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Rodgers and Hammerstein made BIG musicals--sweeping song and dance numbers, elaboratestagings, sweet heroines, and love struck but confused heroes. Flower DrumSong has all these elements, so why is it so little known? Perhaps becauseit had the misfortune to be released the same year (1961) as West SideStory, or maybe because at 133 minutes it's overlong, or did the audiencehave trouble accepting an all-Asian cast in an Asian-themed musical? Whateverthe reasons, it's time to recognize Flower Drum Song for the gem itis.

Picture bride Mei Li (Miyoshi Umeki) and her father arrive in San Francisco,having smuggled themselves into the country so Mei Li can marry nightclub ownerSammy Fong (whose mother arranged the whole deal). Mei Li is fascinated by thecity and immediately charms its denizens with a delicate rendition of "OneHundred Million Miracles." Fong (Jack Soo), who is having an affair with hisstar singer, the sexy and scheming Linda Low (Nancy Kwan), pawns Mei Li off onthe Wang family, whose eldest son, Ta (James Shigeta), needs a wife (at leastthat's what his father has decided). Old Chinese culture and new American idealsclash at every turn, with the elders struggling to understand their Americanizedchildren and the children struggling to accept and honor their heritage. Thoughthe movie is dated in some respects, the theme of assimilation vs. separationholds up remarkably well and rings true. "The Other Generation" beautifullyillustrates the generation gap.

As this is a romantic musical, you know from the beginning which couples willend up together. The most famous song is "I Enjoy Being a Girl," sung by LindaLow as she dresses to seduce Wang Ta. Though too many triangulations andmisunderstandings prolong the inevitable conclusion, Flower Drum Song isa very enjoyable and often funny ride. --Dana Van Nest ... Read more

Reviews (31)

An Ahead-Of-Its-Time Musical
Based on the novel by C.Y.Lee,it is probably the most ambitious of all R and H shows,and did have one of the shortest Broadway runs (600 performances,which is roughly a year)

People tend to class their shows as follows-

The Hits-South Pacific,Sound Of Music,Carousel,Oklahoma!,and The King And I.

The Flops-Allegro,Me And Juliet.

The In Betweens-Cinderella and Flower Drum Song.

Nancy Kwan is great as Linda Low,although she was used as the 'marquee name' to draw the crowds.Broadway's Pat Suzuki would have made a bigger splash in the film.

The charming Miyoshi Umeki is charming in her Broadway role,and Juanita Hall also scores big in the film.

R and H really had their opus with the lilting and sad ballad,'Love Look Away'. It should be counted as one of the best,if not THE best,songs they wrote.

An uneven mixture redeemed by Umeki and some great songs
This may be the most frustrating of all the Rodgers and Hammerstein's adaptations because its the most uneven. On Broadway, FLOWER DRUM SONG was anchored very firmly by twin star performances by Miyoshi Umeki as Mei-Li and Pat Suzuki as Linda Low. The film version wisely retained Umeki (and even allowed her more lines--and to sing almost the entirety of her great first song, "A Hundfred Million Miracles" by herself), but cast as Linda Nancy Kwan, who is paradisiacally beautifully and a fine dancer but who just does not have Suzuki's sock-it-to-me charisma. Nor did the singer who dubs Kwan: as a result, some of the more mediocre songs that Suzuki hit out of the ballpark on Broadway (like "Grant Avenue") just don't make it here.

While it was extremely rare for a Hollywood film with not only a plotline concerning Asian-American themes but also mostly Asian-American actors, the director, Henry Koster, seems to have approached San Francisco's Chinatown as if it were a magical mythic kingdom like Munchkinland, and a little of this goes a long way. (You feel sorry for the actors forced to say things like "See ya Pop--don't take any wooden chopsticks!") On the other hand, the strength of many of the performances carry the day, and the score has some exceptionally beautiful songs, particularly the famous "Love, Look Away," lipsynced here by Reiko Sato (very fine in a difficult role) for Marilyn Horne's voice.

Sharing the thoughts of many others
I cannot believe this is not on DVD yet. There is a song by Kwan that is presented in widescreen on the VHS, but the scene of the boy dancing in the baseball uniform is pan and scan. Horrible to take away the scenery and perspective.
PLEASE MAKE A WIDESCREEN DVD!!
I consider this movie to be one of the top three musicals in my heart.

I was nine when I first saw this movie in Boston with my
mother. She always picked the really good movies. This was when the movie theatres were elaborate and there were matrons in the ladies rooms. And the theatre carpet didn't smell like feet. I fell in love with James Sigata and I thought Nancy Kwan was the most beautiful woman. When I got home I got my little paper fan and pretended I was Nancy singing "I enjoy being a girl" to my mirror. I'm glad that I bought the CD and I hope they put this movie on DVD or reissue it on VHS. I'd love to have it. And a little trivia-Miyoshi Umeki was Mrs. Livingston on the TV series The Courtship of Eddie's Father.

Without widescreen it's a disappointment!
Producer Ross Hunter lavished some pretty expensive-looking production values and some very capable talent on this film and, as was almost de rigueur back then, mounted it in Panavision and, of course, color. Let's have a DVD with the original ratio preserved, please! Hermes Pan's dance numbers especially (one of this enjoyable film's chief assets) cannot be fully appreciated unless they're seen on the widescreen (or its video equivalent). A panned-and-scanned VHS tape just doesn't do justice to a film which was a fine example of Hollywood professionals working their magic. I saw it first-run, way back when, and despite some reservations, thought it was pretty slick entertainment and would add a properly presented DVD version to my library without any hesitation. ... Read more

Reviews (223)

The Citizen Kane of musicals
So many films in my collection are "important", "serious", "disturbing", or "great", and as much as I treasure them (films like Citizen Kane, Vertigo, and Ran), there is only so much self-importance a person can take before the pores fairly scream out for something just plain fun; something slight, buoyant, silly, and full of energy. Singin' in the Rain is just that kind of movie. The funny part is, I generally HATE musicals!

In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly.

But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art.

If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals).

My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff.

Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.

THE GREAT AMERICAN MUSICAL
Once upon a time there was a place called HOLLYWOOD. It wasn't just a town or even an industry, it was a state of mind. They didn't call the studios Dream Factories for nothing. This film is the epitome of the musical art and craft. This is a real "Movie Movie," made entirely on the MGM lot. The real creme de la creme of MGM contributed to it's creation; produced by Arthur Freed, starring Gene Kelly (with a brilliant turn by the dazzling ,long-legged Cyd Charisse), contract players like Debbie Reynolds and Kathleen Freeman (still going strong, currently appearing on Broadway in "The Full Monty") with costumes by my favorite designer Walter Plunkett (Gone With The Wind, 7 Brides For 7 Brothers, etc). Check out the sumptuous designs for the "Beautiful Girls" number and the outrageous spider dress at the opening night party. The real lowdown is that Jean Hagen and Donald O'Connor practically steal the show from the leads in possibly the best performances of their careers. This film is pure joy. The script by Comden and Green is not only clever but actually goofs on a real period of transition of the American film from silent to talkie.It is also a brilliant job of recycling a trunkload of old songs. This happy film has the courage to do what American musicals and comedies do best: be silly and make you forget you troubles for an hour and a half. Next time you are in bed with the flu or trying to get over a miserable love affair, take a look at Singing In The Rain. It can't help but curl up the corners of your mouth and drive the clouds away.

Wonderful Musical with Terrific Dancing -- a Trifle Dated
"Singin' in the Rain" is the definitive Hollywood musical, and charms and delights our 21st century audiences despite the (very few) characteristics of the genre that don't hold up quite so well.

There are so many high points to this movie -- the amazing cast, the songs, the choreography, and, most surprisingly, the satirical send-up of Hollywood and the "star system."

The plot is well-known. Silent film star couple, Don Lockwood (Gene Kelly, who also co-directed with Stanley Donen) and Lina Lamont (Jean Hagen) are America's sweethearts. At a Hollywood premiere of their latest romance, breathless fans ignore sidekick Cosmo Brown (Donald O'Connor, in perhaps the best sidekick performance in film history) and scream in delight as Lockwood and Lamont pander to their adoration. Nobody, however, seems to notice that the gorgeous Lamont never speaks . . .

Her imposed silence Lamont has a voice that recalls a cat with its tail caught in a wringer, although Lamont is such a "dumb blonde" (bless Hagen -- nobody ever played this stereotype better!) that she is blissfully unaware of her screech. No matter, 'cause it's the silent film era, right? Wrong! Progress brings in "The Jazz Singer" and the era of "talkies." No longer will clever staging of press events suffice.

Soon, Don Lockwood is staring career meltdown in the face as the first Lockwood-Lamont "talkie" sends the audience into hysterics. Not only is Lamont's screech audibly offensive, they can't keep the sound synchronized to the film, and the sound editing even when in synch is as amateurish as a high-school film production.

What to do? Fortunately, Lockwood had fallen for young, beautiful Kathy Selden (a teenage Debbie Reynolds), a starlet in the making. Cosmo comes up with the idea of dubbing Selden's voice for Lamont's, and all is fixed . . . or not. Lamont, an imbecile but smart enough to know her value, insists on ruining Selden's career to preserve her own . . . and so on and so forth.

The plot, ingenious as it is, is really secondary. The main delight in this movie is the amazing dancin' and singin' that the performers offer up. While most of it is pretty silly, campy stuff (particularly the Kelly-O'Connor set pieces), they simply dazzle. Kelly is the most robust, athletic dancer of his generation, and O'Connor, well, the man doesn't have a bone in his body. While the movie's most famous scene comes from Kelly splashing in puddles during the title track, the most amazing dance number has to be O'Connor's comic flailings in "Make 'Em Laugh," where he runs up walls, flirts with a mannequin, and generally pulls out all stops.

Debbie Reynolds does a magnificent job keeping up with these two giants, and is generally a pleasure to watch, even though she's clearly outclassed as a hoofer.

While some great old films seem to get better with age (think "Casablanca," "Gone With the Wind," and "Citizen Kane"), "Singin' in the Rain" is an American classic that does not hold up quite so well in some minor respects. For example, when breaking into choreographed step, Kelly, O'Connor, and Reynolds sometimes appear too rigid, with smiles frozen on their faces, which is incongruous to those raised on more modern musicals like "Moulin Rouge," where the dancers take a more naturalistic, emotional approach to their dancing. The dancing in "Singin'" holds up, but the performers were constrained by the expectations of their audiences, which somehow demanded that the performers "look pleasant" while dancing.

Still, "Singin' in the Rain" remains one of the best tonics to a foul mood ever . . . I defy you to watch this movie and not feel a smile creeping over your face.

The Best Musical Comedy Ever Produced!
I fell in love with this film when I was seven years old; I watched it on a B&W television on "The Early Show" in NY (circa 1957 or 1958). I didn't know who any of the stars were - it didn't matter. It was magic to me. From the Hollywood opening (dignity, always dignity), the romp of the elocution lessons (Moses supposes his toes are roses!), and the trial and mostly error of trying to record the sound ("I can't make love to a BUSH!") when the gorgeous leading lady has a voice that rivals nails on a blackboard, all the way to the grown man dancing in the rain and the final rising curtain - pure magic. In glorious black and white - at the time, I didn't even know it HAD colour! I decided then and there, this was my absolute all-time favourite movie. (One of the highlights of my adult life was seeing this wonder on a full, big screen at a revival in the 1970s.) I have seen many films since then; I have reviewed them for friends & family, written reviews for a monthly entertainment publication. I have an extensive collection of my own (VHS & DVD). I know a lot more about films and production values now.

"Singin'in the Rain" remains my all-time favourite film. (No surprise, this.) It's not just another one of "those MGM musicals." It was released in 1952. Dated stuff? Not a bit. Unlike the marvelous "An American in Paris," which was done as a contemporary film to its time, "Singin' in the Rain" is a period film, and it's based in fact.

This film (which started out to be a western for Howard Keel) takes a fond and loving look at the birthpains of the sound film (the "talkies). Set in 1927, with authentic equipment from MGM's own history (Debbie Reynolds drives Andy Hardy's old jalopy, the microphones are real), it details the frantic efforts to get on the sound bandwagon - no one was completely sure of the new technology. What makes the plot classic is the basis in fact. Many silent stars had totally unacceptable voices or speech (too nasal, unintelligible foreign accents, too high, too low, etc.) for sound production. The songs used were true to the period.

Then we have the performers. Jean Hagen was nominated for an Academy Award for her role of Lina Lamont. The character (whose voice you don't hear for the first 10+ minutes of the film, although she's on-screen) is a one-of-a-kind. [Side note: the voice dubbing Lina's line is actually Hagen's normal voice, not that of Debbie Reynold's Kathy Selden.] Reynolds does an admirable job - it couldn't have been easy keeping up with her two male co-stars. It's still a joy to see Donald O'Connor's "Make 'em Laugh," and wonderful to see Gene Kelly teamed with a good male partner for "Fit as a Fiddle" and "Moses". Gene Kelly is, and always shall be, the best and this was done at his peak.

Of course, for anyone who has been living in the back of a cave under a rock (or too young to appreciate it), the title number is a delight. It looks like one continuous take, it is so smooth. This was not the first appearance of the song, but it's the one we all remember. The sheer exuberance of Kelly's performance carries us right along with him.

The extras with this set are valued items for anyone like me who is interested in the backstory of the era and this film in particular. And don't fuss for a widescreen version. This is the way it was. And now it always will be.

Thoroughly entertaining musical
I have to say first of all that I am *not* at all a fan of musicals (or comedies for that matter) - I am a drama fan. I have seen a few musicals here and there over the years and tried to like them - such as 1964's "My Fair Lady" and 1961's "West Side Story." I liked both of them *somewhat,* but not too much - because I have always strongly preferred films that are realistic --> in real life, people don't burst into song when they are in one particular circumstance or another. Yet, I couldn't help enjoying myself with a smile on my face as I watched this film that landed so high (#10) on AFI's list of the top 100 American films of all time. Donald O'Connor, in particular, as Cosmo, was so perfectly cast in his role. The film was at times hilarious and at times wonderfully romantic. I definitely would recommend everyone to try this film out. B+. ... Read more

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This simply irresistible first feature from the Muppets has Kermit thefrog going from the swamps to Hollywood to be a star. As he travels and picks up his usual friends (Miss Piggy, Fozzie the Bear), Doc Hopper (Charles Durning) is in pursuit, looking for Kermit to be the spokesman for his frog-leg cuisine. A loose rendition of The Wizard of Oz, the film incorporates the same cagey humor as their breakout syndicated TV series The Muppet Show. This is one of the few times that a human cast (notably Steve Martin, Orson Welles, and Carol Kane) are integrated seamlessly with nonhumans. Worth noting is Paul Williams's score, which includes the Oscar-nominated "The Rainbow Connection." Williams's music, much like Howard Ashman's work on The Little Mermaid and other Disney films, provides more than atmosphere; there's a degree of magic here. Williams did not work on the future Muppet films until A Muppet Christmas Carol. His contributions made these films the best of the Muppet series. --Doug Thomas ... Read more

Reviews (92)

"A bear in his natural habitat....a Studebaker!"
This is one of the first films that I ever remember seeing, and it is still one of my favorites today. This story about the Muppets' cross-country excursion to Hollywood is beautifully told through the wonderful vision of Jim Henson. It answers the question about how the Muppets first came together, and offers the audience a glimpse into the lives of the various eccentrics that made up 'The Muppet Show' before they became famous. My favorite is, of course, The Great Gonzo, the "prince of plungers." His out-of-this-world weirdness always adds more fun to the chaos of the situation, as Kermit and Co. try to outrun the evil Doc Hopper and make it to Hollywood on time to audition. I also love the big Studebaker that Kermit and Fozzie drive around in as they sing "Moving Right Along." All of the songs are memorable, from "Rainbow Connection" to Gonzo's "I'm Going to Go Back There Someday." I have seen this movie a million times and I will watch it a million more. It's just one of those films that you can never get tired of viewing.

A classic for kids and adults
The Muppet Movie is a classic movie that shows how Jim Henson's Muppets made it big. The story begins with Kermit the Frog sitting on a log in a swamp when a Hollywood agent finds him and tells him to go to Hollywood for a casting call for frogs. Kermit hits the road and along the way picks up plenty of new friends while also running into some trouble. The evil Doc Hopper wants Kermit to be his spokesperson for his new frog legs restaurant, but Kermit refuses. Along the way to Hollywood, Kermit meets Fozzie the Bear, Miss Piggie, Gonzo the Great and many others. This is a great movie that has humor for both kids and adults. There are very funny parts that intermingle the talents of many real movie stars in small cameos.

All the Muppets are here from Kermit to Miss Piggie, Fozzie, Gonzo, Rolf the dog, Dr. Teeth and the Electric Mayhem, Dr. Munson Honeydew and Beaker, and many others. There are plenty of cameos including Edgar Bergen, Milton Berle, Mel Brooks, James Coburn, Dom Deluise, Elliot Gould, Bob Hope, Madeline Kahn, Carol Kane, Cloris Leachman, Steve Martin, Richard Pryor, Telly Savalas, Orson Welles, and Paul Williams. Steve Martin and Mel Brooks are the funniest as a sarcastic waiter and a mad scientist. Charles Durning is also very good as Doc Hopper with his bumbling assistant, Max played by Austin Pendleton. Fans of the Muppets of all ages with love this classic about how the Muppets came to be!

Never give up your dreams.
A simple story with simple themes: Don't give up on your dreams; sharing your dreams brings you more friends to help you find your dreams. As early as 5th grade I would rewatch this movie, and each time reminds me to keep going an not give up. Yes, its got great songs, great lines, great cameos; but to me its message to not give up is what makes it such a great movie.

Creme de la Kermie.
Mini review of one of my alltime 10 favorite films.

Many people question why this is on my top 10. I think the question is why is it not on theirs? This is pure entertainment for the whole family. It is a movie that works on all levels. The story is enchanting. The music is charming and whimsical. The muppetry is fantastic. It is hard to imagine a better opening to a movie than the rainbow connection sequence.

The movie is a cornucopia of awesome quotes. I think my favorite still remains: If frog's couldn't hop, I'd be gone with the Schwinn.

The cameo roles are excellent as well. Steve Martin excels as a put upon waiter. Dom Delouise is impressive as a hollywood agent adrift in a swamp and Mel Brooks steals the show as a german mad scientist.

Better than a Bucket of Doc Hooper Frog Legs!
I had the pleasure of introducing my two and half year old son to the magic of the muppets through DVDs of the original "The Muppet Show", the syndicated TV program, that I had watched and enjoyed, while growing up in the 1970s. He loved Kermit & company's surealistic, yet hilarious comedy and music, so the next logical step was to move on to the Muppet's various adventures on film. Luckily, the first DVD I bought was the original 1979 film, "The Muppet Movie". The plot is quite simple.In his hometown swamp, Kermit meets up with a lost and nervous agent (played by the ever hammy, Dom DeLuise) who informs him that a major Hollywood studio is looking for frogs with talent.Armed with a dream of making people happy through his dancing and singing, Kermit goes on a road trip to the West Coast to break into the movie biz. Along the way he picks up new found friends Fozzie Bear, Gonzo the Great, Miss Piggy (starting their long running, tumultuous romance), and the rock group, Dr.Teeth & the Electric Mayhem, who all share in dreams of Hollywood fame .Unfortunately, Kermit also gets the attention and ire of Doc Hopper (Charles Durning), a Col. Sanders knock-off, who wants to force our hero to be the spokesfrog for his fast food, frog legs chain, "alive or stuffed". What an adventure! This is a wonderfully entertaining film, which will appeal to both kids and adults alike. Its obvious, that Muppet creator, Jim Henson and his fellow performer, Frank Oz were at their creative peaks.The writing is sharp and never 'dumbed down' ("I think I've lost my way"..."Have you ever tried Hare Krishna?") and the musical numbers are well staged (including Kermit's now classic, "Rainbow Connection"). What's more the film is filled with entertaining cameos from 1970's Hollywood including Madeline Kahn, Richard Pryor, James Coburn, Mel Brooks, Elliot Gould, Steve Matin ETC. My son and I have now collected all the DVDs in the Muppet's cannon of films and we pretty much agree, that this movie is by far, the best of the lot! For great family entertainment get "The Muppet Movie"! ... Read more

Reviews (156)

An Excellent Adaption of One of Broadway's Best
One of the classics of the American musical theater, "My Fair Lady" is brought to us with amazing grace and sensitivity by legendary dirctor George Cukor. This musical has it all: a classic score by Lerner and Loewe (including "I Could have Danced All Night," "The Rain in Spain," and "Get me to the Church on Time"), an interesting story, and great characters. Rex Harrison proves to be nothing less then supurb as Henry Higgens, the speach teacher who vows to "never let a woman in my life," but finds himself falling for flower girl Eliza Dolittle. The supporting cast is in top form, with special mention going to the hysterical Stanley Halloway as Alfred P. Dolittle, the charming Wilfred Hyde-White as Pickering, and Jeremy Brett as Freddie. My on real complaint is Audrey Hepburn, who plays Eliza. While she is far from bad, Miss Hepburn has no voice, and I can't stand it when they use another actress to dub the voice of a star. Why can't they just hire a singer in the first place? The part should have gone to Julie Andrews (who originated it on Broadway). All in all, agreat film for the whole family. Check it out!

For the most part, excellent.
First, the wonderful score. Frederic Loewe's glorious music is perfectly complimented by Alan Jay Lerner's lyrics, as on the Broadway and London stages, and almost every song is memorable and great. Second, the gloriously witty script, filled with great lines, many taken directly from Shaw, on whose play "Pygmalion" this was based, and sharp commentary on Britain's class system. Third, the all-around wonderful performances, from Rex Harrison's arch, arrogant, gleeful Henry Higgins to Audrey Hepburn's charming but unrefined flower girl who becomes a sophisticated (and stunning-looking) lady, to Stanley Holloway's lovable amoral father of Hepburn, to Wilfred Hyde-White's Colonel Pickering, to Gladys Cooper's Mrs. Higgins, just as acerbic as her son. Fourth, the much-lauded stunning look of the film, with gorgeously stylized costumes by Cecil Beaton and fine sets by Beaton. All the ingredients are there for a great film, and under George Cukor's direction, that's pretty much what you get.

And yet, the film is noticably flawed. Hepburn, while charming and, of course, stunningly dressed, does not give a bad performance by any means; it's just that she's not overwhemingly sympathetic. And her voice double, Marni Nixon, has a lovely voice, but doesn't really put any emotion into her songs, forcing that ever-present question to re-emerge: Would Julie Andrews, the Broadway and London Eliza, have been a better choice? Also, Nixon and Hepburn really do not sound alike, which is slightly annoying. (Nevertheless, most of Nixon's songs, especially "I Could Have Danced All Night," do come off well, and if Andrews had been cast, there'd be no "Mary Poppins") "On The Street Where You Live," which I consider the best and most beautiful song in the score, is given a rather flat reading by Bill Shirley, the voice double for actor Jeremy Brett; it is the only song in the movie that is truly forgettable, but that is Shirley's fault entirely, NOT Lerner or Loewe's. Too bad. And yes, the movie is a bit long. But overall, it's a vastly entertaining, enjoyable, romantic, and great experience, just not without flaw. But, oh, well.

How do you do? And which DVD version to buy ...
MFL is a marvellous film about a professor who turns a common flower girl into a lady. It is full of sing-a-long songs and funny moments. It is basically a classic for all the right reasons! Plenty of re-watch factor makes it a film to own.

In 1994, the film was restored and thank the lord they did! The film's negative was almost lost forever. In fact, the film hade had become yellow-tinged and full of scratches, blotches and all the rest! It would have been a very sad day for the movie industry if a flim like this had been lost.

The original DVD that featured this new restoration was released in the late 90's. This DVD included a 9 minute featurette, actor profiles, audio commentary, and Audrey Hepburn singing in 2 scenes.

This original 1-disc DVD has since been updated to a special 2-Disc Edition. Which one to get? I have both so I feel qualified to answer this. The new DVD includes all the features found on the original DVD, except the actor profiles. The new DVD once again includes the restored print but is apparently a new transfer from the restored print. However, according to a report that I have read, the new transfer is not perfect and has aliasing problems throughout. However, the average watcher won't pick up on this detail. If this is an issue to you, purchase the original edition DVD where the transfer has been given two thumbs up! One has to wonder why they bothered transferring a second time.

The advantage of the special 2-Disc Edition DVD is that it includes a 58 minute 1994 documentary hosted by Jeremy Brett (Audrey's love interest in the film). Jeremy is no longer with us, so it's nice to have this as a piece of nostalgia. ON top of this, there are many more features on this disc that aren't included on the original DVD such as footage from the film's premiere, production dinner, as well as discussions with Rex and Audrey.

The choice is easy. If you're a fan of the film and don't care for all the extras, buy the original DVD. You at least get the best transfer. If you do care about having all the extras, buy both!

It's Loverly
The music from "My Fair Lady" makes it easily one of my favorite musicals with "I could have danced all night", "Wouldn't it be Loverly?", "The Street Where you Live", and Stanley Holloway's rousing showstoppers "With a Little Bit of Bloomin' Luck" and "Get me to the Church on Time".

It's well chronicled how much gnashing of teeth surrounded the Hollywood decision to leave out the then-unknown Julie Andrews, who was the new toast of the stage as Eliza Doolittle, and instead cast the more bankable Audrey Hepburn. Hollywood rewarded Ms. Andrews with "Mary Poppins" and an Oscar, and although I'd love to have seen Julie Andrews in this role, 4 decades later I can't complain about Audrey Hepburn.

Rex Harrison's reprises Henry Higgins from the stage, and I frankly can't think of another actor who would bring the same English Arrogance and tongue-in-cheekiness to the role. The interactions between Harrison, Hepburn and Wilfred Hyde-White as Colonel Pickering, especially in the early part of the film, are witty, entertaining, and move the narrative right along without pausing for exposition. The Higgins character is a cad, very full of himself, and he makes the mistake of treating those he feels are socially inferior poorly. The Colonel Pickering character acts as a surrogate for the audience, observing the educated but pompous Professor Higgins and allowing us to feel not TOO badly that poor Eliza has come under the influences of Higgins.

Stanley Holloway recreates Alfred P. Doolittle, Eliza's father, from the stage, and although his character has as many moral deficiencies as Professor Higgins (at one point he shows up at Higgins doorstep hoping to extort money from Professor Higgins for "shacking up" with Eliza) and is much less educated and with a much lower social standing, he is nonetheless a "good ol' bloke" and his moments in the film are among the most memorable, especially the previously mentioned show-stopping musical numbers.

The final act feels a little soap-opera-ish between Jeremy Brett as Freddy fawning over Eliza and Professor Higgins beginning to appreciate her fine qualities at the same time. This portion produces two of the finer musical moments as Freddy sings "On The Street Where You Live" and Higgins croons "I've Grown Accustomed to Her Face".

Since George Bernard Shaw died in 1950 it's purely speculative to wonder what he'd have thought about the production of his Pygmalion story. I'm guessing he'd have liked it. If you like musicals, I'm guessing you will too. Enjoy.

2-disc or not two discs
WARNING: All the five stars refer to the movie itself, and does not address the issue of whether paying for the second disc is a rip-off. Five stars for the single disc version was richly deserved. I had half expected the 2 disc version to have DTS since they shifted virtually all the extra features from disc 1 to disc two. The only thing left on disc 1 was the movie, same commentary, same subtitles and audio track. For some inexplicable reason, the single disc version was among the Amazon top 100 discs in 2002 for some time, although it has been
out since the mid-1990s. Amazon's editor was correct when he said the main attraction of the 2nd disc was the 58 minute Documentary hosted by Jeremy Brett. That is about all, folks, and it was a pretty boring documentary. A concise version of this documentary would be "The Fairest Fair Lady" which is already in the single disc version.
You already have the AUDREY HEPBURN VOCALS in the single disc version. The rest of the stuff in disc 2 is usually given away FREE, like in Gladiator, Last Samurai, Master and Commander, where one viewing of the stills is more than enough.
Now, the sellers of disc 2 have actually REMOVED the CAST AND CREW section from the one disc version. This Cast and Crew with filmographies and biographies contain a huge chunk of valuable information including the fact that Audrey's given name was Edda, not Audrey. Do not throw away your one disc version. If you bought the 2 disc version, you might want to buy the single- disc version to find out where Audrey Hepburn was born, won the Oscar and got nominated. What were the other actors like Wilfred Hyde-White doing other than My Fair Lady.
I tell you what I like about the 2 Disc version:
1. the interviews with Audrey Hepburn and Rex Harrison at the 1963 production Kickoff Dinner, with a couple of jokes from Mr Warner.
2. George Cukor directing Baroness Rothschild: a Henry Higgins coaching Eliza Doolitle parody. The audio track ran for only a few minutes, and I had a new found respect for Directors. Even a Baroness needs lessons in elocution. When I watch the movie again, I will imagine George Cukor speaking using the actors and actresses as his instrument. So that is how Cukor's actresses got their Oscars.
3. The Los Angeles Premiere in B&W is a few minutes of interesting distraction.

The rest of Disc 2 is really scraping the floor of the store-room. For those who already own the single disc edition, and do not have disposable income to burn, get the 2 disc edition of the TEN COMMANDMENTS instead. For the price of 5 commandments (about half the price of the 2 disc My Fair Lady), you will get more than double the info, making it look like "the TWENTY COMMANDMENTS". That is where a second disc is not a money making exercise: thou shalt not steal from gullible dvd buyers.

Rex Harrison Golden Globe Acceptance is a clip from the Andy William's show, where he apologised for not being at the real event, so he accepted it on AW's show. Shame.

Academy Awards Cermony Highlights: just one minute or less of Mr Warner accepting the oscar for best picture.

So two stars for the additional info on disc two. I would buy anything remotely related to my favourite musical, but if I were to search my heart for value added, I would say two extra stars is very very generous. Now, if ever they come out with a DTS version, we will have to throw the whole TWENTY COMMANDMENTS at this bunch of crooks.
Do you really need Martin Scorsese and Andrew Lloyd Weber's comments to supplement your own? ... Read more

Reviews (119)

It doesn't get any better than this!
How can you top something like this? This movie musical is as close to perfection as it gets. Perfectly cast, marvellously directed and filmed, beautiful music magnificiently arranged, The Music Man sets the standard for all movie musicals, even though it was the last big musical filmed in that era. Meredith Willson's brilliant musical wit and talent reached their pinnacle in this musical. Considered by many to be the best musical ever written, this filmed version is worthy of the musical itself and leaves nothing to be desired.

This DVD release is equally marvellous. A fitting tribute to one of Hollywood's finest efforts of all times. The Music Man is one of the movie industry's brightest stars, and this DVD edition will be a prized possession in any movie collection. Even if you "don't know one note from another," you'll love this spirited romp through 1912 small-town Iowa, and through some of the best music ever written for the stage or screen. The transfer to DVD is excellent. Vivid colors, sharp images, beautifully remastered soundtrack, the whole package is excellent.

The extras on the disc are also great, including a 30-minute special on the making of the musical and the movie, narrated by Shirley Jones and with comments by Buddy Hackett, Onna White (the choreographer), and Susan Luckey (Zaneeta Shinn).

This DVD is one of my most prized possessions. My only complaint is I wish Warner Brothers would package it in a better-grade all-plastic case rather than the cardboard snap case. It won't hold up over time as well, and this baby will be in my collection for a very long time!

Libertine Men and Scarlet Women
Before watching "The Music Man" on DVD I knew next to nothing about the show's writer/director Meredith Willson. Thanks to the Shirley Jones-hosted documentary included on disc, I now know he hailed from small-town Iowa. I appreciate all the more those exquisite little details in the film that turn River City from stock caricature set into living, breathing character.

Any movie musical is bound to split into two separate films: the exquisite musical numbers, with their witty rhymes, elaborately choreographed dance sequences, and impact on the plot; and then the perfunctory, stilted dialogue bits that bridge those numbers (if you want to see this theory in action, rent "West Side Story").

Thanks to Willson, "The Music Man", however, is perfect in that its linking "book" portions are just as successful as the musical numbers. And we're talking some pretty heavy musical numbers too. Nearly every song in the film is worth memorizing -- if you can manage to catch all the words! I thought I had them commited to memory years ago, but then I watched the DVD release with the English subtitles on, and realized I'd been missing entire lines -- good lines, too.

The DVD presentation is sound. The audio quality suffers, most notably during the dialogue-only portions. As I said, the presenttion is "sound". The extras are minimal, as to be expected from the perfunctory Warner Brothers back catalogue, but the 30-minute documentary bears viewing and sheds new light on the film. I'm not sure that a separate commentary track would work here, but I don't have to worry because, as usual, WB doesn't provide one.

It can be viewed all at once, or you can skip straight to select chapters and watch the film as a series of music videos, as I did on the first night. But whatever you do -- don't damage the flimsy cardboard packaging! :)

Among top musicals of all times
I don't remember how many times I have watched this movie, including the remake with Matthew Broderick. Robert Preston is the one and only Music Man, hands down. No one will remember any other movies he did, except may be for Victor Victoria, for which he actually won an Oscar. Joyous music, and wonderfully innocent story. Enough said.

A Standout but definately not a "masterpiece"
Before I complain I liked the Music Man. It is one of the most light hearted and charming movies I have ever seen and it does have good music. In the days of West Side Story, My Fair Lady, Mary Poppins, and The Sound of Music, somewhere in their is The Music Man. It failed to be better than all the films I have mentioned above. It was more slapstick and mediocre, and somewhat reminded me of some of the musicals MGM did in the 30s and 40s. All the performances were average but not something to hand out an Oscar for. Robert Preston, Ronnie Howard, and Shirley Jones did well. All in all it is enjoyable and very likeable, but it just did live up to the other film musicals of the 1960s. I do reccomend this film.

Renee from Florida
The Music Man was not at all what I expected. I bought it for a family movie night, we love musicals usually. This was so boring you could barely make it through it. Actually, I made myself finish it because i spent money on it. I will be tossing it or passing it on. If anyone's interested, it's going cheap! ... Read more

Amazon.com

The 1974 film version of Mame stars legendary Lucille Ball and isbased on the 1966 hit Broadwaymusical, not the 1958 movie. When 10-year-old Patrick Dennis's father dies,he is sent to live with his eccentric Auntie Mame. Mame may know nothing aboutbeing a parent, but she's got love and spontaneity in spades, and Patrick bloomsin the time spent with her. Though Miss Ball seems sadly miscast whenMame begins (she's too old and can't sing), by the time the movie reachesthe famous foxhunt scene when Mame accidentally wins the hunt, and in turn theheart of gallant Beauregard Burnside, you start to believe Lucy is Mame.

Reprising her Broadway role (for which she won a Tony), Bea Arthur plays Mame'sboozy pal Vera Charles. Songs include the now-classic "We Need a LittleChristmas" and "Bosom Buddies" plus "Loving You," sung by Robert Preston's Beauand written for this movie. --Dana Van Nest ... Read more

Reviews (111)

Ball shines in a true gem of a film
"Mame", based on the 1966 Broadway smash about the adventures of a madcap grande dame auntie and her hapless nephew Patrick, was revitalized for this glorious 1974 movie adaptation. Starring a sixty-three-year-old Lucille Ball, the film became controversial through the years because of Ball's "inadequacy" to play the role and that Angela Lansbury, who had immortalized the title role in the musical "Mame", should have played the role. Perhaps so. Who knows, the film probably would have benefited greatly from Lansbury's classic performance. But Lucille Ball triumphs in the role of Mame, and projects an infectious flamboyance with such verve and joy and she also projects a genuine tenderness and warmth through the role. And yes, Ball is by no means a singer, but again, there is so much warmth shining through Jerry Herman's classic "Mame" score, with Ball's lower-key, rueful singing. Ball is even quite glamorous in the film, sometimes almost resembling a mature Vivien Leigh early in the film. And there is the classic "Lucy" humor in the role, which will delight Ball's "I Love Lucy" fans and filmgoers. No question about it: Lansbury will always be the ultimate musical "Mame", but no question about it: Ball is a triumph in the role,and if she had to leave films, she left on a glorious note.

Aside from controversy surrounding the Ball performance, the film is nothing short of a delight. Jerry Herman's "Mame" score includes such favorite classics as "It's Today", "We Need A Little Christmas", "If He Walked Into My Life", and of course, the wonderful title tune, "Mame", stunningly photographed, choreographed, and sung by a crowd of Southerners in reverence of Mame.

Casting is also inspired. Beatrice Arthur reprises her Tony-winning role as Mame's gin-soaked, haughty actress best friend, Vera Charles, and Robert Preston scores as Mame's Southern husband Beauregard Burnside, and Jane Connell is hilarious as the befuddled nanny Agnes Gooch.

The film is also full of many, many golden scenes: "Mame"'s opening party sequence, Mame's disastrous stage debut, Mame's whirlwind fox hunt, Mame's round-the-world honeymoon, Mame meeting the parents of Patrick's uppity girlfriend, and Mame leading Patrick's little boy to new adventures at film's end.

Ball also recruited many of the original Broadway performers and technicians for the film, with Beatrice Arthur's performance and Onna White's choreography and Gene Saks's direction. It was a wonderful decision, because this gives the film much of the flavor of the Broadway show. So, in the final analysis, "Mame" is indeed, for all the messiness and controversy, a truly wonderful gem of a movie musical, and one that should be treasured by movie audiences for a very long time.

one of my absolute favorites
mame is one of my favorite movies! i am a fervent lucy fan, and was delighted when i saw this movie on the video rental shelf a couple of years ago. i rented it, and was blown away, it's a comedic masterpiece! any lucy fan, or anyone who likes a good comedy needs to see this movie. one of the best comedies ever made!

A fine musical product
Is Lucille Ball the best Mame? No. Is she the worst? No. It's actually a treat to see her in the role, husky singing aside. Ball was in RKO and MGM musicals in the 30's and 40's where she played sassy and brassy. Seeing her play something slightly softer and more vulnerable is a welcome change.

Comparisons to the Rosalind Russell version puzzle me; this one is a musical, that one is not. A musical introduces a different nuance to a story and character which will result in a slightly different interpretation. Grace Kelly in "High Society" was not Katherine Hepburn in "The Philadelphia Story", but it would have been somewhat shocking to see Cary Grant break out into song about Kate. Seeing Bing Crosby do it about Grace made sense.

Even if you don't like Ball's performance, it's only a minor flaw in what is a great package: clever songs, scenery-chewing Vera, hilarious Gooch, and some truly funny lines. Mame is still irrepressible, Patrick learns his lesson, and the foxhunt scene is a grand big production number.

Lucille Ball is Auntie Mame
I love Mame Lucillle Ball, is so beautiful and graceful she should of got an award for it.I dont why people bash poor lucy for her performance in mame?. The 1959 version of Auntie Mame starring the repulsive Rossalind Russel and ugly Coral Brown that shame full peice of crap

I love Mame !
Lucille balls, version of Mame was astounding she has the grace and the beauty and class to be auntie mame. She dances beautifuly and her costumes were simply stunning. Rossliand Russels, version was very disapointing and would not reccomend that version she had no class to play the elegant Mame Dennise and her clothes didnt look authentic from the era .I reccomend lucys version. ... Read more

Reviews (92)

"A bear in his natural habitat....a Studebaker!"
This is one of the first films that I ever remember seeing, and it is still one of my favorites today. This story about the Muppets' cross-country excursion to Hollywood is beautifully told through the wonderful vision of Jim Henson. It answers the question about how the Muppets first came together, and offers the audience a glimpse into the lives of the various eccentrics that made up 'The Muppet Show' before they became famous. My favorite is, of course, The Great Gonzo, the "prince of plungers." His out-of-this-world weirdness always adds more fun to the chaos of the situation, as Kermit and Co. try to outrun the evil Doc Hopper and make it to Hollywood on time to audition. I also love the big Studebaker that Kermit and Fozzie drive around in as they sing "Moving Right Along." All of the songs are memorable, from "Rainbow Connection" to Gonzo's "I'm Going to Go Back There Someday." I have seen this movie a million times and I will watch it a million more. It's just one of those films that you can never get tired of viewing.

A classic for kids and adults
The Muppet Movie is a classic movie that shows how Jim Henson's Muppets made it big. The story begins with Kermit the Frog sitting on a log in a swamp when a Hollywood agent finds him and tells him to go to Hollywood for a casting call for frogs. Kermit hits the road and along the way picks up plenty of new friends while also running into some trouble. The evil Doc Hopper wants Kermit to be his spokesperson for his new frog legs restaurant, but Kermit refuses. Along the way to Hollywood, Kermit meets Fozzie the Bear, Miss Piggie, Gonzo the Great and many others. This is a great movie that has humor for both kids and adults. There are very funny parts that intermingle the talents of many real movie stars in small cameos.

All the Muppets are here from Kermit to Miss Piggie, Fozzie, Gonzo, Rolf the dog, Dr. Teeth and the Electric Mayhem, Dr. Munson Honeydew and Beaker, and many others. There are plenty of cameos including Edgar Bergen, Milton Berle, Mel Brooks, James Coburn, Dom Deluise, Elliot Gould, Bob Hope, Madeline Kahn, Carol Kane, Cloris Leachman, Steve Martin, Richard Pryor, Telly Savalas, Orson Welles, and Paul Williams. Steve Martin and Mel Brooks are the funniest as a sarcastic waiter and a mad scientist. Charles Durning is also very good as Doc Hopper with his bumbling assistant, Max played by Austin Pendleton. Fans of the Muppets of all ages with love this classic about how the Muppets came to be!

Never give up your dreams.
A simple story with simple themes: Don't give up on your dreams; sharing your dreams brings you more friends to help you find your dreams. As early as 5th grade I would rewatch this movie, and each time reminds me to keep going an not give up. Yes, its got great songs, great lines, great cameos; but to me its message to not give up is what makes it such a great movie.

Creme de la Kermie.
Mini review of one of my alltime 10 favorite films.

Many people question why this is on my top 10. I think the question is why is it not on theirs? This is pure entertainment for the whole family. It is a movie that works on all levels. The story is enchanting. The music is charming and whimsical. The muppetry is fantastic. It is hard to imagine a better opening to a movie than the rainbow connection sequence.

The movie is a cornucopia of awesome quotes. I think my favorite still remains: If frog's couldn't hop, I'd be gone with the Schwinn.

The cameo roles are excellent as well. Steve Martin excels as a put upon waiter. Dom Delouise is impressive as a hollywood agent adrift in a swamp and Mel Brooks steals the show as a german mad scientist.

Better than a Bucket of Doc Hooper Frog Legs!
I had the pleasure of introducing my two and half year old son to the magic of the muppets through DVDs of the original "The Muppet Show", the syndicated TV program, that I had watched and enjoyed, while growing up in the 1970s. He loved Kermit & company's surealistic, yet hilarious comedy and music, so the next logical step was to move on to the Muppet's various adventures on film. Luckily, the first DVD I bought was the original 1979 film, "The Muppet Movie". The plot is quite simple.In his hometown swamp, Kermit meets up with a lost and nervous agent (played by the ever hammy, Dom DeLuise) who informs him that a major Hollywood studio is looking for frogs with talent.Armed with a dream of making people happy through his dancing and singing, Kermit goes on a road trip to the West Coast to break into the movie biz. Along the way he picks up new found friends Fozzie Bear, Gonzo the Great, Miss Piggy (starting their long running, tumultuous romance), and the rock group, Dr.Teeth & the Electric Mayhem, who all share in dreams of Hollywood fame .Unfortunately, Kermit also gets the attention and ire of Doc Hopper (Charles Durning), a Col. Sanders knock-off, who wants to force our hero to be the spokesfrog for his fast food, frog legs chain, "alive or stuffed". What an adventure! This is a wonderfully entertaining film, which will appeal to both kids and adults alike. Its obvious, that Muppet creator, Jim Henson and his fellow performer, Frank Oz were at their creative peaks.The writing is sharp and never 'dumbed down' ("I think I've lost my way"..."Have you ever tried Hare Krishna?") and the musical numbers are well staged (including Kermit's now classic, "Rainbow Connection"). What's more the film is filled with entertaining cameos from 1970's Hollywood including Madeline Kahn, Richard Pryor, James Coburn, Mel Brooks, Elliot Gould, Steve Matin ETC. My son and I have now collected all the DVDs in the Muppet's cannon of films and we pretty much agree, that this movie is by far, the best of the lot! For great family entertainment get "The Muppet Movie"! ... Read more

Amazon.com

America's pastime gets a Faustian twist in this 1958 studio musical, which recounts the ballpark bargain struck by an aging Washington Senators fan obsessed with helping his team trump the Yanks. With echoes of the real-life 1919 Shoeless Joe Jackson scandal, and tart observations on the tradeoffs between youth and experience, Damn Yankees fuses a classic dramatic dilemma with musical comedy to often charming effect.

In transferring George Abbott's Broadway hit to the screen, codirectors Abbott and Stanley Donen are smart enough to retain Richard Adler and Jerry Ross's clever songs, Bob Fosse's sizzling choreography (with Fosse himself on camera for the sultry mambo number), and stars Ray Walston and Gwen Verdon, reprising their devilish turns as the Horned One himself, Mr. Applegate, and his temptress, Lola. Where the team strikes out, unfortunately, is in their concession to marquee politics, handing the pivotal role of Joe Hardy to handsome, vapid, celluloid heartthrob Tab Hunter, whose thin voice and unsteady screen presence argue that he should have stayed in the dugout.

Walston is reliably spry and acerbic as the canny archangel, and Verdon, in one of her rare starring screen turns, confirms the comedic timing and sexy, muscular grace that made her a deserved draw in subsequent stage hits including another Fosse triumph, Sweet Charity. With her combination of feline grace and alternately steely, flirtatious femininity, Verdon makes you believe her when she sings, "Whatever Lola wants, Lola gets." --Sam Sutherland ... Read more

Reviews (15)

Whatever Lola wants she gets!
The film version of Gwen Verdon and Bob Fosse's first success together. With Ray Walston as the devil and Verdon as his muse, Lola, this film can not fail to please. An excellent example of Fosse's early choreography. Unfortunately, its producers thought that they could cut "The Game", a wonderful song sung by the Senators. A must for any musical video collection

Hollywood's Hall of Famer: a Grand Slam!
Forget about carping reviews. If you like: musical comedies; baseball;Gwen Verdon; selling your soul to the Devil; great dancing; happy endings; ironic gambits reaffirming olde time(pre-PM) morality, DAMN YANKEES is grand slam hit.This film adaptation of Broadway's World championship rendering of "The Year The Yankees Lost the Pennant" is classic Americana(It's more like"The Devil & Daniel Webster" than Goethe's Enlightenment epic,"Faust"). Tab Hunter does a fine job as guileless, baseball-loving, middle-aged dreamer who sells his soul to Mr.Applegate (My Favorite Devil/Martian; "Paint Your Wagon" schemer,Ray Walston).

Star of the show is Gwen Verdon. She's the devil's 007-ette,LOLA with"license to get-down".Down and sassy-classy she bedazzlingly is,as she funks; punks;Bob Fosse's-n-weaves/"sleezes" her way on Applegate's satanic service to seduce Superstar Joe Hardy into "eternal contract".WHATEVER LOLA WANTS (ultimately)she doesn't get. Because...like the show's theme banners...YOU GOTTA HAVE HEART! In The Ninth,Verdon's not-so-wicked witch of the West(like this superbly entertaining; funny; full-of-good-will fun flick) has Valentine Heart to the max.If you're a Yankee fan (as lovers of baseball begrudingly become)catching a glance of baseball legend Mickey Mantle in the film is a nice touch recalling innocence in values that've been lost to the Real Applegate and cohorts.Being from Houston, I look forward to some Yankee greats pitching for us next year. Until then, DAMN ASTROS(er)YANKEES is a Hollywood Hall-of-Famer well worth checking-out and cheering on.

SONG LEFT OUT!!!
This movie has been one of my top 20 favorites for a long time. I first saw it on television in the mid sixties. The very first song that begins the movie during the opening credits is "Think About The Game". When the home video was released, this song, sung by the Senator's while Joe Hardy was busy with the Shifty McCoy trial, was, without explanation or reason, was stupidly left out of the video version. I feel cheated and wanted my money back. Can anyone tell me why?

Thank-you.

Good soul-searching musical.
This is another film which would probably be better rated if it wasn't so slavishly compared to its stage original. It does its job just fine, thank you, but you must remember that stage and film are two different media. In the conservative postwar 50's there was very little controversy shown (or allowed to be shown) in the film and TV media; a Faustian book made into a film musical probably scared the Hays moral office to death! That said, the Abbott-Donen collaboration does a more than competent job of telling the story, and scores an extra base hit retaining most of the Broadway cast of the show in the first place. I've read that the studio tried to lure Marilyn Monroe into playing the Lola role (and assuring box-office returns), but the producers were smart enough to know that the role needed a real dancer-actress combination. In short, it needed Gwen Verdon. It needed her special brand of eccentricity, sexiness, and heartbreak. And it got her. If you're still not convinced, take another look at the exquisite cafe' dance of "Two Lost Souls."

How Lola can he go?
Shoeless Joe from Hannibal, Mo is the mysterious "Joe Hardy" who makes a pact with the Devil to be young again and the greatest baseball wonder the Washington Senators have ever seen. His agreement comes with an "out" clause but hired temptress, "Lola" uses all of her most beguiling tricks in order to put the vamp on innocent Joe and keep him from short-changing the Devil of another hard-earned soul.

Gorgeous boy Tab Hunter plays the part of quiet, innocent and unpretentious Joe, an easy soul target for the Devil and his indebted temptress, played by Gwen Verdon. Although the singing was slightly less than what it could have been, the dance parts were terrific.

Unfortunately, this famous Broadway show was placed before a movie camera and little was done to take it from the ranks of the contrived enthusiasm of a play to the artful poise of a feature film. The scripts made for stiff dialogue and the sets were composed as they would have been on a fixed stage. What could have made for a very entertaining musical became a stage play adapted by convenience with no consideration for creative filming. ... Read more

Amazon.com

They just don't make musicals like this any more. There are some who would be grateful for that--the plot is but a flimsy excuse to string together song and dance numbers. Some of us, however, love big, splashy, overdone musical scenes, of which there are many. Glittering stage numbers showcase a commanding Barbra Streisand as Dolly Levy, a New York matchmaker who can find a mate for anyone. Anyone but herself, that is. Determined to marry wealthy Walter Matthau, she lures him out of Yonkers and sets about wooing him.

Don't worry about the lack of a solid story or Gene Kelly's pedestrian direction. Watch instead for the musical numbers and the lavish costumes. Listen to Jerry Herman's score, and dance around the living room when a sequined Streisand arrives in a club as Louis Armstrong strikes up the title tune for her benefit. (Just pull the shades first.) Based on Thornton Wilder's playThe Matchmaker, Hello, Dolly! won Academy Awards for best sound, art direction, and musical score.--Rochelle O'Gorman ... Read more

Reviews (79)

"Hello, Dolly!"
Mrs. Dolly Levi is inarguably the most endearing film character I have ever encountered. She is beautiful, fashionable, clever, and humorous. One cannot help but wish that Dolly actually existed. Indoubtedly, I cannot imagine anyone other than Barbra Streisand playing the part of Dolly. Her stunning voice and captivating performance make "Hello, Dolly!" a truly wonderful movie.
Besides Streisand's amazing performance, this movie includes some wonderful songs and exciting dancing scenes. However, the dancing scenes do become a bit tedious and long.
What is "Hello, Dolly!" all about? It is the story of a widow who arranges an unimaginable amount of events and places. She assists a couple's elopement, two friends' trip to New York City, and a bored man's romance.
This film features other loveable characters, too, such as a head waiter in a posh restaurant, an orchestra conductor at the same restaurant, and a hatmaker who desires to be "evil."
I would highly recommend this romantic comedy to anyone. Although the dance and song scenes are too long, watch the complete movie. Streisand's performance is extremely wonderful and endearing.

Hello, Dolly! Barbra's best intentions
Only Streisand's second movie, filmed during the politically and meteorlogically hot summer of 1968, Ms. Streisand turns in a performance that could have won her first best actress Oscar, instead of the much better "Funny Girl," filmed in 1967. Why an Oscar? Streisand knew from the start that she was terribly miscast as the middle-aged widow, Dolly Levi. Opposite Walter Matthau, twice her age at the time, it's not a believable story. The Oscar comes from Barbra's totally tongue-in-cheek performance. She is not Dolly Levi, she's really Mae West, Fanny Brice, Brooklyn Barbra, even a twinge of pre-star Dolly Parton. Listen as Barbra throws in a little southern accent here and there. But mostly watch an incredible actress do what she can with a story so silly that by the end of the film, 26 year-old Streisand changes the supposed-to-be 50+ widow into one of the sexiest screen performances in film history. Even Matthau can't hold back his disbelief when watching Barbra do her numbers. When there's no Barbra on screen, there's no film. You watch in anticipation until Barbra's next scene, wondering who she'll be. The film looks like Gene Kelly directed it in three days with many technical flaws in the continuity of blocking scenes and dialogue. Just watch Barbra. Forget that she's the best female singer of the 20th century (no pun intended). Think of her as a young, sexy actress who has such energy, fearless ambition to get her movie career going. Of course, the sets are incredible and her duet with Louis Armstrong (his last film performance) is classic, albeit about two minutes long. Watch Barbra whisper under her breath while filming the dance numbers in The Harmonia Gardens with seasoned dancers. She looks like she's saying, "What the hell am I doing here?" Actually, she's making pure movie magic happen, almost impromptu. Movie: three stars, Barbra: Five plus stars. Nice to see Michael (Phantom of the Opera) Crawford pretend he can't dance. Barbra doesn't talk about this movie, but being the most costly musical in history up to that time, 20th Century Fox got their money's worth a million times over by convincing the apprehensive Barbra Streisand to star. Sorry Carol Channing, but Barbra was the best choice.

Elephantitis
Thornton Wilder's modest little play "The Matchmaker" has been blown up as big as a zeppelin in this out-of-control Streisand vehicle. A couple of songs had been added in the original musical conversion of the play on Broadway but this Hollywood monstrosity was never on Wilder's drawing board. The play had in fact been filmed ten years earlier with Shirley Booth, Paul Ford, Anthony Perkins and Shirley MacLaine in the leads. They should have left it at that. The original point of the story of the middle-aged Dolly Levi's pursuit of Horace Vander Geller is swallowed up here by the vast sets (the New York street set was one of the largest ever constructed and was forbidden to Paul Newman for "Butch Cassidy and the Sundance Kid" for fear "Butch" would reach the theaters before "Dolly") and interminable and generally idiotic production numbers. This must be some of the worst dancing ever filmed. Hard to believe a couple of Hollywood veterans like Gene Kelly and Ernest Lehman rode herd on this fiasco.

Tune Vs Crawford: Palpable Onscreen Tension
The tension that erupted between Tommy Tune and Michael Crawford whenever they were onscreen together in this fine film was delightfully electric. Their intramural competition propagated palpable intensity not really visible or audible (they had no exchange of dialogue) -- it was more a matter of pride between two spunky bachelors, a jousting of the male wills: Tune's learned dance talent meets Crawford's raw dance energy. Both portraying young men pursuing women in the movie, their performances conveyed much more deep and lusty a purpose between them, a cocksure attitude of stretched wide smiles and leggy high-hop dancing, a genuine duel of actors in their prime. Don't miss this one because, despite their competition, both Crawford and Tune emerged victorious and grand.

The Last of the Great Movie Musicals
By Streisand's own admission, she was too young in 1967 to have made a movie about an middle-aged woman making a personal "comeback"... and we all know how wonderfully different and marvelous the film would have been with Carol Channing... however, this does not take away from the fact that this is an incredible, lush, entertaining and musically rich film. The transfer to DVD is superb and crystal clear in picture and sound. The widescreen is anamorphic and color corrected. The only drawback is Walter Matteau's typical characterization which often detracts from the scenes he appears in, and his song "It takes a woman" is only saved by the beautiful setting and the male singers and dancers that accompany him. His voice really should have been dubbed by someone who could sing. Not to worry, Marianne McAndrew (who is stunningly beautiful) is a treasure in this film.... and her songs are wonderful (not sure if that is really hear voice, but its terrific). The sets are incredible and who wouldn't give anything to dine and dance at the Harmonia Gardens? The set designs, art direction, cinematography and costumes are exquisite. ... Read more

Reviews (18)

Not Fred & Ginger's best, but still lots of fun
Fred Astaire, especially when paired with Ginger Rogers, is probably my favorite movie performer. I once kept a list of how many times I had seen each of his films, and had seen his 30-plus musicals over 130 times when I lost it. Despite my love for Astaire's films, this is far from my favorite Fred and Ginger film. It is by no means a bad movie, but it definitely falls short of such classics as TOP HAT or THE GAY DIVORCEE or SWING TIME.

SHALL WE DANCE is a somewhat frustrating film, because so many of the elements for a great film are there, but so many opportunities are missed. The movie has a great score, and several great classics of popular song were introduced in it, but this in part points out the problems in the film. The two finest songs are "Let's Call the Whole Thing Off" and the extraordinary "They Can't Take That Away from Me," but neither is well utilized. Instead of dancing to the former, Fred and Ginger do a novelty dance with roller skates, upon which they are stiff and which produce an irritatingly loud rasping sound. The latter song is one of the two or three greatest songs in any of their films, but an unspeakable outrage occurs: they do not dance to it. What could have provided the occasion for a great dance along the lines of "Never Gonna Dance" from SWING TIME or "Let's Face the Music and Dance." Instead, Fred sings this heartbreakingly beautiful song, and the music unexpectedly ends with no dance. When Fred and Ginger reunited in THE BARKLEYS OF BROADWAY, they try to correct this wrong by dancing to it, but this hardly corrects the error in the earlier film.

The supporting cast is first rate, but to me, at least, the parts played by Edward Everett Horton and Eric Blore, otherwise two of my favorite character actors, seem a bit formulaic, efforts at imitating their earlier triumphs in other Astaire-Rogers films.

The plot is pretty hard to swallow. Fred Astaire as Peter P. Peters, a ballet star who prefers to tap dance, is a stretch even by musical comedy standards. And the plot device that a photograph of a woman in dressing gown beside a man who is asleep would convince the world that the couple was married is impossible to swallow. All in all, a pretty disappointing film by the greatest dance team in the history of cinema. Great stars, great songs, but an exceedingly [slow] plot and not nearly enough dances. Worse of all, squandering an opportunity for Fred and Ginger to dance to one of the Gershwin brothers greatest numbers.

Still, it is Astaire and Rogers, and while the film is far from what it might have been, it is still a lot of fun. Not TOP HAT or even FOLLOW THE FLEET (which was flawed but featured absolutely stunning dances), but still quite decent.

My Favorite of All the Fred and Ginger's
"Shall We Dance" is perhaps the finest example of the Fred Astaire and Ginger Rogers partnership. Set to the music of the Gershwin brothers, Ginger is a musical comedy star and Fred is a famous "Russian Ballet Dancer" from Penn. He sees her and falls in love, she doesn't like him, everyone thinks they are married, then they really are - and it keeps getting better.
The dance scenes are elaborate - imagine roller skates and 30 dancers with Ginger's face - and extremely well done. The supporting cast also help to make the movie. Even though the movie is good, it would be nothing without the help of Eric Blore and Edward Everett Horton (did I get that right?).
The plot is contemporary, the scenes are funny and everything is totally relatable - not counting the fact that everyone spontaneously bursts into song and dance at least once every 7 minutes.
If you have never seen a Fred and Ginger movie, this is the one you should see either first or last. Get your feet wet with the best or save it for last. Definately don't miss it.

Fred & Ginger Meets the Gershwin Brothers
Great Music and Great Dancing! The storyline is funny and entertaining, one of the finest Astaire/Rogers Films. The highlight of the film is the dance number with the rollerskates!

Featuring Songs By George and Ira Gershwin
The emphasis in SHALL WE DANCE? is even more than usual on the dancing of Fred Astair and GINGER Rogers. The movie includes six songs by George and Ira Gershwin and is based on a story by Lee Loeb and Harold Buchman. Much humor is provided by Edward Everett Horton and Eric Biore.

The film received an Oscar nomination in 1937 for Best Song ("They Can't Take That Away from Me")

Mark Sandrich also directed THE GAY DIVORCEE.

One of the Best Astaire & Rogers films
I think this is one of my favorite movies of all time. Fred Astaire as the famous ballet dancer, Petrov, is hilarious, especially when he meets Linda Keene (Rogers) for the first time. The entire movie is very funny and will bring a a smile to anyone's face. "Zoom, Zoom", "They Can't Take That Away From Me", and "They All Laughed" are all brilliant. I reccomend this movie to any Astaire & Rogers fan. ... Read more

Reviews (6)

A very good film with Esther Williams!
I think this is a very good Esther Williams film. Though there is not a lot of fancy swimming scenes, most is done in the ocean, while swiiming the channel. The story line and songs are delightful.

Fun movie!
As a former synchro swimmer and coach of synchro, this movie is a treat. Any Esther Williams movie is enjoyable to me, but this one is also very cute with Tom and Jerry taking an underwater dip with Esther. It's a great movie for kids and adults! Highly recommended -- way cute!

exellent Williams musical
Esther Williams and Fernando Lamas star DANGEROUS WHEN WET, a delightful musical about an American girl and her dream to swim the English Channel.

Katie Higgins (Esther Williams), and the rest of the health-savvy Higgins clan (William Demarest, Charlotte Greenwood, Donna Corcoran and Barbara Whiting), are all invited by the publicity frontman of Liquapep (Jack Carson), to come to England and swim the English Channel.

Along the way, Katie gets involved with a dashing Frenchman (Fernando Lamas) and experiences her first taste of love.

Featuring a tuneful score including "I've Got Out Of Bed On The Right Side", and a fantastic cartoon sequence where Williams cavorts with Tom and Jerry.

Funny, good time movie
I have loved this movie ro years and was thrilled to find it on Amazon! The story line is cute, the acting is witty, and if you have ever loved a musical, this is for you! There's even an interlude with Tom and Jerry. Fun movie!

Totally Addicting!
I have been watching this videos since I was 13 years old. It's a family favorite. My sisters and I still sing all the songs! Esther Williams is so fun to watch in this film and does a wonderful job portraying Katie Higgins the "farm girl" who wants to swim the English Channel in order to win money to "buy a bull"! It's just a really sweet film. Ferando Lamas and Esther Williams are so adorable together, they seem like an unlikely couple, but on screen they really can light it up. I highly recommend it to musical lovers everywhere and anyone who just wants to relax with a really good movie. ... Read more

Reviews (9)

SONJA`S BEST
This is remembered primarely because of the excellent music of Glenn Miller. He was to do only another film, Orchestra Wife, before being killed in a planecrash.
However; by the early 40s, Sonja Henie had developed into a good comedienne and this is her best - as a dumb, simpleminded blonde. Her timing is impeccable as is her delivery of dialogue... As if that isn`t enough; the supporting cast includes great efforts by The Nicholas Brothers, Dorothy Dandrige(then married to 1 of the N. Brothers and with whom she gave birth 2 a multihandicapped daughter), Milton Berle, Lynn Bari(singing voice dubbed) and John Payne as Sonja`s loveinterest.

It`s 1 of the best musicals ever made, though Sonja`s skating in this 1 is not her best.

Want to see the mechanics of the Miller Band?
This review applies EQUALLY to Orchestra Wives and Sun Valley Serenade.

Remember the Elvis movies that were basically a thin plot excuse to have the "star" sing? Well these movies are the 1940's equivalent featuring the pre-war (and so definitive) Glenn Miller Band.

Forget about the plots which are almost identical and don't even stand up today. Boy meets Girl, Falls in love, Another girl is jilted or gets in the way, disharmony in the band, all is sorted out. Big set piece number to finish. (Both movies - honest!). In fact unless you are interested in period movie making and Hollywood fashions you can safely fast forward between the tunes. You can figure the plot as it whizzes by - though how Milton Berle (playing the band's "publicity agent" in Sun Valley Serenade) got his wise crack about the size of a girl's chest past the production code is beyond me! Must have been the war.

BUT - the real reason to own these tapes (when are we going to get the DVD versions?) is watching the mechanics of how the Miller Band produced the sound. Sure - it was shot to be showy - and it is - but it is WELL shot and you can see how the components of the sound were built - even if the "recording studios" are the size of movie studios...... Couple this with the restored soundtrack (some tracks are in early stereo!) and you have a reason to own these movies. If you can only afford one - Orchestra Wives - there are more hits on it!

A fine slice of wartime Americana
This light romantic comedy is one of only two feature films to include Glenn Miller and his big band (the other being the superior "Orchestra Wives")... Miller himself is stiff as a board onscreen, and his acting parts are entirely unmemorable, although the musical performances are stellar. The orchestra's highly choreographed stage routines translate well onto film, and the visual razzle-dazzle of Miller's well-honed showmanship gives this film its real sizzle. Tex Beneke shines on a hep vocal update of "Chattanooga Choo-Choo," a number which closes with some singing and hoofing by the ever-acrobatic Nicholas Brothers, as well as actress Dorothy Dandridge, who sort of appears out of nowhere, just to take a brief solo. The plot is simple enough: a