Silk Stockings

Astaire too old! Gimme a break. He danced with a polish that was always present. Charisse should have been grateful for his presence and I suspect that she was.

A characiture of the USSR and America of the Cold War period? Yes indeed, and it was almost as good as "One, Two, Three" in its dialogue and situation. Its sensuality as presented in its dance numbers far exceeded the 1939 version and all comers of the same subject.

I had no problem watching a 56 year old Astaire romancing a 36 year old Charisse. As a matter of fact, I found the pair quite sensuous.

I have often wondered why in the final dance scene Cyd's costume skirt was switched to a cullote in the middle of the scene. The switch was not seamless as it was very noticeable.

But, all in all I give this delightful musical a rating of 8 on a 0 to 10 scale.

Dave

There are a number of good things about Silk Stockings, but there also is a professional finality about the movie that makes it easier to observe than to be delighted by it. It was one of the last of the big MGM musicals coming from Arthur Freed's production unit. It was the last musical Fred Astaire made as the lead. It was the last film directed by Rouben Mamoulian. It was based on the last Broadway musical Cole Porter wrote. Silk Stockings also was used to make a statement about the excesses some thought were ruining films and music...the advent of rock and roll and the technological changes in films with wide screen and stereo sound. It even takes a crack at the fashion for ballet in many musicals. You've got to be very clever and original to successfully parody things which are already self-parodies. Silk Stockings, even with its many entertaining moments, isn't that clever.

The story is based on Ninotchka, the female Soviet commissar who comes to Paris and finds romance reluctantly...and then enthusiastically. Paris is presented as a place where decadence was never more innocent and persuasive.

One of the things that seems so odd is that, for a Fred Astaire film, Astaire spends a good deal of time doing knee drops, full-length on-the-floor sprawls and athletic dance moves that limit the sophisticated and smooth Astaire style. He was 59 when he made the picture, and this might explain the relative shortness of some of the sequences. Still, while he is assured and immensely watchable (and while he can still do wonders with a cane), three major dance productions he is in just seem choppy.

Most of the songs from the Broadway show were retained and Porter wrote a couple of new ones. It's become routine with Porter to say that whatever his latest show was, the score was never one of his best. In this case, it's true. The romantic songs are great, but the topical specialty numbers just seem tired. Siberia and The Ritz Roll and Rock in particular miss the mark, in my opinion.

Astaire, as always, is first class. Charisse is easy to look at and a fine dancer. George Tobias, as a commissar in Moscow and Ninotchka's boss, gives a sly and dead-pan performance. Some of Porter's songs are very good. Mamoulian brought the film in on time and under budget. And Silk Stockings was a success with ticket buyers.

Silk Stockings is not one of MGM's best films, with it just lacking their earlier films' sparkle, and it is not as good as Ninotchka(a Greta Garbo and Ernst Lubitsch gem), that it's a remake of. However, while it has its flaws, it is eminently watchable and is good entertainment.

The film is a handsome-looking film, especially in the sumptuous sets, though the colourful and expansive photography, not-too-bright-not-too-drab lighting and elegant costumes also delight. The music is energetic and whimsical and the songs, while not among Cole Porter's best(Ritz Rock and Roll is a little dull and tired) are very good, with memorable melodies and Porter's usual wit evident. All of You and Paris Loves Lovers are dreams come true for Fred Astaire and Cyd Charisse lovers, but the highlight is the enormously fun Stereophonic Sound, Siberia has some funny moments but not for all tastes. Choreographically Silk Stockings is splendid, but does not waste Astaire or Charisse's talents at all, the songs I mentioned as highlights are also the highlights for the choreography, and while Ritz Rock and Roll is tired song-wise Astaire's dancing certainly is not.

Also present are a very clever script, where most of the humour sparkles and the romantic parts have the right balance of sweetness and magic while not feeling too much, it also has a good deal of warmth chemistry-wise which stops it from feeling cold and underdeveloped. The film is warm-hearted, good-humoured and light-footed on the most part, and is competently directed, while the cast are as splendid as the choreography. Astaire is as charming and graceful as ever, and Charisse is glamour and elegance personified. Janis Paige is hilarious, and comes close to stealing the show in Stereophonic Sound, and Peter Lorre and Jules Munshin are amusing, though both have given better performances elsewhere.

It's not a flawless film though. It does get heavy-handed in places and occasionally over-plotted, the anti-Russian jokes may leave a sour taste in the mouth and as aforementioned the Ritz Rock and Roll lacks the energy and is not as memorable or up-to-tempo as the rest of the film.

Despite the problems, Silk Songs is very watchable and fun and an above decent but inferior musical remake of Ninotchka. 7/10 Bethany Cox

As "Silk Stockings" reaches the half-century mark, it is now so dated that it can be enjoyed either as a period piece, as a look at popular attitudes toward the Cold War, as a rather silly but enjoyable setting for the odd couple of Cyd Charisse and Fred Astaire, or as a chance to see character actors like Jules Munchin and Peter Lorre. You know it's an old movie when Technicolor and stereophonic sound are being touted as the new big things!

Whether you like the main movie or not, the DVD extras have their own charm. The Special Features section includes a short film with Cyd Charisse as narrator, made about 2003, in which she talks about Cole Porter, Fred Astaire, and how the film came to be. Another short b/w film from the thirties is called "Paree, Paree". This one stars a very young Bob Hope, and features Cole Porter songs from the musical "20 Million Frenchmen".

Another musical treat is the "Poet and Peasant Overture", written by Franz von Suppe, played by the full studio orchestra. Both the 'Paree' film and this overture will tease you with musical strains familiar to those of us who grew up with old cartoons, so be warned! Listening to this music may induce animation flashback.

Teaming an on-form Fred Astaire and the lovely Cyd Charisse, supported by Janis Paige, Peter Lorre, and others, this musical adaptation of the famous 30s Garbo vehicle, 'Ninotchka', shines out right at the end of the golden era of screen song and dance movies.

Cyd looks the part and she and Fred have some marvellous dance numbers, as well as the repartee kept in from the original film. Janis Paige is particularly good in the mickey-take 'Stereophonic Sound' (because, of course, this Ninotchka version is based around, yep, putting on a show). The other fun to be had is in seeing Peter Lorre in a musical number. Priceless.