Showing posts with label performing arts. Show all posts
Showing posts with label performing arts. Show all posts

Purple Rain (Two-Disc Special Edition) (1984) Review

Purple Rain (Two-Disc Special Edition) (1984)
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Leonard Maltin's review missed the main point of this movie. The movie is not primarily about a young musician who"struggles to gain acceptance for his own brand of ... rock music". Instead, the movie is about a man who has acquired his not only some of his father's musical interest and talent, but also his father's emotional instability and occasional abusiveness towards others, especially women. Maltin is correct that Prince's character is sexist and unappealing, but that's crucial to the movie. By playing his character as emotionally unstable, insensitive, and occasionally cruel, Prince de-glamourizes the cool, rebellious rock star image, showing that fame and talent are neither a guaranteed road to happiness nor a good excuse for being cruel to your girlfriend.This movie, rather than being a "soppy story" wrapped around concert footage, is instead genuinely literary. The concert footage is not an excuse for a movie; some of the concert footage is integral to the story. The title song, "Purple Rain", is used very effectively in the movie as a point of conflict between Prince and two of his female bandmates.
This movie, like Quadrophenia, would make a good subject for an English literature class targeted towards aimlessly rebellious under-achievers (rather than the 4.0 GPA high school students that most English literature classes are designed for).
[This review is based on the VHS version of the movie.]

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PURPLE RAIN:20TH ANNIVERSARY SPECIAL - DVD Movie

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Cabaret (1972) Review

Cabaret (1972)
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While this is probably not a bone of contention with most viewers, I think it's worth noting for those that do pay attention to these things, especially if you base your purchases on them, as I did in this case. The packaging on this newer DVD edition of "Cabaret" states that it is an anamorphic transfer (i.e. "Enhanced for Widescreen TVs"). It is NOT. This is the SAME disc as before, with new a label on it.
They merely changed the packaging, I guess, so that they could mention "Chicago" in the description on the back cover and tie it into the heat for that film. Shame on you, Warner Bros. We all work hard for our money and deserve better than to believe we're buying a new anamorphic transfer, when you are really marketing the exact same discs as before.

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Willkommen, bienvenue, welcome to Cabaret. The winner of eight Academy Awards, it boasts a score by the legendary songwriting partnership behind another film that would energize the movie musical genre with equal razzle-dazzle 30 years later: Chicago's John Kander and Fred Ebb. Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles (Liza Minnelli) and an impish emcee (Joel Grey) sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force. Cabaret caught lightning (and won Oscars) for Minnelli, Grey and director Bob Fosse, who shaped a triumph of style and substance. Come to this Cabaret, old chum. You'll never want to leave.DVD Features:Documentary:25th-Anniversary Documentary "Cabaret: A Legend in the Making"Featurette:"The Recreation of An Era"Interactive MenusInterviewsProduction Notes:"Kit Kat Klub Memory Gallery": The film's stars and creators reminisce about making movie musical history.Scene AccessTheatrical Trailer


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Easter Parade (Two Disc Special Edition) (1948) Review

Easter Parade (Two Disc Special Edition) (1948)
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I really like "Easter Parade" and was eagerly anticipating how beautiful it would look as a result of Warner's Ultra Resolution process. This is a method that electronically aligns the elements of the famous 3-strip Technicolor process to deliver greater sharpness and even details that weren't visible when the film was brand new. Unfortunately, this film doesn't look nearly as good as the other films that previously underwent this process: "Singin' in the Rain," "The Adventures of Robin Hood," "Meet Me in St. Louis," and "Gone With the Wind." Even "The Harvey Girls" and "Annie Get Your Gun," which were restored without the Ultra Resolution process, look much better than "Easter Parade."
All of these films, although not perfect, look almost like they were filmed yesterday with wonderful sharpness and contrast range, an almost three-dimensional clarity, and beautiful, sparkling colors--rather like a Kodachrome slide. "Easter Parade," on the other hand, looks like a very old movie that's had it colors artificially pumped up--like an old tart that thinks a lot of warpaint will make her look young, but fools no one. This transfer HAS to be several generations removed from the negative. It has a thick, flat, dull look: very little contrast or modeling, flesh tones the color of red clay mud, and colors that look as if they were applied to the film with a spatula--no light or life can get through! When there is some contrast and a bit of brightness, the effect is very garish and detail is washed out. Warner Brothers either shortchanged this film financially in its restoration or it was working with elements that were far removed from the original negative or color separations. Yes, this is the best this film has looked on home video. Yes, it often has decent detail, but it looks everybit like a film from 1948--or even older--rather than the almost brand new look we have come to expect from Warner's other major restoration efforts.
"The Band Wagon," another classic musical that was released in conjunction with "Easter Parade," is better, but still has that rather dull, flat, copy-of-a-copy-of-a-copy look, and reddish brown fleshtones. Compare it with "Singin' In the Rain," released just a year before: the difference is like night and day! We have come to expect better than this from a company that has given classic film fans the best DVD transfers of any company. I am more than disappointed; I am shocked! What happened, Warner Brothers?

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WHEN A DANCER'S PARTNER ABANDONS THE ACT, SHE FINDS A REPLACEMENT WHO TURNS OUT TO BE EVEN BETTER.

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Rodgers & Hammerstein's South Pacific (2001) Review

Rodgers and Hammerstein's South Pacific (2001)
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Though the stage show was one of Rodgers and Hammerstein's biggest hits, the script has not aged well. It is overlong and lacking in subtleness. The 1958 film, despite the beautiful scenery, is played woodenly. Even Rodgers and Hammerstein expressed disappointment with the finished film.
So, in 2000, ABC TV and Glen Close produced a new TB film with a new script that weaves in most of the songs and situations of the original play while at the same time fleshing out the characters and making them more realistic.
Is the film a complete success? Well, no. For starters Glen Close is too old for the role of Nellie. She does act it well, however, and she sings with a characterful chest voice though I do detect some of her high notes might be dubbed. I have just re-watched the movie and don't find her all that objectionable. She sounds like she is having fun cutting loose in "I'm Gonna Wash That Man Right Outa My Hair" and "A Wonderful guy." Remember too that Mary Marin and Mitzi Gaynor were both too old for the role originally. What Glen Close does play very effectively is Nellie's warring emotions. Aided by the camera work, we see her confusion and unhappiness when confronted with her own prejudices.
Rade Sherbedgia certainly looks the part of DeBecque but since we are so used to hearing robust Bass singers in the role, his softly sung arias take a good deal of getting used to. Instead of an outpouring of emotion in "this Nearly Was Mine" he offers a more introspective take on the role. It's actually a good idea and might work better with a stronger singer. His acting is quite good but the script does tend to shortchange Emile in favour of Nellie.
Harry Connick Jr acts the part of Cable quite well and shades the characters different emotions. True he is more of New Orleans than Philadelphia, and like the others he tends to pull the big musical moments inward. It is most effective in the scene after he first makes love to Liat and croons a tender "Younger Than Springtime." This is everything that the sung ought to be... passionate, sexy and filled with wonder. This is a young man caught off guard by true love for the first time and Connick communicates that brilliantly. His "crooning" is not wildly out-of-place and certainly in keeping with the types of singers he would have heard at home. Some scenes later he performs a remarkably understated "Carefully Taught" having played the intense anger in the dialogue scene that precedes the song. The result is more a case of Cable realizing what he is saying than just spitting out an angry indictment. It may not be the way it was originally done, but you can't argue with its effectiveness.
Lori Tan Chin as Bloody Mary is much closer to the description provided by James Michener in his original novel than Juanita Hall. Hall indeed made the part her own, but that is not to say that hers was definitive.

In re-writing the screenplay, the scenes and songs were re-arranged from their traditional order. In this new version we see the first meeting of Nellie and Emile at an officers club dance, and the song "A Cockeyed Optimist" is used in this sequence to establish Nellie's outlook. It's part of her charm and clearly attracts DeBecque. The structure also allows the first two scenes of the musical to unfold simultaneously.
Anyone considering a Broadway revival of SOUTH PACIFIC might do well to examine the TV film for its style and construction. There might indeed be a way to make the story work for modern audiences, clearing away some of the hoary old jokes and developing character instead.

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Three-time Tony Award-winner Glenn Close and two-time Grammy Award-winner Harry Connick Jr. lead a sensational cast in an all-new version of Rodgers & Hammerstein's beloved musical SOUTH PACIFIC. Based on the Pulitzer Prize-winning book by James Michener, and featuring some of the finest music ever written for the stage ("Some Enchanted Evening," "I'm Gonna Wash That Man Right Outa My Hair," and "Younger Than Springtime"), SOUTH PACIFIC spins a romantic tale of love and loss on a tropical island naval base during the Second World War. Enjoy the fun and adventure of this breathtaking new production with a star-studded cast, timeless songs, and a story that has enchanted audiences for years.

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Sparkle Review

Sparkle
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I saw this film in the movies as a teenager and I've never forgotten how it made me laugh, cry and want to sing right along. "Sparkle" is the fictional story of the struggles of three Harlem sisters who are trying to make it in the music business in the late 1950s, but each of them encounter individual problems on the road to fame. Only one of the sisters eventually go on to stardom, while one gets engulfed into the street life, with heartbreaking results, and the other hates the life she's living and decides to leave for good.
There are fine performances in this movie. Irene Cara (who plays "Sparkle"), Lonette McKee, and Dorian Harewood are particular standouts. Look for future "Miami Vice" star, Philip Michael Thomas, as Sparkle's enterprising boyfriend. It has been compared to Broadway's "Dreamgirls" and the Supremes' story, but it has its own strengths, plus a slammin' soundtrack, written and produced by the late, great Curtis Mayfield, and sung by the Queen of Soul, Aretha Franklin. "Something He Can Feel" is STILL the jam. I gave it four stars because the ending was predictable, but all around this is a wonderful film. Highly recommended. Now where's the DVD?

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Irene Cara (Fame) and Lonette McKee (Round Midnight) sing and struggle their way to show-business glory in a Supremes-like girl group. Dynamite Curtis Mayfield soundtrack.

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