Satire Movie Reviews

In this film sequel, a group of retired Texas Rangers(Walter Brennan,Andy Devine,Chill Wills and Edgar Buchanan)again set to clean up their small town. They also set up to rehabilitate the town drunk(Fred Astaire).Again,it's a great family western comedy!!

In this film sequel, a group of retired Texas Rangers(Walter Brennan,Andy Devine,Chill Wills and Edgar Buchanan)again set to clean up their small town. They also set up to rehabilitate the town drunk(Fred Astaire).Again,it's a great family western comedy!!

If you're a big fan of SANTA CLAUS IS COMIN' TO TOWN and have only a peripheral interest in THE LITTLE DRUMMER BOY, this is the DVD for you. SANTA looks terrific, and the original name of the penguin ("Topper") has even been restored on the DVD (for some reason he's "Waddles" in syndication). If, however, you're like me and love both stories, especially if you've been watching LITTLE DRUMMER BOY since it was originally broadcast on the network, you're going to be super disappointed in the quality of that program. Another review mentioned DRUMMER BOY as being "grainy." "Grainy" is not the word. Although I understand it was made from the original film negative, it looks like they took the worst print copy to make a transfer from. There are white dust flecks all over the print. In some places the sound effects are missing: for instance, before Aaron sings "Why Can't the Animals Smile" there was a lead-in and lead-out of him beating his drum. On the DVD there is big empty silence instead. The noise and jeers of the crowd are also gone. In another spot, a man's voice is reading Greer Garson's narration. The night scenes seem murky; when Aaron comes up to the gates of the town, I remember being able to see the name "Bethlehem" over the gate. The DVD scene is so dark you can't make it out. In short, I'm not tossing out my DRUMMER BOY videotape. If SANTA didn't look so crisp and nice I'd probably get rid of the DVD. Disappointing...sorry, Rankin-Bass.

When I took American History in College, my teacher explained the political undertone of the Wizard of Oz. With that in mind, I was able to see the undertone of this story. First, for parents-as a kid I used to enjoy the annual showing of this feature. Now to the undertone:A baby, Santa Claus (capitalism), is abandoned on the doorstep of elves (industrialists). The elves are unable to get their product, toys, to town. When Santa grows up, he decides that he has to make the trip to town, but first he has to go through the territory of the winter warlock (socialism-regulation). Meanwhile, in town, the Burgermeister-who rules the town with all the zest of a communist dictator, has outlawed toys and set mandatory labor for all the kids in town (how commie of him). When Santa gets to town, he befriends the town schoolteacher (education) and is branded an outlaw for giving out toys (how capitalist of him). A cold war ensues between the burgermeister and santa with santa making an annual raid to pass out toys and foil the burgermeister. The end of this story explains well why communism doesn't work.

Excellent film for those that love classic Christmas stories. Buy it now. That's an order.

A perfectly charming Fred Astaire/Ginger Rogers comedy, with Fred as a ne'er-do-well bandleader who needs to raise a big bundle of dough to make himself an acceptable candidate to marry the daughter of a stuffy business tycoon. The thing is, he's not totally sure he *wants* to marry her, and when he hits New York City in search of fame and fortune and bumps in to Ginger... Well, that's all she wrote. Interesting interaction between Astaire and his ex, when she shows up and lets him go -- very modern, and not the big catfight you might expect. Includes dance numbers like "Never Gonna Dance," which has the legendary going-up-the-dual-staircase-together routine, and Fred's tribute to Bill "Bojangles" Robison, one of the greatest African-American hoofers of all time. Sure, Astaire's in blackface, but whatta gonna do? Another fun, uncomplicated story, and two of the suavest performers ever, putting on a swell show.

"Swing Time" was the first Astaire & Rogers movie I ever saw and I personally thought it was very good. The plot is quite homorous and cute, however, it is reather weak. The dance numbers in "Swing Time" are fabulous, especially "Bojangles of Harlem" done by Fred Astaire. My favorite number done by the famous team is "Start All Over Again", which will bring a smile to anyone's face. A must see.

I had seen this movie on television before but I was able yesterday to see this movie in a theater run by the AFI and I'm glad I took advantage of the opportunity. It is said that a thing of beauty is a joy forever and that is what this film is. I had a smile on my face for an hour and half and after every musical and dancing performance people applauded as if it was a live performance. I especially liked the "A Fine Romance" sequence which had to be shot on one of the most beautiful sets in the history of motion pictures and of course the "Bojangles in Harlem" sequence among many including the "Waltz in Swing Time" and "Pick Yourself Up" are magnificent. a tremendous movie, one that surely will fill you with joy.

When MGM decided to celebrate its past with a star studded documentary no one could conceive that the film would ultimately become the biggest box office draw of that year. With "more stars than there are in heaven", That's Entertainment! is the first and the best of the self-congratulatory tributes to the great MGM musical. Featuring clips from nearly 100 movies this is definitely a must have for anyone who considers themselves a film buff. Featuring cameo co-hosting turns from everyone from Elizabeth Taylor to Bing Crosby and with charming, if scripted, tales of "the good ol' days" in the words of George and Ira Gershwin, "Who could ask for anything more!" Enjoy this blindingly all star treck into a land over the rainbow that sadly, is very much a part of the past. One only hopes that Warner DVD will consider giving us this wonderful cornicopia in a newly remastered digital transfer very soon.

"You can wait around and hope," says Frank Sinatra in one of his introductory spiels, "but you'll never see dancing like this again." The same could be said of almost every clip in this compilation of MGM musical highlights, ranging from an achingly bad chorus-girl number from the "Broadway Melody of 1930" (the first all-sound musical) to numbers from "Singin' in the Rain" and the climactic ballet from "An American in Paris." In between, the movie hits dozens of high spots in the 40-odd-year history of MGM as *the* studio for musicals--and also delivers a few surprises, like Jimmy Stewart and Clark Gable doing turns in the genre (surprisingly, not too shabbily). Energetic Busby Berkeley ensembles, black-and-white set-pieces from the '30's, a romantic duo by Fred Astaire and Cyd Charisse, every type of musical number is represented. Whether you're an old buff looking to enjoy a few favorites without having to keep changing the video, or a novice wondering what all the fuss was about and what films might best serve as the foundation of your collection, this first of what turned out to be a four-volume franchise should definitely be on your shelf.

Seeing MGM`s THAT`S ENTERTAINMENT is as someone else has said here; like eating the best candy in the world....

Everything about this compilation is ace; it`s a work of art and some musical scenes are edited 2 greater effect here than from the picture they originated...

Tasty? Indeed it is. Wanna c TASTELESS? C "That`s Dancin`" 1985. Wanna c some more tasty things?; the 1976 and 1994 sequels are JUST THAT.

Last week I even witnessed it on the big screen here in Norway and I had no idea the big finalies were in 70mm - PEOPLE left the building spellbound and I`m gonna c it again this Friday.

I first saw it on New Years eve 1981 and the video was purchased in 84. Needless 2 say, I have worn several copies out hehehehe

This film is a cult film with Fred Astaire and Ginger Rogers. The plot is as light as a feather and the scene is as ritzy, and unluckily kitsch, as a Riviera hotel in Venice. It is all based on a quiproquo that each character uses as much as possible to entertain us with some light comedy. But the real and maybe only interest of this film is of course tapdancing. The only new element is that it is used as a dramatic spring to exacerbate the irritation of the young lady and develop the quiproquo. For once the tapdancing is not a decoration but a dramatic item. That's probably why this film has definitely survived oblivion. We must admit that the valet is by far also a good asset with his humor and impertinent remarks and we find it justified and funny for him to get a ticket, and even be arrested, for disguising as a gondolier, which is a national crime of the utmost magnitude in Venice.

Dr Jacques COULARDEAU

In my personal opinion, this is one of the best fred Astaire and Ginger Rogers movies. The singing and dancing is fantastic and gives you the true essence of Astaire and Rogers. The plot is rather similar to "The Gay Divorcee" 1934, but it still keeps you interested. It is also humorous. 'Cheek to Cheek' or the "feathers" number as some people call it is brilliant and beautiful, as is "Isn't This A Lovely Day to Be Caught In The Rain?", "No Strings", "Top Hat", and "The Piccolino". A must see for any musical or Fred and Ginger fan.

Ask fans of Astaire and Rogers what their favorite film of their's is with the two. Chances are "Flyin' Down to Rio" may come up even "The Gay Divorcee" but I bet with almost certainty that "Top Hat" will be one you'll hear most of them say. Sure, "Swing Time" is also considered their best among some fans, but, "Top Hat" is my all-time favorite. It's also one of my 10 favorite films. This is Astaire and Rogers at their best with one of the best scores they ever sang and dances to, though "Shall We Dance" is a close runner-up (That movie had "Lets Call The Whole Thing Off", & "They Can't Can't That Away From Me"). Every song in here has become a standard. "Cheek to Cheek", "Isn't It A Lovely Day", "Top Hat, White Tie, & Tails", & "I'm Fancy Free".

This was the team's 4th film and already by now there was plenty of chemistry going on. The two knew how to play off each other. "Top Hat" is the film most people think stealed the deal and made them an offical "team". In their film before this "Roberta" they were reduced to supporting players. And didn't get to sing many songs. Irene Dunne received that honor.

The plot to "Top Hat" has Fred playing Jerry Travers an American dancer who is going to perform in a show put on by Horace Hardwick (Edward Everett Horton). Soon, Jerry meets Dale Tremont (Ginger Rogers). But, Dale mistakes Jerry for Horace after many mishaps occur. Now, this is a bit used often in Astaire & Rogers films. They used it in "The Gay Divorcee", & "Shall We Dance". But, here I think it's used best. Infact, if I could only recommend one movie for someone to see by the team, I would suggest this film. It has all the elements that made the team famous. Wonderful songs, good chemistry, great dancing, and an unbelieveable amount of charm.

Highlight moments in the film have to include one of the team's best remembered moments, Fred telling Ginger he's "in heaven" as they dance "Cheek to Cheek". Check out Fred's dancing in the "Top Hat, White Tie & Tails" number. A song that to this day is STILL associated with him. And I personally love when they dance to "Isn't It A Lovely Day".

Bottom-line: A timeless classic Astaire and Rogers musical. For my money and time, their best! Many standout moments.

I bought it for Audrey Hepburn's charm and to watch Fred Astaire's footwork. Was disapointed by the relative lack of the footwork, but fell in love with the charm

Audrey Hepburn had a unique quality that she could sing(yes,sing)dance and act.She has a most touching scene where she is a bookstore librarian that is very distraught after having the bookstore she works for turned upside down.She sings an old Gershwin tune "How long has been going on" which coming from Audrey,is from her heart and soul. She then dances two numbers with Fred Astaire with sheer perfection. Words cannot describe what a beautiful actress she was-Audrey,you were truly amazing and lovely to look at.

Here we have a story of fashion and romance. Givenchy provides the fashionable clothes. George and Ira Gershwin provide the music to set the scene for romance. Audrey Hepburn and Fred Astaire provide the romantic intrigue, costarring Kay Thompson for added comic relief. The story takes place in New York City and in Paris on the Seine River in France. These choice ingredients mix well to give the viewer an inviting slice of life in the fashion world, seen as songs, dances and splendid fashion shows. There is even a spoof of French philosophy. With excellent timing and camera work, and the consultancy of Richard Avedon, this film and its story present a happy moment to be revisited by an engaged film fan. Director Stanley Donen has made it happen with a screenplay by Leonard Gershe, and choreography by Eugene Loring and Fred Astaire.

...this movie was supposed to co-star Judy Garland with Gene Kelly and, believe it or not, Cyd Charisse!! The latter two names both had leg injuries which forced the studio to replace them both. It was one of those magical jells which historians still talk about today: Astaire, coaxed out of retirement because he swore he was too old (49 at the time) to be dancing on film, was the perfect mix of Pygmalion mentor/gentle soulmate to Ms. Garland's familiar variation on winsome earth-girl-who's-every-inch-as-pretty (but doesn't believe it) as her more glamorous counterparts. I also feel that the "Swells" hobo number has been revered to death; I'd rather talk about Astaire's stage extravaganza "Stepping Out," which has the distinction of him dancing with *three* gorgeous partners then wraps up with him tapping slow-motion in front of a regular-motion chourus. Or Judy Garland's torch solo "Better Luck Next Time;" or even Ann Miller's tapping exhibition (visually dazzling in black, grey, and yellow) to "Shakin' the Blues Away." The period costumes are A+ (suits and hats on men; hats and gowns on women!!), the Irving Berlin score is an embarassment of riches, and the Charles Walters direction is solid. Favorite line is Astaire saying to Garland: "Why didn't you tell me I was in love with you?"

I thought that "Easter Parade" was very funny. It includes several must-see dance numbers including "Shakin' the Blues Away" (by Ann Miller), "Steppin' Out With My Baby"(by Fred Astaire), "Drum Crazy" (by Fred Astaire), and 'A Couple of Swells" (by Judy Garland and Fred Astaire). A must-see!

Irving Berlin's "Easter Parade," starring Judy Garland and Fred Astaire is about as good as vintage Hollywood musicals get. Produced in 1948 by M-G-M's top musical producer, Arthur Freed, "Easter Parade" is a tuneful romp that features stellar performances by its stars, and a top-flight Irving Berlin score. Musical standards include "A Couple Of Swells," "Steppin' Out With My Baby," "Shakin' The Blues Away," and the title song. This film is currently available on DVD - but only on a pricey 3-DVD set paying deserving tribute to Judy Garland. The film co-stars Anne Miller and Peter Lawford in appropriately .... charming (respectively) support. Its plot is simple: Astaire is a Broadway hoofer whose partner (Miller) has left him for a spot in The Ziegfeld Follies. Garland is the singer (no great dancer is she, at the start) who is summarily hired by Astaire as Miller's replacement. A love triangle (and much musical-comedy bliss) ensues, and great fun is to be had by anyone watching this great vintage movie musical. Astaire is marvelous here, and Judy (if you loved her as the teenaged Dorothy in "The Wizard Of Oz," and who didn't?) is sublime as always. Buy it, rent it, steal it if you have to. "Easter Parade" is not to be missed.

A muddled Fred Astaire musical, which starts out with a brilliant opening sequence wherein Tony Hunter, a thinly-veiled Astaire stand-in, returns to a modern, new, 1950s New York, which has adopted a brash, gritty form of glitz which feels foreign to the debonaire star of 'Thirties film and stage. Broadway has been overrun with garish and pretentiously lofty Big Concept plays, and the good clean fun of Fred and Ginger's era seems hokey and out-of-date. Still, his loyal pals, a successful playwright and librettist, hustle him up some work, which turns out to be with the most pompous of the new theatre elite. Astaire's outsider-looking-in view of Broadway in transition -- the sort of big city symphony that director Vincente Minnelli excelled at -- is fascinating (while Fred's visit to an old Times Square theatre that's been renovated into a penny arcade is amusing in retrospect, considering that the neighborhood soon became overrun with porno parlours...) Teaming Astaire up with Cyd Charisse is a joy to behold as well... Apparently he is quoted as saying she was his favorite dance partner (Ginger Rogers fans, all gasp now...) but you can kinda see what he means... Where the graceful Rogers was a perfect partner to Astaire, the statuesque Charisse is more of counterpoint, an equal presence, if not as intuitive and inventive a dancer. There's a much greater physical charge between them, and it's a very different viewing experience. Anyway, long story short: this film has a great premise, but falls apart when they actually find a barn and start to put on a show. The highbrow producer stages a flop, and Astaire and company decide they can't quit now, so they're just going to put on some good, old-fashioned singing and dancing revue, like folks loved in the old days. That's all very well and fine, but the big old, sockaroony extravaganza that takes up the last quarter of the film simply makes no sense. It's a bizarre Technicolor pastiche of old routines: a hick skit, a terrible old Vaudeville routine (Triplets), and a fun (but overlong) parody of then-contemporary film noir craze, featuring Astaire in the tough-guy role. It just doesn't hang together, which is a pity, since the film ultimately doesn't deliver on its promise to give the "new" theatre its comeuppance... Maybe with a little more delicacy or stronger writing, they would have, but the Really Big Show is kind of half-baked. Stiil, Astaire & Charisse... what's not to like?

This movie begins with a phenomenal if misleading shot. It shows a top hat and cane belonging to former dancing legend Tony Hunter being auctioned, with no takers. Of course, if you see a top hat and cane, you think "Fred Astaire." But despite the implication and reference, Fred Astaire was, at the time this film was being made, still very much the greatest dancer in the movies (with apologies to Gene Kelly). Unlike Tony Hunter, he had never ceased to make "A" pictures. But no one could have played this role with more authority than Astaire.

The plot is simple: washed-out and used-up former dance legend Tony Hunter is returning to Broadway in an attempt to revive his sagging career. That provides the pretext that is needed for a nearly perfect musical. THE BAND WAGON is a magnificent blend of great songs, great music, great dancer numbers, great actors, and great comedy. The cast is perfect. You get not only the greatest song and dance man in movie history but also a magnificent partner in the elegant and leggy Cyd Charise. You get great comic relief with Oscar Levant and Nanette Fabray. And you get one of the few musical comedy performers who could rival Fred Astaire for elegance and charm in Jack Buchanan.

The musical numbers are both marvelous and apparently never ending. The film begins with Fred performing "By Myself" and then soon shifts to a thoroughly rousing version of "Shine on My Shoes." Later in the film, two enormously debonair song and dance men (Fred and Jack) perform "I Guess I'll Have to Change My Plan's." And that doesn't even come close to exhausting the list.

Perhaps the highpoint of the film, however, comes when Tony and Gabrielle, the ballet performer the producers want to partner him with, uncertain that they will be able to dance with each other at all, take a carriage ride through Central Park to try to get to know each other. As they drive, they come upon an outdoor dance floor, with an orchestra playing the haunting Dietz and Schwartz classic "Dancing in the Dark" (which lyricist Dietz intended to be a meditation about the nature of human existence; Schwartz's music matched the mood of the lyrics perfectly). Tony and Gabrielle get out and begin to walk together in rhythm, gradually and tentatively attempting a few dance steps. Eventually, they discover each other's rhythm, and they begin to dance together marvelously and magnificently, matching the mood of the music precisely. It is one of the greatest moments in either Astaire or Charisse's career.

This is a must see film for any fan of the movie musical. I have to confess that I am not, by and large, a big fan of the MGM musical. I prefer the kookiness of the older RKO musicals, or even the stylized musicals of Warners or even Fox. MGM musicals were, to me, too often overproduced and dominated by the art directors. This film, however, is a magnificent exception.

Yes, this is one of the best MGM musicals for sure. You'll read some reviews that say the romance is wearisome or that the plot is thin, but I don't think any of that holds water. I will grant you, though, that it gets a tad long, but I think you'll find that true of almost every single musical anyway, my gosh how many hours long is "Carousel"?

Fred Astaire just got better as he got older, and that's pretty darn hard to do as a dancer--I remember that all the cast in "A Chorus Line" are dreading turning thirty because they'd be has-beens. Well, here our Fred is a spry 54 and dancing up a storm, even in a new style. While every number is great, I'd have to say that the standout for me is "Dancing in the Dark", where he and Cyd Charisse begin by walking through a mock Central Park and by bits and pieces go into a beautifully smooth dance number. Look at it closely--there's only one camera cut in the whole number, and I think that's just that they moved out of range. Which is to say, that you're almost watching a live performance in one take--incredible!

Like one of the previous reviewers, I will also single out Jack Buchanan's great performance as the hambone director of the Faust play. What a pity that there doesn't seem to be anything else of his around to keep viewing his significant persona. When he and Fred do a number together towards the end, "I Guess I'll Have to Change My Plans", gotta admit, most of the time I was watching Jack not Fred. Such aplomb! I wish I knew him!

And of course, there are plenty of other classic routines, not the least of which is "That's Entertainment", well put over by Fred, Jack, and Oscar Levant and Nanette Fabray. Yep, that's entertainment all right!

So to sum up, scurry aboard "The Band Wagon" and ride on out to wherever with these great stars--hot time in the old town tonight.

Another sharp and perceptive gem from Stanley Kramer. This A- Grade movie featuring an all start cast yet shot in gritty black and white still packs a powerful punch . It makes an extremely persuasive anti war statement specifically in regard to the irreversible and utterly pointless outcome of a nuclear holocaust. For me , the standout moments of the film are those which involve Fred Astaire's participation in the world's final "Death Race". Knowing that they only have hours to live, each driver simply goes flat out with most of them choosing to self destruct at high speed rather than subject themselves to the unknown tortures of death by radioactive poisoning . "On the Beach" is one of my all time favourite movies. Alot of critics didn't like it because they couldn't handle the unsettling possibilities which it presented. No doubt some of them felt a responsibility to articulate what they thought was GOING TO BE the public's abhorence of the whole thing. Remember that this was the 1950s. People were trying hard to forget the second world war which had only come to end a mere 14 years earlier .The last thing they wanted to consider was the disturbing thought that those five horrendous years might have achieved nothing of any lasting consequence and that it could all happen again. To my mind , this is one of the most eloquent and thought provoking films ever made. Kramer was clearly making a plea for disarmament just as JFK was to do a few years later . This would not have been a popular concept at the time. Certainly prvides food for thought.

Some people have said this film is dated, but remember, during the Cold War years of the 50's and 60's and even afterwards the specter of a possible nuclear conflagration between the U.S. and the Soviet Union was a very real possibility. Although there were think tanks like Hermann Kahn's Hudson Institute trying to figure out what would happen if the bombs actually fell someday, no-one really knew how bad the aftermath would be, and whether the north would be completely destroyed or not, and if so, whether the southern hemisphere would actually survive or not.

Whether the reality would have played out as depicted in the film, however, isn't that important now. What is important is that Kramer produced a well-acted and well-done film, weaving the stories of the different characters together into a powerful film about how the world might have ended. Peck turns in a classy performance as usual, but everyone is really excellent; Astaire, Gardner, and Perkins all turn in fine performances. Overall, still a fine film even after almost 45 years. Big Steve says rent it and don't Bogart the popcorn.

On the Beach is much like the classic From Here to Eternity. Different story, however how an apocalyptic event is unfolding and how it effects these peoples lives is very similar. Peck is outstanding, Gardner a terrific supporter, Perkins in his second-best performance, all the acting is fabulous. Story is a little out there, however is quite frightening considering we have the power to make this film come true.

Peck is a submarine commander who has just landed ashore on the beautiful coast of Australia where the world's last survivors have been dreadfully awaiting the deadly radiation cloud caused by the war. He sees the radiation hasn't arrived yet so he and his crew emerge from the ocean and visit the town. Perkins is the Australian naval officer assigned to meet up with him and inform him of their condition. Gardner is the beautiful, constantly drunk woman who he quickly gains a loving relationship with. Jillian (i think thats his name) is her older ex-boyfriend whose dream of succeeding at the races is fulfilled in one of the most breath-taking racing scenes ever filmed. Depressing, however powerful message to the world about the awesome power the nuclear weapons have and what we can destroy by our own hands.