rape is used here in the slightly less unpleasant sense of “kidnapping”), Roman men abduct en masse women from other nearby cities to take as brides since they are short on women. Since this is the only book they own, Adam decides the brothers should just steal their brides instead of winning them the sissy-way of courtin’ and the like.

Cue laugh track for the bag-over-head abductions!

And that is exactly where the film goes. Adam and his brothers ride down to the town in the dark of night and the dead of winter. There is a series of abduction antics that are shot and written similarly to any sitcom. It’s a wonder the film didn’t opt to have a laugh track to really sell the hilarious kidnappings.

The alarms get sounded and the men of the town rally to protect their property from the rapists. They make chase, but Adam, our other heroes, and their catch narrowly avoid an avalanche that conveniently cuts off the pass until Spring. The change in the season is conveniently long enough for the women to fall in love with the brothers, even after Milly kicks them all out of the main house to protect the other women’s virtues or some such nonsense.

Lin-Manuel Miranda appears as the leader of the thirsty town suitors.

The movie ends with the men of the town coming to the women’s rescue, but as Milly recently had a baby with Adam, all the women claim they are the baby’s mother. Rather than kill the men, the townspeople let them live since each one might potentially be the father of a ruined woman’s child.

It is all bullshit and this is a terrible movie by all standards. Avoid at all costs.

For other reviews, make sure to check out the Warner Brother’s Top 100 Film’s page.

During the 2017 holiday season, I got a great deal on the Best of Warner Bros. 100 Film Collection. Diane and I haven’t seen most of these movies, but we are committed to watching one a week and writing a short review.

I never seek out tearjerkers, but after seeing two versions of “A Star is Born” over the last week, I am starting to appreciate the catharsis of films-as-emotional release. I am not opposed to crying – it is not an affront to my masculinity or any such garbage – but I typically prefer more positive or upbeat films. Rather than two separate reviews, this week we are going to review 1954’s “A Star is Born” for our list and 2018’s “A Star is Born” just for the pleasure of it, simultaneously.

There was a ton of footage originally cut from the 1954 version. Much was restored, but in our version, there was also several scenes that were just set photos with audio tracks. It took us a second to realize what was happening.

If you are unfamiliar, the original “A Star is Born” was released in 1937, but the film was officially remade in 1954, 1976, and 2018. The announcement of any remake these days tends to be received with the same cries of how Hollywood is “no longer” original. Well, remakes and being unoriginal are as old as Hollywood itself if you look at examples like “A Star is Born”.

All the films follow a similar theme: a woman at the beginning of her career falls in love with a man at the end of his. Try as she might and despite their love, the man repeatedly fails to overcome the weight of his own life. To protect his beloved and her career, the man realizes his presence will only hold her back from her dreams and he chooses to take his own life to, in his view, save hers. There are obviously variations to all these elements, but that’s the generally structure of the narrative in each.

The colors for the 1954 film are really something given its age.

In comparing the 1954 and 2018 remakes, I feel far less jaded about than idea than I once did. Like so many, I usually shrugged anytime I saw a new version of an old favorite being announced. It seems like we are stuck in an endless cycle of repeating ourselves.

That is both true and untrue. If I had considered for a moment my love of the ancient epics from Homer or, more generally, my love of myths and the storytelling of those myths, originality only happens once and everything original happened long, long ago.

This sentiment is echoed in the 2018 version of “A Star is Born”. The film follows an established musician named Jackson Maine (Bradley Cooper) who falls in love with a singer named Ally (Lady Gaga) as he helps launch her music career overnight with an unrehearsed duet of one of her original songs at one of his concerns. In falling in love with Ally, Jackson remarks that music is “twelve notes and the octave repeats … it’s the same story over and over” but it’s the way Ally uses those twelve notes and the things she has to say with her lyrics that he falls in love with.

I really fell in love with these two falling in love.

These two versions of the same story follow many of the same beats. While 2018’s version cast its leads as musicians, the 1954 version casts them as actors. Judy Garland returns on our list to play Esther Blodgett, an aspiring singer who is discovered by the actor Norman Maine (James Mason) in the early stages of his career decline. Lady Gaga gave a great performance in her version, but Judy Garland’s singing was phenomenal and well-utilized in the frequent musical numbers she performs as her character’s acting career has a rocket-strapped to it by her sheer talent.

In both films, the initial courtship and romance comes off creepy and stalkeresque. Both Cooper and Mason’s Maines are sympathetic characters from the outset, as both deal with blatant, toxic alcoholism. At the same time, the way they pursue Ally or Esther would have invoked serious concern if I were the target. I am grateful that neither story dwells overlong on these courtships as I think doing so would detract from the overall flow of either story, but an additional scene for each may have helped smooth out what otherwise feels like a hunter and prey scenario which, if I had different expectations for where the story was headed, might’ve led me to believe these were a different, more horrifying movies.

I knew Judy Garland could do it all, but she does it all to an otherworldly degree of talent in this film.

Of course, once the romance blooms, both films hit their stride. In either case, I was drawn in by the chemistry of the couples. Bradley Cooper and Lady Gaga each give fantastic performances. Lady Gaga was especially appealing to me and did nothing to detract or take me out of the film as you might expect with a less experienced actress. I believed in their love and wanted them to survive the weathered, worn down ills afflicting Cooper’s Jackson Maine.

Similarly, though with less chemistry, I was near equally invested in Judy Garland and James Mason and their love. My favorite scene in the 1954 version follows James Mason’s Norman Maine, his contract with the studio terminated because of his declining talent and the liabilities of his alcoholism, as he spends the day in their Malibu home. He is clearly bored as he putts golf balls in the living room and finds ways to occupy his time.

I loved that Esther noticed her husband had spent the entire day wasting his time but never said anything. That’s the value of someone who knows how to tell a story visually.

When Esther arrives home, still in costume from practice for her next big production, they embrace, and he tells her that he has been teaching himself to cook. As Norman wanders off to fetch dinner since the servants have been sent home, you see Esther’s shocked and surprised face as she looks around the room and realizes how her husband has obviously spent the day doing nothing. When he returns, she tells him about her production and, to boost his spirits, performs the whole song and dance number in their living room. As he laughs with her and cheers her on, you see how much in love he is with her and how happy he is for her. The scene ends when a mailman interrupts to deliver a package for Esther but uses her stage name for Norman’s surname rather than recognizing Norman Maine, a man who was once famous.

While you might expect either film to be about the jealousy of a veteran husband of his upstart wife, neither film explores that idea. In a more positive, progressive way, both films are about loyal, loving husbands who only want the best for their wives and their careers. As damaged as they each are, jealousy never really enters the picture.

Heart breaking in both films.

Despite dealing with the lives of very famous people, the downfall for both Maines is unfortunately a very common disease: alcoholism. Even though they both interrupt award shows with their inebriation (in 1954, it is the Academy Awards; in 2018, the Grammys), their wives stick with them through the scandal and embarrassment and are willing to give up their careers to take care of them. But, in both versions, each Maine chooses suicide when they realize they will not get better and that their demons will only drag down the dreams of the women they love.

Though not the kind of movies I typically watch, I found both films to be compelling and worth seeing. Diane ended up favoring the 2018 version while I preferred the 1954 film. We were in overall agreement with our likes and dislikes of each, so the difference is more of preference rather than of quality. I found Norman Maine and his fall to be a more compelling arc than Jackson Maine’s, while she strongly preferred the chemistry of Bradley Cooper and Lady Gaga to James Mason and Judy Garland. In either case, these are two excellent films and a great example of how remaking something can take the exact same notes and make them compelling with a new voice. Like great music covers, both films are worthy of being on any playlist.

“This is Mrs. Norman Maine.” – Even just revisiting the movie to take screenshots, hearing this line again teared me up.

For other reviews, make sure to check out the Warner Brother’s Top 100 Film’s page.

During the 2017 holiday season, I got a great deal on the Best of Warner Bros. 100 Film Collection. Diane and I haven’t seen most of these movies, but we are committed to watching one a week and writing a short review.

At last, we arrive at our final film on this list to star Gene Kelly. In the triumvirate of Gene Kelly films we’ve watched, this is the Caesar and, as the good book says, we must lend unto Caesar what is Caesar’s: “Singin’ in the Rain” is Gene Kelly at his very, very best.

I am unsure why the film started with this, but it was cute!

“Singin’ in the Rain” follows the same formula as “Anchors Aweigh” and “An American in Paris”. It features a variety of singing and dancing acts, mostly notably those of Gene Kelly, the film’s star. There’s also a romantic subplot that is resolved moments before the films conclusion. Finally, there is a large-scale number, similar to the An American in Paris ballet in the film of the same name or the cartoon dance sequence in “Anchors Aweigh”, that likely took up the majority of the film’s budget.

This was our first time actually seeing “Singin’ in the Rain”. The song and dance sequence have filtered their way through pop culture to us, but I would have never guessed the plot. The film follows Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen), two silent picture actors at the height of their fame. The two form a pair and, if you believe the tabloids, they are in love. This couldn’t be further from the truth, of course. Accompanying them are Cosmo Brown (played by Donald O’Connor), Don’s lifelong friend and partner in vaudeville, and Kathy Selden (Debbie Reynolds), the film’s love interest.

Debbie Reynolds could only be more charming if she were a grandmother and a witch.

Gene Kelly was perfect, as always, but Debbie Reynolds was the real standout for me. Outside of Disney’s made-for-television movie series “Halloweentown”, I don’t recall ever seeing Debbie Reynolds in a movie. In “Singin’ in the Rain”, she is adorable and easily our favorite romantic interest in all of these three films. She doesn’t get as much focus as she deserved, but she caught my eye every time she was on screen. Her singing voice was fantastic. Donald O’Connor’s performance of the song, “Make ‘Em Laugh” was also great, and his character never overstayed his welcome.

Despite the quality of the performers and their performances, for me, they alone did not make “Singin’ in the Rain” better than the others starring Gene Kelly. This film surpasses them by virtue of having a decent story. While there is a romantic subplot, it is hardly the focus of the entire film. In the second half, the focus shifts to Lina Lamont, a lead actress who cannot make the transition from silent pictures to talkies. Her voice, to say the least, is horrible and her singing is terrible too. The benefit of a plot that made me care about what happened to all of the characters managed to make “Singin’ in the Rain” a film I genuinely enjoyed.

Iconic scene and it still stands up.

Of course, it isn’t without fault. As much as I loved the performances, the film’s big number – surprisingly not “Singin’ in the Rain”, though it is easily the most iconic – ran incredibly long. It was fantastic mind you, but, as the great line from my all-time favorite movie will eventually say on this list: “Too many notes.”

Most interesting for us both were the references to prior films we have already seen. Most notably, “The Jazz Singer” comes up as bringing on the talkie. With it, the film’s entire plot seems to change. There is also mention of “The Broadway Melody” including to an entire number and borrowing some of the film’s visuals in a callback. In a vacuum, if we had seen “Singin’ in the Rain” independent of this project to watch all of these films, these references would have made no sense. Its amazing seeing these movies begin to reference one another

I wish Gene Kelly would have made a three hour long version of the big number he ends all his films with. It’d be a fever dream but one you could tap your feet to.

All in all, there is little more that can be said about this film. Unless there is an even better Gene Kelly film not included in this collection, this seems to me to be the finest iteration of a formula that made him an all-time memorable star. The music and scenes stand the test of time. It was a fantastic musical with a solid story and characters we very much enjoyed.

For other reviews, make sure to check out the Warner Brother’s Top 100 Film’s page.

During the 2017 holiday season, I got a great deal on the Best of Warner Bros. 100 Film Collection. Diane and I haven’t seen most of these movies, but we are committed to watching one a week and writing a short review.

After “Anchors Aweigh”, we were marveled by Gene Kelly’s talent, but not necessarily excited to see more of his films. This week, we are reviewing “An American in Paris” from 1951, an altogether superior film and another vehicle to showcase Gene Kelly singing and dancing.

I am unsure what makes “An American in Paris” feel like a lesser musical when compared to musical films I love (“Little Shop of Horrors”, “The Producers”, most of Disney’s animated films, etc.). My biggest issue is that the plot and characters feel secondary to their in-character performances. Rather than review the movie from the standpoint of it being a bad movie and an okay musical, I am going to attempt to leave my bias behind and focus on “An American in Paris” as an elaborate variety show instead.

I know this is supposed to be Gene Kelly, but all I see is “I play polo for the university”.

The film follows Jerry Mulligan (played by Gene Kelly), an American soldier living in Paris after World War II. When the war ended, he remained in Paris to follow his passion of painting. Joining him are Adam Cook (Oscar Levant), a struggling pianist, and Lise Bouvier (Leslie Caron in her American debut) as the romantic interest.

The plot revolves around a love triangle between Jerry, Lise, and the French singer Henri (played by George Guétary). Henri is a friend of Adam, who is also a friend of Jerry’s. Henri tells Adam about a woman he is engaged to marry (Lise). Soon after, Jerry happens to meet Lise and falls in love with her instantly. Until the film’s climax, neither man is aware of the other. I am sure this film has some fans for its story, but it really just serves to move the players from one performance to the next.

My feet hurt just looking at this.

The performances are where “An American in Paris” shines best. Unlike “Anchors Aweigh”, which felt bogged down by having to fit in the shell of what a movie is expected to be, “An American in Paris” breezily moves from a dance, to a song, to a concert at a fantastic pace. Better yet, the film is fun and colorful. Early in the film, when Henri tells Adam about Lise, she dances on the screen to his descriptions of her personality. It is fantastic and a great introduction both to the character and the actress, who was a trained ballerina.

Gene Kelly also shines. While the other acts in the film help give you a break from him as the film’s star, he never has to share the limelight the same way he had to do with Frank Sinatra in “Anchors Aweigh”. He is fantastic. Sure, his “romantic pursuit” of Lise was slimy by modern standards, but I’d let any man that light on his feet try to court me too. He was charming and likable every second he was on the screen.

Oscar Levant’s Jerry deserved more time on screen.

The other performances are great too. George Guétary gets several songs, but his performance of the song “I’ll Build A Stairway to Paradise” had an amazing set and stage production within the film. Similarly, Oscar Levant’s performance of Gershwin’s Concerto in F for Piano and Orchestra during one of his daydreams was equally stunning.

Speaking of Gershwin, it would be difficult to review “An American in Paris” without commenting on the film’s music. While modern musicals rely on lyrics to be memorable, Gershwin’s score alone is worth watching the film. I primarily know Gershwin from his composition “Rhapsody in Blue”, but it was awesome hearing more of his original music. It is fantastic.

Some of the sets and costumes were truly amazing.

The film’s closing was our absolute favorite part. While Lise runs off with Henri after the love triangle and tryst have all been laid bare, Jerry dreams of her returning to him. His dream takes the form of a 17 minute ballet within the movie. Amazing in scope, even by today’s standards, the sequence was a marvel to behold. In my research, I read that it cost nearly half a million dollars to shoot and I believe it. It easily rivals the ending performance we saw in “42nd Street” and I think it is worth the watch alone.

“An American in Paris” was not a new favorite film on this list or new favorite musical. There is too much holding it back from either of those titles. At the same time, it was an incredibly fun film to watch and it never overstayed its welcome. We both preferred it to “Anchors Aweigh” and I am curious to see how it stands up to our next film on the list: “Singin’ in the Rain”.

Also, there was this.

For other reviews, make sure to check out the Warner Brother’s Top 100 Film’s page.