Advertisement
Advertisement
Advertisement
Oscar History
Welcome

The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

Like The Film Experience on Facebook

Powered by Squarespace
What'cha Looking For?
Don't Miss This!
Comment Fun

Comment(s) Du Jour
NBR Winners 

"Something tells me that Patriots Day is this year's American Sniper.... brace yourselves." -Cris

"NBR also called Memoirs of a Geisha one of the top 10 films of the year 10 years ago, so I take these awards with a huge grain of salt." - Cash

Keep TFE Strong

Love the Site? DONATE 

Your suscription dimes make an enormous difference to The Film Experience in terms of stability and budget to dream bigger. Consider...

I ♥ The Film Experience

THANKS IN ADVANCE

Subscribe

Entries in Gene Kelly (24)

Sunday
Oct092016

George Sidney Centennial: "The Three Musketeers"

by Nathaniel R

After looking at three popular musicals Anchors Aweigh (1945), Kiss Me Kate (1953), and Bye Bye Birdie (1963), in our mini George Sidney Centennial celebration, we're closing up with his other primary mode: the adventure flick. Curiously those films also feel like musicals even when they aren't. Case in point is The Three Musketeers (1948) and the subliminal feeling that at any moment a song and dance number might break out. That's not only because glorious Gene Kelly is the star. This feeling radiates outward from the ebullient movement of all of the swordsmen. It's also firmly embedded in the swooning romantic overtures that happen instantaneously between Gene Kelly and each of the women. Lana Turner is the devilish Lady de Winter and June Allyson is the saintly Constance and, in case you're wondering, no one will ever accuse this movie of subtlety or evolved gender politics. Still the love scenes are memorable for their queer duet of completely earnest and purposefully comic registers.

While The Three Musketeers, MGM's second biggest hit of the entire decade, never abandons its swashbuckler adventure commitments to make room for the theoretical song and dance number, it does make quite a few overtures to other identities. This treatment of the Alexander Dumas story is also a romantic comedy, a slapstick farce, and even a stylized melodrama...

Click to read more ...

Monday
Oct032016

George Sidney Centennial: Anchors Aweigh

It's George Sidney Centennial Week!

Dancin' Dan here to begin our mini-celebration of one of Hollywood's more undersung directors.

George Sidney was an MGM workhorse who got his start on Our Gang shorts. Though he was nominated for the DGA Award four times between 1952-1957, he never received an Oscar nomination. No, not even for 1945's Best Picture nominee Anchors Aweigh. And really, you could make a very persuasive argument that he was robbed.

Anchors Aweigh is a strange picture, one that feels more like a fantasy than anything else, and to the extent that it is remembered today, it is remembered for one thing:

You would be forgiven, of course, for thinking that the film really was a fantasy based on that one number...

Click to read more ...

Wednesday
Aug102016

Best Shot/Best Costume: "Les Girls"

For this week's episode of our cinematography series Hit Me With Your Best Shot we wanted a slight curveball as a way to celebrate the release of the Costume Design documentary Women He's Undressed. It's now available to rent on iTunes or purchase on other digital platforms. (Jose's interview with the director here). The film is about the legendary Orry-Kelly, who designed a truckload of classic Hollywood features and stars, and won three Oscars in the 1950s for An American in Paris, Les Girls  and Some Like It Hot.  So those playing "Best Shot" this week could choose any of those three. I watched Les Girls since it gets the least attention and they even use its image for the documentary's poster (left).

Les Girls  (George Cukor, 1957) is not well remembered today but curiously it reminds us yet again that mainstream Hollywood in the 50s and 60s paid a lot of attention to foreign auteurs and absorbed (or ripped off - you be the judge) their styles and conceits. The semi-musical (a few dance numbers mainly) concerns a libel lawsuit involving a former showbiz act "Barry Nichols and Les Girls" and in the courtroom we hear three different versions of the group's break up in Paris. In each of the stories Barry Nichols (Gene Kelly) gets mixed up romantically with a different girl (America's Mitzi Gaynor, Britain's Kay Kendall, and Finland's Taina Elg) and their musical act eventually implodes. It's clearly modelled on Akira Kurosawa's Rashômon (1950) which had taken an Honorary Oscar from the Academy earlier that decade.

Taina Elg quits dancing in Les Girls (1957)

So let's choose a best shot and a best costume after the jump. Happily my three favorite shots come from each of the film's three acts...

Click to read more ...

Wednesday
Jul202016

Judy by the Numbers: "Get Happy"

In 'Judy by the Numbers' Anne Marie looks back at Garland's career through key songs

By the time Judy Garland turned 28, her entire adult life and her entire star persona had been a product of MGM. In 1950, Judy Garland's image - as cultivated by MGM and the Freed Unit - was of an exuberant talent, small in stature but big in heart and voice; a buoyant box office sensation. However, the reality was different. In the 13 months between the release of In The Good Old Summertime and Summer Stock, Judy Garland fought drug addiction, rehab, an increasingly strained marriage, an unsympathetic studio, and a suicide attempt that made headlines worldwide. Filmed before her attempt but released two months after it, Summer Stock is a record of the conflict between the image of Judy Garland and the reality of Frances Gumm.

The Movie: Summer Stock (1950)
The Songwriters: Harold Arlen (music), Mack Gordon (lyrics)
The Players: Judy Garland, Gene Kelly, Eddie Bracken, Gloria de Haven, directed by Charles Walters 

The Story: "Get Happy" is the number that shouldn't be from the movie that shouldn't exist. Neither Judy Garland nor Gene Kelly was supposed to be in Summer Stock.  Judy had just dropped from Annie Get Your Gun and entered rehab, and Gene's star was rising with Arthur Freed. However, Joe Pasternak coaxed them into another picture, a return to form based on the old Rooney/Garland "let's put on a show!" model. Though it was intended to be a triumphant return, ultimately Judy lags through much of Summer Stock, which needs her energy to carry through a plodding plot. She looks and sounds a little slower, though sources disagree on why - either she was recovering from rehab or further spiralling into addiction. 

In this context - and even out of it - "Get Happy" is a shock. Filmed months later at Judy's insistence, with design and directorial help from husband Vincente Minnelli, the number shows Judy shining like she hasn't in a while. She's sexy, she's witty, she's beaming, and she's urbane in a way that sticks out from her nostalgia-laced image. Even without the maelstrom of malady surrounding her, this would be a defining number for Judy. With this backstory, "Get Happy" takes on another meaning too - the "fix." If Summer Stock is the movie where Judy Garland's facade slipped, then "Get Happy" is the number that restored it, at least temporarily. Don't worry about the exhaustion! Judy's back, and better than ever. Forget your troubles!

The fix was a public one only. Though Summer Stock was a success, Judy and MGM parted ways in 1951. Divorced from the studio that had raised her, Judy Garland would find the 1950s to be both happy and heartbreaking. She would live out private struggles in public, and her image would change from child star to musical maiden to something more complicated. For some stars, the tragedies of their lives become as image-defining as their successes.

Wednesday
Jun222016

Judy by the Numbers: "Be A Clown"

Just as there are films that shine bright in a star's history, there are also films whose histories are controversial at best. The Pirate is an odd contradiction of a movie. As one of Judy Garland's most expensive films, it was also her first MGM bust. Released two years after childrearing had put Judy on hiatus, it was nonetheless stuck in preproduction for five years before that. While it landed Judy another hit song, the knockoff written four years later would become a classic. Though The Pirate was the loudest, brightest movie Judy had made to date, its most interesting sequences were left on the cutting room floor. What to do with The Pirate?

The Movie: The Pirate (1948, MGM) 
The Songwriter: Cole Porter
The Players: Judy Garland, Gene Kelly, The Nicholas Brothers, directed by Vincente Minnelli

The Story: The Pirate must have seemed cursed from the start. By the time Vincente Minnelli started filming, it had already been stuck in pre-production hell since 1943. This meant that even though Minnelli tried to keep costs down, enough money had already been sunk into it that the budget ballooned to almost $5 million. Judy wasn't helping either - she reported sick to work 99 times. Then there was the issue of reshoots. The song "Voodoo" apparently enraged Mayer so much that he ordered the nitrate negative burned. The ending was a mess and had to be reshot. Then that ending got the boot in the South because it featured black men tapdancing

All of these production problems took their toll, and the resulting movie is a little bit of a beautiful mess. Nonetheless, there are three reasons to see this movie:

  1. It's the first A Movie appearance of the Nicholas Brothers
  2. Vincente Minnelli makes really beautiful color movies
  3. Judy Garland throws china like a red-haired Bucky Walters 

However, the scene that would make the film famous was "Be A Clown." As previously mentioned, it would become a modest hit for Judy, but the real hit came four years later when Judy's friend Donald O'Connor sang "Make 'Em Laugh" in Singin' in the Rain. Nacio Herb Brown and Arthur Freed whipped up the song while trying to find a number for O'Connor. Luckily for them, Cole Porter was under MGM contract and wasn't feeling particularly litigious. While Judy would continue to sing the original throughout her career, ultimately Singin' in the Rain made Freed's version more popular. Even great talent couldn't keep The Pirate from sinking.