Reviews

After five years and viewing the two later versions, I think that this primordial effort in filmed operetta is far too severely criticized.I agree with all the observations by other IMDb critics, but there are particularly expansive film production values: good tenor and bass voices among the soloists and choruses,such as those of Sid El Kar and Ali Ben Ali,including the choral settings of "One Alone", "Eastern and Western Love," and let's not overlook Clementina and her ladies in "Castanette", "On the streets of Spain","There is a key.".etc.,and much else.Much would be very non-PC today. The writers have not overlooked comedy in the shapes of Johnny Arthur and Louize Fazenda as Bennie and Susan.Bennie's reaction after a bad experience with a horse is priceless.(see the film, I'm not telling you) It's funnier still when he is dressed in an overlong night shirt, and when Ali Ben Ali, the much turbaned,whiskered,ear-ringed,feathered tribal chief and he argue about Bennie's future. He is much funnier than the newspapermen in the later versions,Lynn Overman, and a later forgotten actor; while Ali Ben Ali's wide-eyed ogling with Clementina is quite farcical. I liked John Boles' rendering of "Then you will know",but in the whole contrast with later musicals (and really this is operetta with some sung dialog) Boles is much more dashing than many later singing heroes unless you include the energetic prancing in "Seven Brides for seven brothers". Louize Fazenda and Arthur make a very comic couple and are full of wisecracks: "Why do men marry their secretaries?" Susan (Fazenda)"Well, if you're going to let a man dictate to you,you might as well marry him" On the whole, this is a large scale,very musical and unusual operetta,full of choruses,combining "the desert magic",horses,exterior scenery, men in uniform,very much ahead of its time. But this very essence of romance has its serious moments;the characters,so different from the pasteboard casts of other works, are almost three-dimensional:they have pasts,presents,futures and personal philosophies. Thus Margot,asked by her fiancé why she wears riding habit quips: "I don't suppose you noticed there was a moon out tonight" Gen.Birabeau" See,Margot wants to be carried off by a shiek,as in the story books.." Margot:" I know that Frencnmen are only shieks to the women they don't intend to marry." In the serious episodes, the "Red Shadow's", Pierre's, tentative nervousness during her solo of the "Desert Song" is well portrayed; Captain Fontaine,the fiancé, gets down to business in "I MUST go,Margot"; finally,the epitome of drama shows,when informed by a legionnaire of the "signal fires",Fontaine points up his revolver,fulminating,"A challenge! This will be his last!" In sum, a great orchestration of exotic choreography,comedy,romance,betrayal,crisis and resolution which significantly outperforms its successors decades later.

I always thought that an operetta or a musical film should contain fairly fast moving action,choruses,humor, perhaps some uniforms,catchy music and singing talent. "The Sound of Music" contains only some of these.There are uniforms but not necessarily ones you'd want to run into.They're not Austrian Hussars,Russian officers,Mounties, but Nazis at the time of the Anschluss. Nor are they the most exciting voices: the Mother Superior exhorts,somewhat out of place, the "Climbing of every Mountain", the Baron (or Count),if he does at all, sings in an uninteresting bland voice; Julie Andrews is no Lily Pons or Kathryn Grayson, or even Jeanette MacDonald,but vocalizing in "Pediatric".walks us through her favorite places where "the dog bites" or "the bee stings". "When you're sixteen" etc. is rather insipid, and the nuns' chorus is on the juvenile side. The Baroness acts insecure rather than malicious and the whole cast of characters is not more than unidimensional. The photography and scenery are excellent,but apart from this I would feel that this is a children's picture; perhaps that was what was intended.

This is probably one of their best,equalling "Top Hat" in this Astaire-Rogers series. Perhaps the wit and dialog are old fashioned and wordy by modern standards,but after looking over this film again, I would say that there is now no modern talent or effort to match it. Just watch the detail and hard work put into the 15-20 sequence of "The Continental" and try to imagine anything these days that would compare. This is a song and (very good) dance musical appearing in the Depression years.It's an absolutely uplifting picture. It seems that after "Roberta","Top Hat" and "Swing Time" and a few others, the style seems to fade a bit until we get into the more serious, later films.These early films are unique. And when Astaire is partnered with other dancers,somehow the panache isn't there;and Rogers goes off to be a character actress.

Coming out in 1948,was this glossy MGM musical intended as a cure for the postwar blues? Considering the thinness of the story line, a quite poor commentary on Lorenz Hart's short life,maybe it was supposed to be only entertainment. I think that it was. Perhaps it was dulled somewhat by the narration by Tom Drake as Richard Rodgers more or less presenting it as a brightened up musical documentary but otherwise I found it very enjoyable; but then there's a melody about Rodger's music that is just not here in modern pop numbers. The splash of color in Ann Sothern's rendering, "Where's that Rainbow" plus the whole production values makes this fine entertainment for those who like this style; Perry Como and the chorus put on "Mountain Greenery" quite well surrounded by scenery;there is an evocative song "Blue Moon" by Mel Torme,while "Hart" sits back in wistful reminiscence of his lost love. Neither the diminutive Mickey Rooney nor Tom Drake resemble in appearance or personality the famous duo, but what of it? It wasn't supposed to be a biography (or biopic,as it is now called),but a very colorful musical. The only likeness I found was Hart's unreliability and alcoholism ; but give it a plus for well delivered "Words and Music", including most impressive of all,Lena Horne's "Lady is a Tramp". "Words and Music"; that's all it was meant to be.

Perhaps some nostalgia shielded me from the grainy picture and outrageous sound in this picture which came out a year into the European World War II, probably intended as escapist fare for the Allied side of the combattants. It is a funny story, but probably the plot is as old as history. Anna Neagle, a very versatile (still) young actress,who could do Queen Victoria, Nell Gwynn and many other roles,shows herself mistress of fluid dialogue and continuity,vivacious,charming and witty, and knocks our more modern imports like the "propah, Oh so British Sounding" Julie Andrews and Elizabeth Taylor (the poor man's Vivian Leigh) into a cocked hat. There is a nice dance sequence while she dreams while being painted,and her voice is quite pleasant. There are sufficient conflicts and the film is not devoid of a moral issue: to paint for art's sake,or put out meretricious subjects in order to advertise smoking. Helen Broderick,Zasu Pitts,Eve Arden, who rather hams her part,are in nice supporting roles,with Richard Carlson (who has a passable voice) and Victor Mature as the male juvenile leads.

The characters fulfil the usual requirements for a formula story. Rose Marie begins as a vitriolic,hire-fire personality;Serjeant Bruce does his job,but not without misgivings."It isn't always pleasant.The sad thing (or paraphrase)is when it hurts those you love." And he is wooden and stiff. Of course,he is! He's a policeman! This film offers quite a lot besides: operas from Gounod and Puccini, and Bruce,quoting "This our life,exempt from public haunt,finds sermons in stones,books in the running brooks..." from "As you like it"...hardly the stern Mountie who appears in the song. Leading up to this song,"The Mounties," there is a particularly robust,vigorous show of horsemanship---jumping brooks,hurdles,in a specially virile setting.And in the formula, their characters alter by the ending. Eddy is in excellent voice, probably at his best,hitting a high G in "Just for you", and I would challenge any baritone to accomplish, from head to chest tone, the portamento or change from F to lower A flat in "Indian Love Call". One criticism is that Eddy's moods change with very little transition,and there are many things not PC or legal these days. A socially oriented dialog occurs when she exclaims"I thought all this (the Nature) would make you more merciful". Bruce:"Don't ever think that Nature is merciful.Nature is the cruelest policeman.When an animal sickens, the others turn on him and kill him"

There are good supporting roles for Reginal Owens as Myerson,Regas as the guide,and Una O'Connor as Rose Marie's maid. In all this is very good entertainment and beats much that one sees or hears these days.

In glorious Technicolor,the stars are probably at their best,exceeding such romances as "New Moon","Rose Marie" and the others. Production values are enormous,beginning with a dance by Ray Bolger to a Dutch background heightened in color by beds of tulips.They are just enough not to be overwhelming. Jean and Nelson are the stars in the film of the sixth year of the stage production of Victor Herbert's 1913 show "Sweethearts" and are being done to death by the importunities of radio,recording,and family demands. Frank Morgan is his usual perplexed and harassed self as the stage producer,Herman Bing and Misha Auer are in top form as a mutually fighting conductor and wannabe playwright. One delightful vignette is during her modelling session at a dressmaker's shop,where she shows off the various colors and styles for different occasions. One gem is Eddy's race,pursued by speed cops,in a taxi from recording studio to NBC radio (looking much then as now) where Jeanette awaits him,having just broadcast Herbert's "Badinage" ably accompanied with much panache by Dalies Frantz.Some of her old Lubitsch (Director "Merry Widow"et al.) sassiness comes out as she mimes with the audience, until Eddy arrives, looking like a naughty schoolboy,with sleeve pulled up arm' amid her tidying of his appearance. One of the nicest shots is down the staircase at their home during the duet of "Little Gray home in the West",one of the most sincere performances. Herbert Stothart deserves much credit for his arrangement of Herbert's melodies,the duets and the delightful continuous orchestrations of the sound track. I would certainly watch this masterpiece several times.

During this expansive (in time and space) story,in view of the title aka "A tale of he Christ"one might ask oneself whether Judah Ben Hur's is a token of Christ's life on earth. Thus: he rejects the benefits offered by Messala for compliance with Rome; a type of the Last Temptation on the Mount:"all this will I give thee, if thou wilt fall down and worship me". He endures humiliation,flogging and other punishments unjustly. He acts as an human savior in rescuing other galley slaves as well as a harsh overseer. He is given drink by the Christ while on a killing trek from prison to the galleys. At risk to himself he pursues and embraces his long lost(during his 3 years as a galley slave)family now wracked with leprosy resulting from incarceration. Twice again he refuses acknowledgement of Rome to his stepfather and to Pontius Pilate. There is a contest with Messala, who realistically represents Satan,and overcomes him,witnesses the Via Dolorosa and the Crucifixion,the following storm and earthquake,when his two sisters are miraculously healed.

In this film we see Imperial Rome as civilized barbarians in all its brutal splendor.The background for the chariot race are quite out of place for Jerusalem,as is much of the scenery,where with the crowd and Pilate it would be appropriate for the Circus Maximus in Rome.

All the same this is without doubt an extremely thought-provoking and inspiring film,and it deserved all the honors and Oscars bestowed upon it.

Nearly everything has been written about this masterpiece by the specialist of the broad canvas,David Lean.As with "Dr.Zhivago" he paints just as well a wide expanse either of snow or sand.He is wonderful at depicting minute figures almost overwhelmed by the great backdrops seeming to engulf them. Lawrence,the risk taker par excellence,either biking too fast for safety,or undertaking the impossible trek to Akaba never bores us. Lean portrays the great expanses of time or distance,twelve days to Akaba...or the conflicts of risk .."You must be at the well before sunrise", which in other directors' hands could be tedious. Peter O'Toole acts the tortured character of Lawrence at war with his dark side,confessing to "enjoying" executing a tribesman. Jack Hawkins as Allenby acts the ambivalent British officer,promising, tongue in cheek, support which he is unsure that he can supply. Anthony Quayle is delightful as the imperturbable,understating British officer. The beginning sums Lawrence up well with the interviews given to the press at his funeral. This film is extremely helpful if one wishes to explore the Middle East mentality and thre unfulfilled promises of Arab independence following World War 1.

Saw the latter two thirds of this film on two occasions:always tend to like French films. Such a different flavor. There is often a great deal of background "actualité" in this and many like it as in "Sous les ciels de Paris" where action having nothing to do with the plot occurs. In "Breathless" these are the heroine as an American newspaper reporter interviewing an author of a new book as he compares European and foreign love;the hand wound cameras roll,we see the 1959 tape reels turning: Belmondo as the fugitive doesn't think twice about felling a man in the toilets with a rabbit punch (perhaps fatally) to steal his wallet:he makes off in someone's car with Seeberg and gives a fellow gangster (?) the "high five" (long before it ever appeared in the US). A defining moment might be when he pulls himself up as he stares at a poster of Humphrey Bogart advertising "La plus dure la chute"----the harder they fall.....as if predictive of his fate. A good film;but not as poignant as the ending of "Pépé le Moko", 1937, Jean Gabin and Mireille Balin.

Victor Sj"ostr"om (1879-1960) is just the right age for this portrayal of a clinically objective and emotionless doctor who is traveling on the road to receive a pointedly "honorary" and therefore non-academic award.Bergman has introduced a social comment and conflict quite early on:an argument with Isak's housekeeper; youth and age;life and death, and the marital disputes between his daughter-in-law ( whose divine looks outshine both Grace Kelly and Elizabeth Taylor) and his son,plus the abrasive husband who riles his wife mercilessly so much just after being rescued from a collision that they are asked,not by him,but by the daughter-in law to leave the car. The grotesque dream where a hearse containing his double symbolically disintegrates and so on, has been mentioned. The doctor dreams on during the journey: he is scientifically detached when his (now long dead) wife is assaulted by a stranger;there are surrealistic vignettes of a garden where wild strawberries are spilled,or a dinner where they are eaten,all fifty or more years earlier.The contrast between golden youth...more Swedish blonde goddesses...is marked when his aged features gaze on childhood scenes. Perhaps the examination scene in a medical students' class sums it up: he is ineffective,is weighed and found wanting. His son,stiff,upright,resembling Scandinavian royalty is also estranged from his wife because of her revelation of an early pregnancy. In a final rejection he cannot even presume first names with his housekeeper who insists on standing,very uprightly for her years,on her professional dignity. In order to perceive the nuances,this existential film of Bergman's about what might be miscalled the "Categorial imperatives" requires certainly more than one viewing. Look for Max von Sydow as a Texaco gas station attendant. They are all four-dimensional characters.

Comment on Desert Songs 1943 and 1953,hereinafter noted as "DS2" and "DS3" The 1943 version is unusual,with some authenticity with the addition of Robert Florey (emigrant from France in the '20s) and Marcel Dalio (La Règle du Jeu;La Grande Illusion;Casablanca(small pt.as croupier),All Quiet on Western Front1930 (as the dying French Soldier,I think, and A bell for Adano). The brief exposition at the beginning puts the film into position;the plot is appropriate since the US forces had landed at Dakar. However,there are so many changes in lyrics that the old operetta has vanished;perhaps this was for royalty and copyright reasons. There is a little too much "horsing"around that makes it look like a Western about North Africa, especially as the SW US background looks like that and not like the Atlas and Riff mountains. I still prefer this version to the 1953 "DS3" one where I consider the voice of Kathryn Grayson.,although greater in range, and perhaps more coloratura,not as mature as Irene Manning's although both of them do"Gay Parisienne" very pleasingly.(oh,the days when that meant "carefree"!)"Why do they call me...etc" DS3 gets further and further away with mis-cast Raymond Massey, and a sadistic Victor Buono as a minor chieftain.We see Ray Collins (Detective Tragg in the Perry Mason TV series) as General Birabeau and Grayson as Margot,his wayward daughter.Lyrics have been re-worded as displaced to different characters.The "over the ground" intro of the "Riff Song" into 4 repeated notes is quite overdone in both DS2 and DS3,and the growing hostility of Sid (El Khobar's next in command) to the leader,El Khobar (title in both DS2 and 3) breaks out into murderous attacks on the latter. Interestingly,nobody gets killed in the 1929 version,but as the years go by into the '43 and '53 films, casualties mount. The alluring Grayson trills winsomely (a little avian) but I prefer the taller dignity of Manning.Steiner has very nice musical direction in DS3,although a little saccharine at the outset,and it is characteristic of all 3 versions that the music,compared with the more sedate MGM operettas (Marietta,Rose Marie where it is intermittent) forms a pleasing continuous background.