Meias de Seda

Clever, witty and charming musical, courtesy M.G.M. and the Arthur Freed unit, of which this was one of their last films. One of several musical remakes (of non-musical pictures) that the studio produced in the mid-late 1950s. This is one of the best.

Fred Astaire plays his usual character, the playboy-ish bachelor, in this case a film producer, wanting to use a Russian composer's music for his new film. Cyd Charisse plays Ninotchka, the Russian woman who comes to Paris to bring back the composer and three comrades who failed to return him to his native land. As the three comrades, Jules Munshin, Peter Lorre (holding onto a chair as he dances), and Joseph Buloff are a hoot, adding good comic relief in their "Too Bad" and "Siberia" numbers. Janis Paige is a jewel as the ditzy actress hired for the new film. She radiates with Astaire in the memorable "Stereophonic Sound" number, as well as in her own hilarious "Satin and Silk".

Charisse, (whose wooden acting is OK here), is lovely as usual and has a few excellent dances, including the sensual "All of You" (with Astaire), the lively "Red Blues", and the stunning ballet where she removes her old Russian garb, for her new Parisian silks. This was the second of her two pairings with Astaire, and though this is not the gem that "The Band Wagon" is, it still sparkles nonetheless.

A clever and classy musical, with some very topical humor. Great songs by Cole Porter (with the exception of the tacky "Ritz, Roll and Rock"...a poor punch at rock and roll). Excellent use of color and the Cinemascope frame help to make this one of the last great musicals of the 1950s.

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.

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

A lot of humor at the expense of the Soviets (natch) is present throughout this musical version of "Ninotchka" in which Greta Garbo was the Russian who melts into a normal woman thanks to the spell of capitalism. Here it's CYD CHARISSE who plays the very uptight lady (with a stiffness that comes naturally to Cyd who could play an "ice princess" with the best of them). And FRED ASTAIRE is thankfully cast as an American film producer hoping to get her cooperation in borrowing a Soviet composer for his new film.

That's the nuts and bolts of the story, but the ingredients (including a trio of Soviet agents played by PETER LORRE, JULES MUNSHIN and Joseph BULOFF and a ditsy American singer/actress JANET PAIGE), are enough to stir up a lot of sardonic humor and some really good song and dance numbers. Paige is especially good with her "Stereophonic Sound" routine and "Satin and Silk", flirtatious and vivacious as ever in a top supporting role.

But it's the dance elements that count here--Astaire at his most elegant and Cyd Charisse gracefully matching him step by step all the way through. Her performance as the serious minded miss who gradually bends to his ways is one of her better contributions to film comedy.

Summing up: A delightful blend of Cole Porter songs and a clever script make this one a sheer pleasure, smooth as silk.

"Silk Stockings" is something of an enigma. Its release came at the moment much of America had switched over to viewing television and the musical film was dying. But it was still glorious. I couldn't care less about the 'outdated Red Russia' story line; this is a remake of a 1939 film and the USSR conflict was in the original as well. What're you gonna do? The main focus is on capitalist seduction- first by Tobias, Munshin, and Peter Lorre, then most beautifully by Astaire and Charisse. Note that in their first duet (the non-dancing "Paris Loves Lovers"), as they sing in perfect counterpoint, they appear to be undressing each other with their eyes. Later, in "All of You," the gloves come off and our two leads seduce each other through a most graceful dance in a living room. Astaire was 56 years old, Charisse was about 36, and there is still more electricity in their pairing than in some of the downright silly things passing as romantic comedies today. The undisputed highlight of the film is Ms. Charisse in a silent and sensuous expression of terpsichory as she puts on nude stockings, a camisole, and a flared transparent slip. OMG!!