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Easter Parade features two of the best known entertainers in movie history, glorious music, fresh Technicolor and amazing - and I mean amazing dancing routines. Prepare to be entertained and amazed! There is no other way to describe the creative, fun and bedazzling colour, costumes and dances.

Popular dancing team Don Hewes (of course, Astaire) and Nadine Hale (wonderful singer/dancer/actress Ann Miller) break up because Nadine wants to pursue her own career. Don Hewes is determined to find a new dancing partner and to make her a smash... and guess who he finds - unknown dancer Hannah Brown (Judy Garland) - who he picked out randomly. It is a relatively simple and sweet story, however flimsy it may be. You find yourself not really caring about the plot as you are emerged in a world of spectacular song, dance, costume and colour.

Three musical sequences stick in my mind: firstly, Ann Miller's mind boggling tap dance 'Shakin' the Blues Away'. Not only a great song, but an incredible dance. Then there is Fred's turn in the toy shop. The timing for that is beyond belief. Everything is perfection - the music, the decor, the dance. It isn't an ordinary Tapdance because he uses rhythm, drums and instruments to give it a more flavour. I honestly don't know how he does it. Lastly, 'Down the Avenue' is one of my favourite songs. I laugh every time I see Judy Garland and Fred Astaire - two absolute legends - dressed up as bums!! Some very famous and spectacular dancing - top notch.

Along the way there are a few laughs (Garland really helps the comedy side), but I mainly watch this movie for it's eye candy. It is a perfect way to escape reality and dive into the world of the magnificent MGM musical. One of the best.

There's an incredible backstory behind Easter Parade. Fred Astaire had announced his retirement from movies, and Gene Kelly was attached to the new Judy Garland musical set at Eastertime. Then, Gene experienced every dancer's nightmare and broke his leg. He called Fred up and asked if he'd take his place. And now we have Easter Parade!

Now that you know Gene Kelly was supposed to play the lead, it's understandable that he was supposed to sing the seductive "It Only Happens When I Dance with You" to Ann Miller. How would Fred Astaire handle it? He's not usually marketed as having much sex appeal. Well, move over Gene Kelly; Fred's just fine. In fact, although there are plenty of great numbers in Easter Parade, that one's my favorite because of the different tone Fred takes with himself.

There are quite a few famous songs from this movie, most notably the performance Fred and Judy give dressed like bums: "A Couple of Swells". Peter Lawford plays the other man in both love triangles-although who would ever pick him over Fred Astaire?-and he gets to sing the cute "A Fella with an Umbrella" when he meets Judy Garland. "Steppin' Out with My Baby" is another performance on the stage-Fred's character is a performer looking for a new partner-that utilizes groundbreaking camerawork that's still fantastic to watch. Fred dances in slow motion while the chorus girls behind him move in regular time, and the layered look is jaw-droppingly innovative for 1948.

I've praised several of Irving Berlin's songs from the movie, but they're not all fantastic. "I was born in Michigan, and I wish and wish again. . ." is a lyric from one of the silly songs Judy has to sing. So, while there will be a few scenes that will make you cringe and leave the room for more popcorn, most of the movie is pretty fun to watch. I own a copy, and we watch it every few years on Easter when we want a break from our usual Ben-Hur. I always like Fred Astaire's movies, so it has to be really stinky for me to not recommend it. I mean, who else but Fred can walk into a toy store and turn the toys into a dance number? Watch his dance "Drum Crazy" in Easter Parade and ask him through the television why he bothered trying to retire.

Perhaps not quite reaching the heights that the talent involved suggests it should, Easter Parade is still none the less a delightful musical full of skill, vigour and heart warming attributes. The story sees Fred Astaire's Don Hewes getting dumped by his dance partner Nadine Hale {Ann Miller}. Vowing revenge, he boasts that he could get any basic lady performer and make her a star alongside him. Enter Judy Garland as chorus girl Hannah Brown…… But for a volleyball accident, Don Hewes would have been played by Gene Kelly, who suggested that since he was out of the picture, the makers should try and get Astaire on board. Astaire had retired from Hollywood but jumped at the chance to replace the then present incumbent of the role, Mickey Rooney. Worked out OK in the end, because, as was normally the way, Astaire gave another masterful song and dance performance. Garland on the other hand had to dig deep to enthuse the role with some quality. In a rut with the formula of the films she was making, and nearing exhaustion because of the hectic schedules, it took a guiding hand from Astaire to see her thru the production. The end result? Garland still managing to enchant and whisk the viewer to a nice place where troubles don't exist.

The piece contains 17 of Irving Berlin's tunes, with Steppin' Out with My Baby and A Couple of Swells particularly standing out, with the latter expertly played out on a moving floor. While admirably supporting the principals is Peter Lawford as Jonathan Harrow III. It's a foot tapper to warm the cockles on a blustery winters day, never mind only at easter! 7/10

Yes, this movie, arguably one of Garland's best at M-G-M, is certainly something to look at. Cute story, excellent cast, gorgeous costumes (Ann's breathtaking white and red gown from the Magazine Cover number and Judy's marvelous emerald-coloured dress at the Ziegfeld Follies after opening night), and have I mentiond the SWELL songs? Drum Crazy is awfully entertaining, Shakin' the Blues Away is classic Miller (in other words fast and superb), Better Luck Next Time is heartbreaking, and so many others are just plain GOOD. A must see for any fans of Judy Garland, Fred Astaire, Ann Miller, Peter Lawford, Jules Munshin (in a funny bit as a waiter), or just great fun.

For those readers who favor Ann Miller's performance please forgive me, but no one can ignore the amazing performances of both Fred Astaire and Judy Garland in their only appearance on screen together. I just thought Ann Miller and Peter Lawford's performances were the fillers so that we the audience could take a breather in anticipation for Astaire and Garland's next on screen song and dance number together.

The color and cinematography in Easter Parade is second to none, even some seventy (72) plus years later. If for nothing else, please watch Fred Astaire perform his solo song and dance number early on in this film when he enters a toy store and attempts to purchase but first must grab a big stuffed toy rabbit from a young boy. This scene has Fred tap dancing his way into our living rooms like only he and maybe Gene Kelly (who had to turn this role down because he broke his ankle and was not available when filming began) could have done. This song and dance scene alone is worth the price of admission as the choreography and especially Astaire's uncanny ability to work his way through the toy store tap dancing, drumming, jumping, and singing in this one scene is simply pure entertainment.

I give it a 7 out of 10 IMDB rating.

I don't know why I haven't checked this out on DVD yet. I imagine it looks spectacular, because even the VHS looked super. I'm talking about the Technicolor. Man, those Technicolor films in the '40s were beautiful, as this certainly is.

For entertainment, you get Fred Astaire dancing, Judy Garland singing, Ann Miller dancing, and Peter Lawford singing. I didn't think Lawford could sing, but he's not bad here. The other talent must have elevated his.

Astaire consistently amazed audiences with his innovative dance routines and smooth style. He does a number here in a toy store that is really something! Miller also gives us a good tap number and Garland's songs are all winners.

This movie is more vehicle for those above-mentioned stars than it is in telling some profound the story. The story is not much, but who cares? It's the dancing, singing, the incredible costumes, overall color, nice people and just plain feel-good musical atmosphere that makes this a popular film, even to this day.

EASTER PARADE doesn't tell the typical tale of a love triangle; in fact, it's more like a love square. Even though it's Easter and he's just told her that 'It Only Happens When I Dance With You', Don Hewes (Fred Astaire) is most unceremoniously dumped by his dancing partner Nadine Hale (Ann Miller) for a high-prestige solo job headlining the Ziegfeld Follies. Bitter at being dumped both professionally *and* personally, Don swears that he'll pick any girl off the street and turn her into a dancer to rival Nadine (hard to imagine considering who was playing her!). Although he first tries to model her in Nadine's image (naming her, of all things, Juanita), he soon realises that the girl with the heartbreaking voice that he's picked up, Hannah Brown (Judy Garland), must remain Hannah Brown. They come up with new routines that suit 'Hannah & Hewes', while Hannah falls for Don as Don's buddy Johnny (Peter Lawford) falls for her. Things get a little messy for a while when Don can't seem to get over Nadine, Nadine has a lascivious eye out for Johnny, Johnny carries a torch for Hannah, and Hannah pines for Don. Still, the square doesn't remain a square for long.

In a lot of movie musicals, one tends to get the feeling that the writers are struggling to pad the plot with songs. There appears to be no such pretense in this film: from the very beginning, with Astaire singing 'Easter Parade' to open the film, one gets the impression that EASTER PARADE sets out to be a showcase for songs and a stage for dances--this is further emphasised when 'Easter Parade' segues immediately into Astaire's famous solo 'Drum Crazy' (with no intervening dialogue), which, while enchanting, has next to nothing to do with the story. The plot is skimpy, but not worriedly pushed to the side as in some other musicals... in fact, it quite happily moves over of its own accord to make way for the Irving Berlin tunes. Most of which are, no offense to the immeasurable Berlin, pleasant but not particularly memorable. There are exceptions, of course, particularly the fantastic 'A Couple Of Swells' (with enchanting dance accompaniment--Garland mugs and Astaire parodies his own 'top hat, white tie and tails' image to excellent effect). I'm also partial to the recurring love theme, 'It Only Happens When I Dance With You' and 'Better Luck Next Time'.

And of course, there's nothing really wrong with being all about the singing and the dancing when it's *such* incredible singing and dancing. It almost goes without saying that Garland, with that slightly off-kilter but heartbreakingly beautiful voice of hers, lights up the screen in all her scenes. (It's a credit to Peter Lawford that he manages to hold his own in their one number together 'A Fella With An Umbrella'!) There are also very few dancers better than Fred Astaire and Ann Miller; Astaire in all the scenes that has him tapping away as he was born to do, and Miller particularly in her rousing, beat-perfect 'Shakin' The Blues Away'. It will always be a mystery to me why Miller wasn't given more choice roles and more opportunities to show off her dancing skills (and legs!), since she always acquits herself wonderfully in any film I've seen her in (particularly ON THE TOWN and YOU CAN'T TAKE IT WITH YOU) with the little screen time she almost inevitably gets.

In the late 1940s, one couldn't really be blamed for getting the impression that the MGM musical--though still big and splashy (witness the overblown 'calendar girls' segment shoved into EASTER PARADE)--was just limping along until Gene Kelly came along and shook things up with AN AMERICAN IN PARIS (and SINGIN' IN THE RAIN to follow). Unfortunately, even with its impressive cast and great dancing, that's just what EASTER PARADE feels like... a filler. It's a slight, not too complicated or strenuous musical that's enjoyable but hardly a classic. Watch this for the performances of all concerned, but not for the plot. For that, the main stars (Astaire, Garland and Miller) have been in far worthier musicals.

Originally intended as a re-teaming of Judy Garland and Gene Kelly, EASTER PARADE ran into trouble when Garland's doctors advised against her working under the direction of her husband, director Vincent Minnelli--and no sooner did director Charles Walters take the helm than Gene Kelly broke his leg. Out of such confusion are movie musical miracles born: although a bit old to act as Garland's leading man, Fred Astaire was coaxed out of retirement. He and Garland had tremendous chemistry, EASTER PARADE was a box office smash, and Astaire unexpectedly found himself reborn as an MGM star.

Set in 1900s New York, the film's story line is flimsy but enjoyable. After long-time dance partner Ann Miller abandons the act, Astaire hires chorus girl Garland and attempts to recast her in his former partner's mold--a situation which offers Astaire and Garland considerable comedy and gives Astaire the chance to parody several of his own famous dance of the 1930s. Garland eventually convinces Astaire that she needs to be herself, and once the act is revamped they become a hot ticket--and, once their several romantic complications are resolved, romantic partners as well.

Astaire is every bit as charming here as he was in his Ginger Roger days, and his choreography retains his signature sharpness, wit, and elegance. Although Garland isn't really a dancer, she holds her own with Astaire and she tears strips off a brilliant score of Irving Berlin favorites. Both are well supported by Anne Miller, who gives a brilliant turn with 'Shakin' the Blues Away,' and Peter Lawford, who is quite charming as one of Garland's admirers. Although this really isn't as inspired as the truly great MGM musicals of the late 1940s, director Walters keeps it going at a smart pace, and the star power, clever script, memorable score, and those legendary MGM production values elevate it well above the pack. Musical fans will be in for a treat! Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

After he's left a bit high and dry by his established partner "Nadine" (Ann Miller), acclaimed song and dance man "Hewes" (Fred Astaire) makes a rather drunken promise to their pal "Jonathan" (Peter Lawford) that her replacements are ten-a-penny. The words are barely out of his mouth when he encounters "Hannah" (Judy Garland) who's making $15 a week as a dancer on the stage in a club. She has potential, thinks he, and so he ups her wages a bit and invites her to train with him. From here on in, this plot is fairly predictable so don't expect anything remotely left-field. What we do get, though, is a classy and charming romance that's peppered with half a dozen energetically choreographed routines that prove quite a feat for a woman usually wearing six-inch heels and an ankle-length skirt! Obviously, everyone does their own singing - to the likes of Irving Berlin's "It Only Happens When I Dance With You"; "A Couple of Swells" and the title track and these songs showcase not just the powerful voice of Garland, but also of the fainter but equally soothing dulcets of the dapper Astaire too. Lawford doesn't really trouble the scorers but does enough and Miller plays the increasingly irked "Nadine' - "Shakin' the Blues Away", quite entertainingly as the film gathers pace. It's precision film-making at it's most natural, is colourful, lively, occasionally quite pithily written and well worth a watch.

For the only teaming of Fred Astaire and Judy Garland, Gene Kelly had to break an ankle playing touch football although he told the studio it was in rehearsal. So Fred Astaire who after another Irving Berlin musical extravaganza, Blue Skies at Paramount, got pulled out of retirement for this film. It was a happy accident for film fans.

Easter Parade by this time had become the national anthem for Easter and enjoys a grand seasonal popularity as Irving Berlin's White Christmas also. It was originally written for the musical revue As Thousands Cheer in 1933 and sung as a duet by Clifton Webb and Marilyn Miller. Bing Crosby reprised it in Holiday Inn in a very nice number driving a horsedrawn sleigh from church Easter services. But usually when it is presented visually, the clip of Judy Garland singing it in the finale is the one always shown.

By the way the melody originally was for a lyric entitled Smile and Show Your Dimple which bombed for Irving Berlin. Berlin was quoted as saying that popular songs are a perfect marriage between words and music and in this case the melody got divorced and married a second lyric successfully.

Easter Parade is a good mixture of old Irving Berlin material and new songs written for this film. Fred Astaire shines with one of the new ones in Stepping Out With My Baby which is a good followup to Putting On the Ritz which Astaire sang and danced to in Blue Skies. And Judy just shines in Better Luck Next Time.

The plot is a pretty simple one and for the MGM opulence that their musicals were known for their are very few actual speaking roles in this film. It's a romantic quadrangle with Fred Astaire being dumped by his erstwhile partner Ann Miller and then taking on Judy Garland in one of those 'I'll show her' moments of bravado. Peter Lawford's around to get whoever Astaire doesn't.

The acting honors in Easter Parade go to Judy. For all that talent Judy Garland was a most insecure person in life and she drew from that in bringing Hannah Brown to the screen.

Ann Miller's big number is Shaking the Blues Away which Ruth Etting introduced in 1927. Doris Day in fact does it in Love Me or Leave Me. Still Ann makes it more of a dance number than Doris did which is what Irving Berlin originally intended it to be.

The thing about Easter Parade and so many other films like it is that all that talent was contracted to that studio. You can't make a film like Easter Parade today because you'd have to pay full market price for the talent, even as Irving Berlin's numbers slip year after year into public domain.

The Easter parade with women dressed in their finest most tasteful frock is still a New York tradition on Easter Sunday. So is this film.

The story sees Don (Fred Astaire) make Hannah (Judy Garland) his new stage partner after he has been dumped by Nadine (Ann Miller) so that she can pursue a solo career. Don bets womanizing pal Jonathan (Peter Lawford) that he can make any chorus girl into the next star and picks Hannah at random. They sing some songs, do some routines and fall in love and the finale is the singing of the title song as they promenade along 5th Avenue with all the other posers who undertake this ritual every Easter.

The cast are good in this film with Judy Garland winning the honours as she provides many humorous moments (watch how she scene steals from Fred Astaire in the rather hammy and drab routine that is "A Couple Of Swells"). Most of the musical numbers are good if forgettable. My favourite routines include Judy Garland singing "I Want To Go Back To Michigan", her duet with Peter Lawford "A Fella With An Umbrella", Ann Miller singing and dancing "Shakin' The Blues Away", the sequence of song and dance duets that Judy Garland and Fred Astaire have together including "When The Midnight Choo Choo Leaves For Alabam", and Fred Astaire's number "Steppin' Out With My Baby" despite the unnecessary gimmick of having him dance in slow motion which cheapens the routine.

Unfortunately, the film crams in too many songs and the viewer may lose interest in the musical offerings, especially towards the end, as none of them are particularly good or memorable unless there is dancing involved. The film is also a little unbelievable in the way Judy Garland falls in love with Fred Astaire. Peter Lawford is the obvious romance for her, but the film seems to be driven by the following love formula - Judy Garland loves Fred Astaire (unbelievable) who loves Ann Miller (but she's a complete bitch so it's unlikely) who loves Peter Lawford who loves Judy Garland. It doesn't work.

A final criticism must be made of the ending. At the beginning of the film, Don tells Hannah that come the next Easter Parade, photographers will be lining up to take her picture instead of Nadine's and we have an amusing sequence of Nadine promenading with a dog in a completely ghastly and posey manner as photographers take her picture. At the end of the film, the audience does not get the satisfaction of seeing this come true. We are left with Don and Hannah (wearing long pink rubber kitchen gloves) walking along the parade together but that's it. I assume we are meant to deduce that Hannah has arrived and is now on an equal billing with Nadine. Incidentally, we are not shown what happens with Nadine and Jonathan. I assume that they get together as they are both comfortable with having a showy lifestyle. Nothing is clearly resolved.

The cast are good, the colour is great, the costumes are great particularly one green velvet dress that Judy Garland wears, and some of the routines are good but there are better musicals than this.

This is a superlative musical, made by the very best musical talents at the top of their game. Judy Garland and Fred Astaire were (along with Gene Kelly) the ultimate in musical comedy stars, and this was their only on-screen pairing. This film affords them the chance to shine both individually and as a duo, displaying Astaire's dazzling footwork and Garland's throbbing voice, as well as their comic abilities. Irving Berlin provides them with a potpourri of popular tunes, and there are several stunning show-stoppers, especially the "A Couple of Swells" number (with Astaire parodying his usual Top Hat and Tails persona). Garland's voice makes "I Love a Piano" ring out, and Astaire shows that at nearly age 50 he could still dance with aplomb in "Steppin' Out with my Baby" (though why they decided to run part of it in slow motion when this could never happen in the stage production they were presenting is a bit of a mystery). The opening number, "Drum Crazy" is also a little masterpiece, since it highlights not only Astaire's dancing, but also his drumming abilities, and also tells a little story and comments on his character as well, all without a word of dialogue. Mention should also be made of the sensational Ann Miller, in one of her best roles. The songs (some old, some new) fit very snugly into the fluffy but sturdy plot, and the entire package is a nifty delight and a reminder of what musical comedy was like when it reached the heights.

There was a lot to love in this MGM musical especially the Irving Berlin score that includes such great numbers as "Happy Easter", "Drum Crazy", "I love a Piano", "Steppin' Out With My Baby", "Easter Parade", and "It Only Happens When I Dance With You". The costumes were colorful and sublime...particularly Ann Miller's Green and leopard print number and her initial Easter parade outfit (including the dogs!). The acting, dancing and singing was all top shelf with this stellar cast of Fred Astaire, Judy Garland, Peter Lawford, and Ann Miller.

What left me flat however was the story itself. Fred Astaire plays a slightly famous song and dance man named Don Hewes who is in love with his lovely dance partner Nadine Hale (Ann Miller). Unfortunately, Nadine is trying to land his wealthy young friend Jonathan Harrow III (Peter Lawford)...somewhat aggressively. She also has taken a job without her partner Don. In a fit of pique, Don decides to prove to Nadine that he doesn't need her and that he can make any hoofer famous. He picks Hannah Brown (Judy Garland) out at a tavern and proceeds to mold her into the perfect dance partner. At some point Don's friend Jonathan runs into Hannah and falls madly in love.

At the end of the day, in spite of her loveliness, I thought Nadine was a despicable character and I thought the final pairings should be Jonathan with Hannah and Nadine with Don because those two deserved each other. Unfortunately, that is not how this musical ends up and I found myself incredibly disappointed. Not a recommendation to my fellow romantics, but I do think fans of Irving Berlin and the four major stars should give it a watch.

I know that "Easter Parade" has a reasonably high IMDb score and a lot of folks liked it, but it left me flat. I for one wanted to like it, as I adore Fred Astaire and try to watch all his films. But, unfortunately, while the film looked nice, it lacked the sort of stuff that made many of Astaire's movies great. Sure, it had singing and dancing but it also had Astaire playing a rather unlikable guy, lacked charm and style as well as having way too much singing! Too much singing? Yep--or at least the TYPE of song and dance numbers were not all that great. So here, instead of having Astaire sing and dance because life is grand (the BEST reason to sing and dance in a film), it was because he and his partner were professional dancers on stage. And, insanely, MGM decided not only to show their dance numbers but practically ALL the other numbers as well. It made for a variety show sort of film but it also made the plot seem rather unimportant and also dragged the film to a grinding halt. For example, after Judy Garland and Fred profess their love for each other--there were several dance numbers that had NOTHING to do with this. Too often, the film failed to work towards enhancing the plot--and the songs were just there. It's a shame, too, as the plot wasn't bad and Fred and Judy could have made this a terrific film--but the writing and direction just did everything to make the film drag. Heck, after a while, I found myself just wanting it to end already! And that is NOT what I expect from a Fred Astaire film!

By far the best bit of this movie is early on in the running time, when the wonderful Fred Astaire has a routine in a toy shop, to the Berlin number ‘Drum Crazy'. He's there to get an Easter present for his dancing partner (played with energy by Ann Miller), but she has a bombshell to drop: she's leaving him to join a bigger name stage show, and he's left high and dry without an act.

Step forward Judy Garland, as a waitress who Fred thinks might be able to sing and dance. At first she's reluctant, and hopeless, but of course, this being MGM mush she falls for Fred and suddenly finds her talent. At this sort of thing Garland had no peer.

Also in the cast are Peter Lawford, as a rich no-hoper with a heart who first pursues Garland, and then steps aside for Fred (heading for Miller on the rebound). He sings A Fella With An Umbrella – not very well – but is certainly easier on the eye than Astaire. A tiny but scene-stealing role is given to Jules Munshin, who would be seen the following year in ‘On The Town', as a waiter describing just how the green onion salad listed on the menu is prepared.

The lead was not originally planned for Fred, but for the younger and more athletic dancer Gene Kelly, but when Kelly injured his leg the way was clear for Astaire to be coaxed out of retirement. He continued to appear in musicals for another twenty years.

The songs in ‘Easter Parade' are a bit of a rag-bag – classics such as Easter Parade, Steppin' Out With My Baby, Shakin' The Blues Away etc. jostle with old vaudeville numbers like When The Midnight Choo-Choo Leaves For Alabam'. The result is a bit of a mish-mash. Perhaps the best song shot for the movie was the one omitted before release – Mr Monotony, performed by Garland in her trademark costume of the top half of a tux and tights (two years before ‘Summer Stock' and the Get Happy number). This number can be seen in That's Entertainment III, released in 1994.

‘Easter Parade' is good, but unbelievable. I never could understand the appeal of Fred Astaire beyond his dancing, and the supposition that a character of Garland's age would be interested in him is stretching things a bit. That aside, it has excellent Technicolor and moves along at a steady pace.

Not a great Fred Astaire musical. He was perfection in every step. But Judy Garland, while good, looked wooden in her dancing alongside his genius. The best number was the drum dance which was right in the beginning. Almost all flat from there. Great to watch Astaire (as always) and Ann Miller is an exceptional dancer but overall the film lacks a certain joie de vivre. Maybe that it's set in 1912. I dunno. Or that there's more pizazz and not so much elegance. Second time I have seen this, first time in at least 10 years, not sure I'll ever seen it again... although because it's an Astaire film, I just might be tempted. As a man, watching men dance I can do without, but when it comes to a certain few, it's amazing to see such perfection and Fred Astaire is perhaps the best of the best!

6.4 / 10 stars

--Zoooma, a Kat Pirate Screener

Gene Kelly broke his ankle, and was replaced by the wonderful Fred Astaire. Throw Judy Garland into the mix, and you have a simply delightful easter film. I thought Astaire had great chemistry with Ginger Rogers, but he and Garland are both brilliant here. Anybody who said Judy Garland wasn't a dancer, that is so unfair. She did very well with the dance routines, which were at such a fast pace. I know because I have 2 sisters who are dancers. The songs by Irving Berlin are among his best, and the incidental music, particularly when Don and Nadine were dancing in the restaurant, was just beautiful. How could you say, this has too many songs. For God's sake, it's a musical. The script actually wasn't as bad as anybody has said; I thought it was clever. There was also solid support from Ann Miller and Peter Lawford, and the film just looked beautiful, (Judy's costumes were to die for) the song and dance numbers beautifully staged. Astaire and Garland were especially outstanding in "Couple of Swells", see this movie. It is a true Easter treat! 10/10. Bethany Cox

This is NOT the best Irving Berlin movie. Nor the best of Astaire. Nor of Garland. It has some good melodies and great dancing, but some very tiring, or trite, or banal material as well. Highlight of the movie? Astaire and Garland doing a formal dance with Garland in pink plumes, but the plumes molt on stage (recall in Strictly Ballroom how Australian kids find similarly molted feathers). Low point? The hat shop, where that tired "Happy Easter" tune plays over and over and over (recall the opening of State Fair for something similar).

This is another of those interesting films set c.1912--watch for the wide-hipped, hoble-skirted fashions (cf Titanic and My Fair Lady, among so many others), which are the hallmark of the period's "Botticelli" look.

Don't you just love those old 40's musicals? Easter Parade is certainly one of the best, with Fred Astaire doing his amazing flashy but precise dancing, Judy Garland using her legendary voice to sing right from her heart into yours, and Ann Miller doing her own unique style of dancing and tapping while belting out great songs. And of course, everybody in the film uses any excuse to sing yet another song, usually dancing to it as well.

One of the special sequences has Fred Astaire dancing in slow motion while the rest of the cast dance at normal speed behind him! Sure, we can do that these days with computers, but remember this film was made in 1948!!

Of course there's the usual plot - Boy meets girl, they fall in love, have a misunderstanding, but get together again just in time for the big finishing number. That used to really get the audiences in, in those days, and they repeated that theme in every musical that ever was.

Any weak spots? Several of the film's routines seem a little amateurish by today's standards. For example, the waiter tossing his invisible salad just to do a bit of clowning seems a little contrived. Also, the film is supposedly set in 1912, so all the 1948 fashions and hairstyles are completely anachronistic - but what does that matter, after all, it's just an enjoyable romp.

I've given this film eight out of ten, but if I could just vote on Judy Garland's singing and Fred Astaire's dancing, I'd certainly give them ten out of ten. This is definitely a "must-see" film, just for those two incredible talents!

The storyline is flyweight here, even by musical comedy standards. The songs vary; to tell the truth, this is not a soundtrack I would buy. Some have clever lyrics, some are pure hokum. The female chorus backing many songs is of the horrid 1940's harmonized variety, and it sounds like a soap commercial. It's a pity that so many otherwise great recordings from the era were desecrated by such syrupy over-produced warbling.

But the dancing is excellent for the most part. The sets are bright and bold and imaginative, though not awe-inspiring. It's a bit jarring to see a 49-year-old Astaire paired with a 26-year-old Garland (even if she is already starting to look a bit ravaged), and their romance is never plausible. But they both tackled their roles with a lot of gusto and appeared to be enjoying themselves.

One really dazzling moment is when Ann Miller (who was never more alluring than in this movie) puts on her big dance routine and spins around so fast, and so many times, that it strains credulity that she didn't simply topple over and pass out. Rather odd that the single most striking bit of dancing (on one of the movie's most extravagant sets) came from her rather than the leads.

The Easter "parade" at the start of the movie is a real gem, a great example of 1940's Hollywood going completely over the top. The sequel at the end of the movie is curiously pale in comparison, even if it does feature Astaire wearing a silk top hat with a lavender silk bow. (One of the unresolved issues with the screenplay is the contrast between exotic Ann Miller and "plain" Judy Garland.)

But the movie's high point for me was the number featuring Astaire and Garland dressed as tramps. The lovable tramp schtick can result in dreary, tedious cliché ala Red Skelton, but it's carried off with great verve in this case and is a real treat to watch.

This is one of those movies to watch when you're having a lousy day. From the opening notes, you get a big grin on your face. By the time you get to the 2nd number "Drum Crazy", you're positively smiling ear-to-ear (if not banging on the furniture yourself, like I was. Sorry, mom).

Being a (failed) drummer myself, I absolutely loved this piece. A few weeks ago I saw "Daddy Long Legs" in which Fred also does a drum solo & dance. Folks, this cat really knows how to bang the tom toms. Rhythm is the foundation of dance, and Fred really shows his mastery of it, alongside his comedic antics.

Everything is colourful. Everything is graceful (camera work included). The sets (recreating 1912) are faithfully and magnificently done, particularly the scenes of New York City with horses, buggies, old storefronts and hundreds of extras dressed impeccably in Victorian attire. This movie will truly sweep you off your feet.

I can't wait to have another lousy day so that I can pop this bad boy in the DVD player.

From start to finish this film ranks highly with the best of the best movie musicals like "Singin' In The Rain" does. The way Fred handles the pesky little kid in the toy shop is precious. Notice the wary shop help in the background keep eye. Look for Fred trying to cajole Ann on to the terrace to dance and she refuses due to the cold then warms herself by the fire, so realistic. Fast forward to the "Girl On The Magazine Cover" in a Zigfeld Roof production number. How glamorous to see a beautiful woman who can dance with a chorus of handsome men in tuxedos. When was that last done in the 21st Century? I highly recommend this picture if you never have seen it. I guarantee you'll want to see it again and again.

Some old-time Hollywood musicals have a style which plays well in any era. To others time has been less kind as they come across as relics of a time gone by. Unfortunately Easter Parade is one of those relics. It was a smashing success in 1948 but all these years later it doesn't play very well at all. The plot is too slight, the pacing is too slow, the songs are too dull, the whole package just doesn't work. Now any movie starring Fred Astaire and Judy Garland isn't going to be all bad. Astaire's dancing and Garland's singing are as great as you imagine they would be. Not for nothing were they film legends. But all in all this is a film which makes a rather poor showcase for the renowned talents of its famous stars.

The bare-bones plot involves Astaire's character of Don having his dance team partner leave him to take up a solo offer. "I'll show her" he thinks, stating that he can take any old girl and make her into a star. Any old girl turns out to be Hannah Brown, played by Garland. Don and Hannah form a new partnership which struggles to get off the ground. But eventually the pairing starts to pick up steam and you think the movie might too. But no such luck. It's still a rather dry, oddly lifeless, musical. And a very antiquated looking and sounding one to the modern eye and ear. The Astaire-Garland pairing never sizzles the way you'd hope it would. Astaire is obviously the far superior dancer of the two. Garland gamely tries to keep up but the contrast is rather jarring. It kind of works for the story in that Garland's character is supposed to be an anonymous nobody of a dancer. But when Astaire's best musical number pairs him with a couple of anonymous hoofers while Garland stands idly by offstage it says a lot. The age disparity catches up with the pair as well once the inevitable romantic storyline kicks in. Everything about the pairing, and thus the movie, seems off somehow. It never comes together properly. The songs, the cornerstones of any movie musical, are all forgettable. The humor largely falls flat, most notably in one scene involving the world's weirdest waiter. The story isn't much of a story at all. Astaire and Garland have their moments but not nearly enough of them to carry this film to success.