thoroughly_modern_hillry
Entrou em out. de 2004
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I've read that Victor/Victoria is director Blake Edwards' cinematic "love song" to its star, Julie Andrews, his wife of 13 years at the completion of this film. Keeping this in mind after my first viewing of it, all I can say is...he must wholly, unequivocally adore her. (Now I do, too.)
I experienced this film at Arizona State University's September 2005 tribute to Blake Edwards, and despite my euphoria at meeting Mr. Edwards in person prior to the screening, my extremely favorable review of the movie is as unbiased as possible. Victor/Victoria is simply an excellent piece of entertainment, with dazzling color, beautiful songs, snappy, terse dialogue, and a seamless combination of romance, drama, comedy and music that only Blake Edwards could create.
Perhaps it is the truth in that observation that adds so much charm to it. Andrews is inarguably beautiful and presents us - or should I say amazes us - with her flawless musical numbers and incredibly impressive vocal range. Her comedic timing is surprisingly good, too. Those who, like me, are only familiar with Andrews as a wholesome, motherly family-film character will not necessarily be scandalized by this movie, but they will marvel at the complexities of her talent and how well she plays this role. Supporting characters Robert Preston and James Garner, the latter of whom is convincing as the handsome love interest (and does little else in the film, but it doesn't detract a bit - best leave the spotlight to Andrews, Preston and Mancini) are hilarious and keep the pace of the film fast enough to intrigue and delight, yet moderate enough to let us marvel in the aesthetic impressiveness and comedic and dramatic aspects of the film.
Henry Mancini's musical collaboration with Edwards, in producing the soundtrack to this movie, is breathtaking. The theme song is stirringly romantic, almost haunting, and it is woven into several pivotal moments in the film in such clever ways that it infuses undertones of romance and drama to simple dialogue scenes. If you don't find yourself humming "Crazy World" in the days after the credits roll on this one, you must not've had the sound up.
Even if you're hesitant to sample "newer" musicals, as I was, or if you're unsure of your ability to sit through a film with Fraulein Maria as an imposter drag queen in gay Paree, please don't let your preconceptions steer you away from this gem. Victor/Victoria is pure entertainment with memorable, lovable characters, phenomenal acting, delightful elements of several genres of film, and an unforgettable soundtrack. What a surprising, enduring piece of cinema.
I experienced this film at Arizona State University's September 2005 tribute to Blake Edwards, and despite my euphoria at meeting Mr. Edwards in person prior to the screening, my extremely favorable review of the movie is as unbiased as possible. Victor/Victoria is simply an excellent piece of entertainment, with dazzling color, beautiful songs, snappy, terse dialogue, and a seamless combination of romance, drama, comedy and music that only Blake Edwards could create.
Perhaps it is the truth in that observation that adds so much charm to it. Andrews is inarguably beautiful and presents us - or should I say amazes us - with her flawless musical numbers and incredibly impressive vocal range. Her comedic timing is surprisingly good, too. Those who, like me, are only familiar with Andrews as a wholesome, motherly family-film character will not necessarily be scandalized by this movie, but they will marvel at the complexities of her talent and how well she plays this role. Supporting characters Robert Preston and James Garner, the latter of whom is convincing as the handsome love interest (and does little else in the film, but it doesn't detract a bit - best leave the spotlight to Andrews, Preston and Mancini) are hilarious and keep the pace of the film fast enough to intrigue and delight, yet moderate enough to let us marvel in the aesthetic impressiveness and comedic and dramatic aspects of the film.
Henry Mancini's musical collaboration with Edwards, in producing the soundtrack to this movie, is breathtaking. The theme song is stirringly romantic, almost haunting, and it is woven into several pivotal moments in the film in such clever ways that it infuses undertones of romance and drama to simple dialogue scenes. If you don't find yourself humming "Crazy World" in the days after the credits roll on this one, you must not've had the sound up.
Even if you're hesitant to sample "newer" musicals, as I was, or if you're unsure of your ability to sit through a film with Fraulein Maria as an imposter drag queen in gay Paree, please don't let your preconceptions steer you away from this gem. Victor/Victoria is pure entertainment with memorable, lovable characters, phenomenal acting, delightful elements of several genres of film, and an unforgettable soundtrack. What a surprising, enduring piece of cinema.
After just viewing 'Some Like It Hot' for the very first time, I must say that I can barely write a cohesive review of it. It is the finest and best-acted comedy I have seen, ever.
Even though it clocks in at just over two hours, SLIH is entertaining from beginning to hysterical end - barely slowing the pace to give a viewer time to get restless. The trio of lead actors, the snappy, innuendo-laden dialogue, the romance, the comedy, the snazzy music, the believable plot: all of these elements meld perfectly into a vivacious, vibrant movie.
While Tony Curtis doesn't disappoint with delivery here, it is Jack Lemmon and Marilyn Monroe who compete for the starring role - one well-deserved by both, to say the least. Lemmon's frustrated, desperate, easily-persuaded character pairs flawlessly with Curtis' scheming, womanizing 'Josephine', and the two, decked out in drag while fending off fresh bellboys and dirty old men, are endlessly facing new and hilarious obstacles at every twist in the plot. Lemmon simply shines here, whether he's struggling to keep his masculinity disguised among unsuspecting attractive women or running through the Seminole-Ritz in too-short bellboy trousers and black pumps.
I was truly surprised by Marilyn's performance here, too. While her overly-breathy sex kitten persona repels me from most of her films, she was extremely convincing as the sweet, innocent singer in the all-girl band who keeps a flask in her garter and befriends the dynamic duo in drag.
'Some Like It Hot' oozes with sexuality without being crass; it achieves almost-constant comedy without degrading itself with lowbrow humor or extreme slapstick; it paces its musical numbers, its storyline gives needed character depth and definition to its protagonists, it balances lighthearted, good-intentioned levity with conscience and grace. Don't let the black-and-white turn you off. 'Some Like It Hot' is a great movie all the way through - this is the kind of film that defines 'rewatchability'. You won't be disappointed.
Oh, and aside from Milton Berle, the usually endearing, adorable Jack Lemmon is probably the most hideous woman ever to grace the silver screen.
Even though it clocks in at just over two hours, SLIH is entertaining from beginning to hysterical end - barely slowing the pace to give a viewer time to get restless. The trio of lead actors, the snappy, innuendo-laden dialogue, the romance, the comedy, the snazzy music, the believable plot: all of these elements meld perfectly into a vivacious, vibrant movie.
While Tony Curtis doesn't disappoint with delivery here, it is Jack Lemmon and Marilyn Monroe who compete for the starring role - one well-deserved by both, to say the least. Lemmon's frustrated, desperate, easily-persuaded character pairs flawlessly with Curtis' scheming, womanizing 'Josephine', and the two, decked out in drag while fending off fresh bellboys and dirty old men, are endlessly facing new and hilarious obstacles at every twist in the plot. Lemmon simply shines here, whether he's struggling to keep his masculinity disguised among unsuspecting attractive women or running through the Seminole-Ritz in too-short bellboy trousers and black pumps.
I was truly surprised by Marilyn's performance here, too. While her overly-breathy sex kitten persona repels me from most of her films, she was extremely convincing as the sweet, innocent singer in the all-girl band who keeps a flask in her garter and befriends the dynamic duo in drag.
'Some Like It Hot' oozes with sexuality without being crass; it achieves almost-constant comedy without degrading itself with lowbrow humor or extreme slapstick; it paces its musical numbers, its storyline gives needed character depth and definition to its protagonists, it balances lighthearted, good-intentioned levity with conscience and grace. Don't let the black-and-white turn you off. 'Some Like It Hot' is a great movie all the way through - this is the kind of film that defines 'rewatchability'. You won't be disappointed.
Oh, and aside from Milton Berle, the usually endearing, adorable Jack Lemmon is probably the most hideous woman ever to grace the silver screen.
Riding high on the thrill of a major crush on Gene Kelly after seeing two of his films consecutively - the vivid, unforgettable "Singin' in the Rain" and the low-key drama "Marjorie Morningstar," the next logical step in my infatuation was to rent "An American in Paris" and revel in Kelly's handsome grin, smooth, romantic voice and amazing footwork. Right? Right. Kelly is handsome in this movie; his sentimental voice, intact - but make no mistake, this film simply doesn't measure up to what can be expected of a star like Gene Kelly, and it does not come close to utilizing his talents nor those of Leslie Caron, not to mention the opportunities afforded of a film set in vibrant, post-WWII Paris.
Aesthetically, AAiP is a disappointment. The costumes aren't bright, memorable or striking in any way, despite the slew of opportunities to introduce kicky skirts, sharp slacks or elaborate, colorful getups for larger dance sequences. The costume party that our protagonists attend is downright scary and quite distracting (and other than the satin jester suit - just plain wrong - Kelly does look fantastic throughout.) In terms of visual pleasure, we don't see much of Paris aside from a glimpse of the Sacre Coeur and some generic street scenes and cafe fronts.
Musically, there is little to glean from this film besides the ever-catchy "I've Got Music" to which Kelly frolics in his usual flawless and endearing way. But as soon as this scene closes and the street children scatter, so does the credibility of the movie, along with the viewer's interest. None of these songs are infectious, memorable, or expressive of what's happening in the movie; instead, most are little detours comprised of pretentious lyrics sung in unamusing accents, as though the directors had a quota of cheap, forgettable songs to fill in the allotted time frame.
Beyond that - and more importantly - the dance numbers fail to ignite; some simply seem discordant with the music they are set to, and most end in an overly dramatic, corny embrace, which succeeds in not heightening the romance or sentimentality of the movie, but in making the central love story - on which much is supposed to hinge - just as overly dramatic and corny.
While Kelly is a natural at his craft and is talented enough to slide into a complicated dance routine at a moment's notice (and pull it off in the scheme of things,) his supporting cast is lame, unamusing, and generally unsupportive, as far as secondary or 'static' characters go. Henri Baurel (Georges Gautery) is virtually unintelligible throughout, leaving one straining and struggling to comprehend the lyrics he's belting out - and Adam Cook (Oscar Levant) is ugly, depressing, pitiful at comic relief and quite frankly, an awful singer, even if he is an extremely talented pianist. His seemingly endless dream sequence in the concert hall is unnecessary, irrelevant and irritating.
1951 Newcomer Leslie Caron, despite immense unattractiveness, does not have enough scenes - nor is her character, Lise, given enough depth - to make her name beside Kelly. We never get to know her or to come to understand her affection for Kelly's charming Jerry Mulligan, or even if there is any. And while she plays a romantic lead, we basically only witness her giggling forcedly or waddling awkwardly en pointe, never expanding on Lise's significance in the plot line and so rendering herself somewhat inconsequential in the whole of the plot. Few of the numbers showcase her skill and versatility as a dancer, and no scenes at all are able to paint her as a talented actress.
All in all, I am a girl who loves musicals: I do not shy away from vibrant technicolor dance scenes; I don't oppose film dialogue making a segue into catchy songs or silly, dramatic soliloquies; I am even happy to trade a scrappy and somewhat uninteresting script for an unforgettable theme song, some fabulous chorus lines or involved dance numbers. An American in Paris, however, can't sate me on any level - musically, visually, storywise.
The film makes decent use of Kelly's charm and sex appeal, but it never gives Leslie Caron a chance to shine, nor does it truly explore life as an American in Paris. While it does have a memorable scene or two, AAiP fails to come to greatness or even achieve rewatchability-status. None of its separate elements - the music, the dance routines, the plot - measure up to the greatness that is Gene Kelly in an MGM Musical.
If you want France, go to Europe. If you want dance, rent Gene Kelly in practically any other movie (try 1952's Singin' in the Rain.) "An American in Paris" decidedly offers you neither - Gene Kelly at his finest nor the brilliant, alluring Parisian life.
Aesthetically, AAiP is a disappointment. The costumes aren't bright, memorable or striking in any way, despite the slew of opportunities to introduce kicky skirts, sharp slacks or elaborate, colorful getups for larger dance sequences. The costume party that our protagonists attend is downright scary and quite distracting (and other than the satin jester suit - just plain wrong - Kelly does look fantastic throughout.) In terms of visual pleasure, we don't see much of Paris aside from a glimpse of the Sacre Coeur and some generic street scenes and cafe fronts.
Musically, there is little to glean from this film besides the ever-catchy "I've Got Music" to which Kelly frolics in his usual flawless and endearing way. But as soon as this scene closes and the street children scatter, so does the credibility of the movie, along with the viewer's interest. None of these songs are infectious, memorable, or expressive of what's happening in the movie; instead, most are little detours comprised of pretentious lyrics sung in unamusing accents, as though the directors had a quota of cheap, forgettable songs to fill in the allotted time frame.
Beyond that - and more importantly - the dance numbers fail to ignite; some simply seem discordant with the music they are set to, and most end in an overly dramatic, corny embrace, which succeeds in not heightening the romance or sentimentality of the movie, but in making the central love story - on which much is supposed to hinge - just as overly dramatic and corny.
While Kelly is a natural at his craft and is talented enough to slide into a complicated dance routine at a moment's notice (and pull it off in the scheme of things,) his supporting cast is lame, unamusing, and generally unsupportive, as far as secondary or 'static' characters go. Henri Baurel (Georges Gautery) is virtually unintelligible throughout, leaving one straining and struggling to comprehend the lyrics he's belting out - and Adam Cook (Oscar Levant) is ugly, depressing, pitiful at comic relief and quite frankly, an awful singer, even if he is an extremely talented pianist. His seemingly endless dream sequence in the concert hall is unnecessary, irrelevant and irritating.
1951 Newcomer Leslie Caron, despite immense unattractiveness, does not have enough scenes - nor is her character, Lise, given enough depth - to make her name beside Kelly. We never get to know her or to come to understand her affection for Kelly's charming Jerry Mulligan, or even if there is any. And while she plays a romantic lead, we basically only witness her giggling forcedly or waddling awkwardly en pointe, never expanding on Lise's significance in the plot line and so rendering herself somewhat inconsequential in the whole of the plot. Few of the numbers showcase her skill and versatility as a dancer, and no scenes at all are able to paint her as a talented actress.
All in all, I am a girl who loves musicals: I do not shy away from vibrant technicolor dance scenes; I don't oppose film dialogue making a segue into catchy songs or silly, dramatic soliloquies; I am even happy to trade a scrappy and somewhat uninteresting script for an unforgettable theme song, some fabulous chorus lines or involved dance numbers. An American in Paris, however, can't sate me on any level - musically, visually, storywise.
The film makes decent use of Kelly's charm and sex appeal, but it never gives Leslie Caron a chance to shine, nor does it truly explore life as an American in Paris. While it does have a memorable scene or two, AAiP fails to come to greatness or even achieve rewatchability-status. None of its separate elements - the music, the dance routines, the plot - measure up to the greatness that is Gene Kelly in an MGM Musical.
If you want France, go to Europe. If you want dance, rent Gene Kelly in practically any other movie (try 1952's Singin' in the Rain.) "An American in Paris" decidedly offers you neither - Gene Kelly at his finest nor the brilliant, alluring Parisian life.