maisonvivante

NYNY is a mixed bag of treats and rotten candy. The treats are the sumptuous costumes and sets and the delicious musical numbers. The rotten candy is the story--what little there is of it. Dull, repetitive argument scenes do not a plot make. Minnelli is the real reason to watch this movie.

One can only lament that her talent during these peak years was essentially wasted, so I appreciate this film as a much-needed showcase for her singing and acting skills. Otherwise, it's a depressing movie with dialogue that can sometimes surprise but goes on far too long in a misguided attempt at realism. I think the whole project got away from Scorsese and became a great big bloated misfire. It's worth sitting through it for the musical numbers, however. They are the one time the film truly comes alive.

Delightful adaptation of Agatha Christie's light Tommy and Tuppence stories.

These productions are rich in period detail, delightful lead performances, and charm and whimsy to spare. This isn't typical Christie fare; it's light as a soufflé and as bubbly as champagne. James Warwick and the stunning Francesca Annis make a yummy twenties couple who solve crimes and flirt with each other. The scripts are sometimes padded out to flesh out Christie's admittedly thin short stories, but always done with humor, style and flair. The whole series has a wonderful Noel Coward type feel to it that will appeal to those who appreciate the style of the 1920's. I just wish that the producers would bring the leads back for Christie's later Tommy and Tuppence novels.

"Jeanne Eagels" can almost be considered a "lost" film, since it is so rarely seen nowadays. That seems a shame. Yes, it suffers from standard "biopic" problems (cliched script, superficiality, etc.), but it is an interesting curiosity piece. Kim Novak, fresh onto the acting scene, actually acquits herself quite well in the role. There is an air of the troubled woman about her from the beginning, and the way she keeps adopting different personas shows Jeanne's desperate search for an identity. Contrary to the other reviewer here, I think that the drunk scenes are quite effective, without ever being pretty or played for comedic purposes. She succeeds in making Jeanne unlikable at times, which is a brave choice for the era. Unfortunately, the script and direction aren't the best, and some of Novak's more interesting choices contrast with other scenes that just don't come off as well. It's definitely worth a look though. I would argue that Novak's style is more "modern" than many other actresses of the era. Whether she always succeeds or not, she clearly looks for the reality of each scene, and is less interested in acting and more interested in "being." There are moments when I think she comes close to "being" Jeanne Eagels, making this forgotten film worth a second look.