That's Entertainment! III

The movies highlighted in all 3 That's Entertainment! films makes you feel a bit sad. Sad that the world has lost so much innocence so quickly. The difference between the great MGM musicals and the effects-filled action films of today is incredible - and the last MGM musical was only made 49 years ago. And what a difference that 49 years has made! This instalment of the That's Entertainment! series is very interesting from an historical perspective. We see many deleted dance sequences, and a few behind-the-scenes views of great numbers. It was very nice to have Leena Horne featured so much as well, and her candid comments about Hollywood's attitude to her as a black performer was very moving. And its always pure joy to watch Fred Astaire doing what he does best - showing us all he was the greatest dancer who will ever live.

All-in-all, this film is a terrific addition to the That's Entertainment! series, and a film all movie buffs and movie historians must see. I don't think its as good as TE! 1, but its much better than TE! 2.

The final instalment in MGM's nostalgia fest of old musical clips is presented in much the same way as the first one twenty years earlier, as several luminaries from the studio's past are wheeled out in front of the cameras to reminisce on their time under contract. The film also marks the final appearance of an obviously ailing Gene Kelly, who introduces and closes the proceedings with some poignancy.

Others involved are Donald O'Connor, Mickey Rooney, June Allyson, Lena Horne, Ann Miller, and Esther Williams, and the clips include outtakes and unused material for the first time (a lavish production number intended for The Harvey Girls; Judy Garland's ‘Mr Monotony' from Easter Parade, where she wears her trademark tuxedo and tights for the first time; and early clips from 1930s musicals which were junked).

We also see how an Eleanor Powell number was filmed, with stagehands rearranging the set to allow the camera to get close; and see a comparison of a Fred Astaire number in two different set-ups.

A good attempt to tidy up all the clips we hadn't already seen in TE 1 and 2, and worth a couple of hours of your time.

The third installment of musical clips from the MGM vaults. I'm a sucker for musicals and "That's Entertainment! III" was a huge surprise. I thoroughly liked the first part ("That's Entertainment!"); the second installment ("That's Entertainment, Part II") was decent but not that memorable, but this third compilation towers over its predecessors. One of the riches of the "That's Entertainment!III" is that the filmmakers are very critical and passionate about the subject. As much as they are paying homage to the glory of the MGM dream factory, they are also depicting the skill and the hard work that go along with it. This is perhaps the reason serious film critics seem to rhapsodize about it. Lots of pleasant & glorious moments, featuring many musical numbers, most of them cut from the original releases. Particularly revealing are: Eleanor Powell's tap dancing in "Lady Be Good" (in split-screen while the camera moving along with her); Lena Horne speaks about the prejudiced policies at MGM, introducing a nice censored bath scene from "A Cabin the Sky"; and Debbie Reynolds' rare number "You're My Lucky Star", cut from "Singin' in the Rain".

It's easy to see why Siskel & Ebert gave this one a big two thumbs up. And even the hard to please Rex Reed said: "Two hours of paradise regained--pure magic!"

Easily among the best of the 'That's Entertainment' compilations, it features June Allyson, Cyd Charisse, Lena Horne, Howard Keel, Ann Miller, Debbie Reynolds, Mickey Rooney and Esther Williams all giving us a guided tour of some of their best MGM moments. The late Gene Kelly is included among the hosts.

Especially fascinating is the dance sequence showing how the crew worked hard to keep up with Eleanor Powell's dance routine in "Lady Be Good"; Esther in an underwater number for 'Jupiter's Darling'; and outtakes of Judy Garland's attempt at 'Annie Get Your Gun'. Elvis fans will get a chance to see his 'Jailhouse Rock' routine.

Also intriguing is an early glimpse of the first Hollywood musicals, with Joan Crawford, Jack Benny, Marion Davies and others doing an awkward version of 'Singin' in the Rain', complete with overweight chorus girls and early color.

Film nostalgia of the highest kind--a treasure for fans of MGM musicals. Those were the days!!

Every THAT'S ENTERTAINMENT film has a hook to draw new viewers in--the first film had the sheer novelty of these film giants talking to us about the work they did in that glorious, music-filled period of movie-making, although these legends were reduced to reading off pre-written scripts. The second movie had a more intriguing main attraction: only two narrators, but when those two narrators were Fred Astaire and Gene Kelly actually dancing and singing their way through the gorgeous clips stacked up? Fantastic.

Well, THAT'S ENTERTAINMENT III sure tries its best to live up to its predecessors. Retaining the narration technique used in the same film, albeit with the second generation of MGM musical stars (and only Gene Kelly, sporting enormous glasses!, retained from the first two films), the film's hook is the rare special footage it boasts--from a background tracking shot showing the vast amount of money and manpower invested in just one Eleanor Powell number, through to valuable outtakes such as Debbie Reynolds' 'You Are My Lucky Star' number (cut from SINGIN' IN THE RAIN but available on DVD now) and the Indians number in ANNIE GET YOUR GUN as originally performed by Judy Garland. There are other little treasure nuggets as well, all deleted scenes, such as Judy Garland's song 'Mr Monotony', meant for Easter Parade; and Lena Horne's risky bubble bath chanson filmed for CABIN IN THE SKY. And I do wonder what was so bad about Ava Gardner's lost vocals for SHOWBOAT--I thought she sounded pretty darn good myself!

I personally thought the best thing about this film was the way some of this rare footage was displayed--the split-screen technique was quite the stroke of genius. It was used to simply brilliant effect, for example, in showcasing two versions of a number filmed to the same dubbed vocals, the first starring Joan Crawford (for TWO-FACED WOMAN, in rather astonishingly Technicolour and camp blackface) and the second Cyd Charisse (for THE BANDWAGON). No guessing which number SHOULD have been retained (hint: Charisse is one of the best dancers of any time; Crawford is... not), but it was hilarious watching the very VERY different ways in which the same song was approached in the two different films.

My favourite part of the whole film was a number similarly presented, except this time it pitted Fred Astaire against himself. The sand-enhanced song-and-dance, to the tune 'I'm Just A Dancing Man', was filmed once, but deemed not classy enough. So there are two versions--one of Fred in top hat and tails, the other in overalls. Guess what? Astaire keeps to his own internal rhythm perfectly, and proves in this juxtaposition of the two scenes that he is his own best partner. It's pretty damn amazing, and probably the best and most jaw-dropping part of the film.

The rest of THAT'S ENTERTAINMENT III is pretty run-of-the-mill in comparison. It's not stuff we haven't seen before (we've seen better clips in the previous two films), and there are still the prerequisite sections dedicated to Fred Astaire, Judy Garland and Gene Kelly (oh yes, and Esther Williams, of course). It's a shame that there wasn't a Cyd Charisse segment, or one dedicated to Ann Miller. Considering that both these dancing ladies were presenters during the film, it'd have been nice to recognise the great contribution their long legs made to film musical history. I did enjoy the clip from THE KISSING BANDIT that had Charisse and Miller pitted against each other in a catfight slash dance-off, which was very cool, very intense and great fun to watch. But otherwise, it's all stuff that would work better in the original films.

So while THAT'S ENTERTAINMENT III again succeeds in doing what it sets out to do (leave the audience in a happy glow), it's less accomplished than its predecessors. It's not as engaging to new viewers as either of the first two (showcasing lesser-known numbers and films), and is of only average interest to the hardcore classic film buff. It's a hard line to straddle, and the film manages to do it, don't get me wrong. But well. You can't go wrong with this film, but it's all been done before, and dare I say it...? Done better. 7.5/10