I would lead you to musicals directed by Busby Berkeley. Particular examples would be 42nd STREET, FOOTLIGHT PARADE and THE GANG'S ALL HERE. Some of the numbers are mind blowing and highly entertaining.
I would lead you to musicals directed by Busby Berkeley. Particular examples would be 42nd STREET, FOOTLIGHT PARADE and THE GANG'S ALL HERE. Some of the numbers are mind blowing and highly entertaining.
Thanks, Erik (are you the same, handsome Erik Nelson who disco-danced in THE POSEIDON ADVENTURE?).
Keep in mind folks, that quality entertainment is NOT necessarily what I'm after. Tedious romantic plots aside, I want to see things that are horribly miscast, questionably staged, garishly designed, unfathomably scripted, or ludicrously re-imagined.
I would lead you to musicals directed by Busby Berkeley. Particular examples would be 42nd STREET, FOOTLIGHT PARADE and THE GANG'S ALL HERE. Some of the numbers are mind blowing and highly entertaining.
Thanks, Erik (are you the same, handsome Erik Nelson who disco-danced in THE POSEIDON ADVENTURE?).
Keep in mind folks, that quality entertainment is NOT necessarily what I'm after. Tedious romantic plots aside, I want to see things that are horribly miscast, questionably staged, garishly designed, unfathomably scripted, or ludicrously re-imagined.
Sorry, I'm not that Erik Nelson! But I do remember seeing his (my) name in the credits....
Of the Berkeley musicals I named, THE GANG'S ALL HERE probably has one of the worst scripts ever. The actors seem like they're making it up as they go along. But the delirious musical numbers make up for it. If you haven't seen it, I'm surprised. I've read that it's one of the top ten gay camp films.
.....Keep in mind folks, that quality entertainment is NOT necessarily what I'm after. Tedious romantic plots aside, I want to see things that are horribly miscast, questionably staged, garishly designed, unfathomably scripted, or ludicrously re-imagined.....
Well, then. You must see MGM's 1944 production, BROADWAY RHYTHM, the film "version" of Jerome Kern's final Broadway stage production of 1939-1940, "Very Warm For May".
Granted, it does have Lena Horne, Eddie Anderson, and Hazel Scott for a moment, and features the great hit Kern song, "All The Things You Are," but otherwise lives up to all your other criteria---"horribly miscast, questionably staged, garishly designed, unfathomably scripted, and ludicrously re-imagined."
Just be sure you've selected BROADWAY RHYTHM to view and not one of the MGM BROADWAY MELODY films, several of which are quite entertaining.
I don't know how to make a recommendation to you, since you list 3 films that I really like, in the ones you claim aren't good. You and I do not share in the definition of that word.
Star -- hugely entertaining and gigantic opus starring Julie Andrews Half a Sixpence -- bloated British musical with Tommy Steele Oliver -- huge but brilliant Doctor Doolittle -- huge with Rex Harrison The Boyfriend -- extravagant and delightful -- the Ken Russell way Pennies from Heaven -- huge! Yolanda and the Thief -- Vincente Minnelli and extravagant to the core
BTW, I assume the PENNIES FROM HEAVEN John mentioned is the Steve Martin movie, not the Crosby classic from the 30's.
In line with ZIEGFELD FOLLIES, have you ever tried KING OF JAZZ, another unabashed no-story revue, this one in in 2-strip Technicolor, featuring Paul Whiteman and his orchestra, the Rhythm Boys (Bing and two buddies) and production values that are not to be believed?
For that matter, how about ZIEGFELD FOLLIES' two precursors, THE GREAT ZIEGFELD and ZIEGFELD GIRL?
As for YOLANDA, I always think of that as the FIRST show in THE BAND WAGON, the one that Jeffrey Cordova over-produces until Tony Hunter has to take over and restore sanity. (INote the use of that jagged-edge follow spot, a la "You and the Night and the Music"...)
BTW, I assume the PENNIES FROM HEAVEN John mentioned is the Steve Martin movie, not the Crosby classic from the 30's.
As for YOLANDA, I always think of that as the FIRST show in THE BAND WAGON, the one that Jeffrey Cordova over-produces until Tony Hunter has to take over and restore sanity. (INote the use of that jagged-edge follow spot, a la "You and the Night and the Music"...)
OMG...I never knew anyone ELSE ever thought that when seeing "The Band Wagon." And it's that (what? starburst? sunburst?) jagged-edge follow spot that immediately brings "Yolanda" to mind. LOL!
Put 'er there, Pulliam old pal, put 'er there! Great minds in the same channel. (Who would've thought there were TWO geniuses posting to the same Message Board?)
.....OMG...I never knew anyone ELSE ever thought that when seeing "The Band Wagon." And it's that (what? starburst? sunburst?) jagged-edge follow spot that immediately brings "Yolanda" to mind. LOL!.....
This "sunburst" aperture for the old arclight follow-spots was a much used MGM concept in the 1940s and 1950s at MGM and appears fairly regularly in musicals there during that period.
When we were in pre-production in 1990 on the Turner mini-series documentary, MGM: WHEN THE LION ROARS, I looked far-and-wide to find an original of one of these to use and came up with nothing. None of the technical people I spoke with even knew what I was talking about. But I was determined to have an MGM sunburst follow-spot on our production just like the old days!!
Finally, I drew out a pattern to be followed and had one machined out of aluminum which would fit in the contemporary follow-spot I had decided on using.
For whatever reason, the machinist couldn't make the pattern exactly like the MGM one---not quite enough jagged edges---but it was close enough to give the same idea. I used this on many production shots on our large sets for the film and when you look at MGM: WHEN THE LION ROARS the next time, watch for that sunburst, particularly on Patrick Stewart's hosting sequences!
Oh yes I meant the Steve Martin "Pennies from Heaven."
How about: "Mame" "The Wall" (Pink Floyd) a bloated self important but huge "thing" "Show Boat" -- the technicolour extravaganza "Jumbo" "Absolute Beginners" -- has both yea-and-naysayers -- I'm a yea! "The Happiest Millionaire" -- another Tommy Steele biggie -- from Disney "The Slipper and the Rose" -- a bit drowsy... "Pal Joey" -- misconceived with Marlon "Robin and the 7 Hoods" --- aw I likes this one! nevermind... "You Can't Stop the Music" -- well not THAT big I suppose
"Chitty Chitty Bang Bang" and "Bedknobs and Broomsticks," while both have their fans, are similar to each other as sort of formulaic attempts to recapture the magic of Disney's smash "Mary Poppins."
They've both got the little British siblings.
They've each got a "Poppins" cast member.
One has a Julie Andrews sing-a-like, the other inherited the extended live-action/cartoon-combo episode.
One has a flying bed; the other a flying car.
They both have pretty good Sherman brothers scores.
The producers remembered everything except, perhaps, the . . . magic?
Plenty of money up there on the screen during their interminable running times, though, if that'll float yer BLOAT!
Star -- hugely entertaining and gigantic opus starring Julie Andrews
Aaah yes. I thought of it as a very talented elephant in search of a screenplay. At the screening I saw Julie Andrews spoke, and addressed Robert Wise (who was in the audience) and said, "Oh Robert, there's so many things I wish we could have done differently."
Half a Sixpence -- bloated British musical with Tommy Steele Oliver -- huge but brilliant
I did see Oliver but not Half... Thanks for the reminder.
Doctor Doolittle -- huge with Rex Harrison
I must have seen this a child since I had a PushMe-PullYou toy. I have no recollections, so it must go on the list! And big it was, as I recall.
The Boyfriend -- extravagant and delightful -- the Ken Russell way Pennies from Heaven -- huge! Yolanda and the Thief -- Vincente Minnelli and extravagant to the core I do like these in their own strange ways. Yolanda especially has its own bizarre sense of color.
In line with ZIEGFELD FOLLIES, have you ever tried KING OF JAZZ, another unabashed no-story revue, this one in in 2-strip Technicolor, featuring Paul Whiteman and his orchestra, the Rhythm Boys (Bing and two buddies) and production values that are not to be believed?
[Scribbling this onto my list...]
For that matter, how about ZIEGFELD FOLLIES' two precursors, THE GREAT ZIEGFELD and ZIEGFELD GIRL?
I mixed up the names. THE GREAT ZIEGFELD is the one I should have named, the reviewer I read having called it a "gas-blown giant." I remember getting about 50 minutes into it and thinking, "Oh no. Not ANOTHER musical number....."
