Classic Musicals from the Dream Factory Collections

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Lino
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#26 Post by Lino » Thu Jul 26, 2007 6:37 pm

Matt wrote:Just finished watching That's Dancing! That Eleanor Powell box set needs to come out now.
I KNOW! That's where I fell to my knees and said, Eleanor Powell is a goddess and I want to see ALL her movies right NOW! And you can imagine the time I've been waiting for that to happen because I already know That's Dancing by heart from watching it all these years now.

I really hope the Powell set comes out this year in time for Christmas.

Matt, what's the DVD like? Still haven't got it yet.

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Matt
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#27 Post by Matt » Thu Jul 26, 2007 7:04 pm

Lino wrote:Matt, what's the DVD like? Still haven't got it yet.
It's good. Like when they released the That's Entertainment films on DVD, all of the clips have been restored/remastered (except for maybe a couple licensed from other studios). You would not believe how phenomenally good the clip from Lubitsch's So This Is Paris looks. Most of the films featured in the film have already been released on DVD, so it's not as much a taste of things to come as the That's Entertainment set was. There were a couple of films shown only in brief montages that I did not recognize and wish I could see more of. I also want to see the ones I could recognize that have not been released like Honolulu with Eleanor Powell (I know the rest of the film will not live up to her wild "hula" sequence, but I still must see it) and Give a Girl a Break which has the dance duet with Debbie Reynolds and Bob Fosse (who also choreographed the dance) as well as Marge and Gower Champion.

The accompanying featurettes are really just one ancient VHS-mastered electronic press kit and are pretty useless except for laughing at Kim Carnes' sequinned Chuck Taylors as she films the video for the theme song.

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Matt
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#28 Post by Matt » Thu Jul 26, 2007 7:36 pm

Here is a cursory comparison for The Pirate. The first image in each pair comes from the trailer included on the disc (which was cut from alternate takes, so there are no exact frame matches); the second image comes from the film itself on the DVD.

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On the whole, the film transfer is very sharp and, with the exception of what appears to be some fading of the yellow layer in the element used for the transfer (see the last pair of images especially), pretty accurate in color. The problem is that is just seems too dark overall. Still, it's not nearly as bad as the transfer on Fox's The Gang's All Here, which looked very bad in captures but was not vomit-inducing while watching the movie. I'll watch and enjoy The Pirate but am a little upset that it wasn't transferred with the same care as most of the other MGM Technicolor musicals.

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tryavna
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#29 Post by tryavna » Thu Jul 26, 2007 7:46 pm

Darkening seems to have become Warner's primary sin of late -- at least for its "restored" releases. I've been complaining for months about the "corrected" day-for-night photography on The Searchers, which renders those scenes nearly indecipherable. But upon rewatching The Wild Bunch recently, I was surprised by how dark that film now looks on DVD. With what you've said (and showed) about The Pirate, I see no reason to stop being concerned about this -- and the fact that nobody seems to be calling them out on it.

Then again, other studios can be just as bad. Sony also "corrected" the day-for-night shots in their release of Major Dundee. (Sorry, but only westerns are popping into my mind as examples.)

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Matt
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#30 Post by Matt » Thu Jul 26, 2007 9:54 pm

Now this is Technicolor:

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It's been a dog's age since I've seen Royal Wedding. I'd forgotten what a leap of faith is required to believe the 51-year-old Fred Astaire as the brother of the 21-year-old Jane Powell. And I've seen the "dancing on the ceiling"/"You're All the World to Me" sequence a billion times and, of course, I know how the effects are achieved, but it still amazes me every time. Astaire's grace smooths over all the seams and it really does seem magical.

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Lino
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#31 Post by Lino » Fri Jul 27, 2007 3:07 pm

Matt wrote:
Lino wrote:Matt, what's the DVD like? Still haven't got it yet.
It's good. Like when they released the That's Entertainment films on DVD, all of the clips have been restored/remastered (...) There were a couple of films shown only in brief montages that I did not recognize and wish I could see more of.
That reminds me of something I've been wishing they'd done when the That's series began to come out on DVD: a trivia subtitle track, that would indicate which film we are seeing as the movie played. That would prove to be very useful.

BTW, has anyone seen On Your Toes? I want to see that one so badly!

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Matt
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#32 Post by Matt » Sun Jul 29, 2007 12:02 am

Just to follow up: Words and Music also looks a touch dark (but who cares, it's Words and Music [though I do love June Allyson's "Thou Swell" number]). The Belle of New York, on the other hand, is a real eye-popper, even though the palette is fairly muted. It also sounds really good. I imagine this is all due to the film being fairly unpopular and so having all necessary elements in very good condition.

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Matt
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#33 Post by Matt » Mon Aug 13, 2007 11:01 am

I finally finished this set up, holding the Lanza films until last because I thought they would be dreadful. I was happy to be proven (at least mostly) wrong. They are inconsequential and pretty much identical in plot, but fairly enjoyable. There's no arguing with Lanza's talent and showmanship, and J. Carrol Naish provides ample comic relief. I'm still not crazy about Kathryn Grayson's voice (it has a grating nasal quality), but she can belt 'em out. It was also nice to see a very young and almost unrecognizable Rita Moreno in The Toast of New Orleans. Both of these films look great and the documentary on Lanza, while made on the cheap, is informative and unexpectedly moving.

So, even though I bought this set thinking I would only keep The Pirate, it turns out I'm keeping all of the discs and The Pirate is the disappointment (but only because of its color issues).

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Belmondo
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#34 Post by Belmondo » Mon Aug 13, 2007 11:18 am

Matt wrote:I finally finished this set up, holding the Lanza films until last because I thought they would be dreadful. I was happy to be proven (at least mostly) wrong. They are inconsequential and pretty much identical in plot, but fairly enjoyable. There's no arguing with Lanza's talent and showmanship, and J. Carrol Naish provides ample comic relief. I'm still not crazy about Kathryn Grayson's voice (it has a grating nasal quality), but she can belt 'em out. It was also nice to see a very young and almost unrecognizable Rita Moreno in The Toast of New Orleans. Both of these films look great and the documentary on Lanza, while made on the cheap, is informative and unexpectedly moving.

So, even though I bought this set thinking I would only keep The Pirate, it turns out I'm keeping all of the discs and The Pirate is the disappointment (but only because of its color issues).
I am VERY glad to hear this - because of the prevoiusly mixed comments I had decided to put the individual titles in my Netflix queue, but I got tired of looking at the phrase "very long wait", so I just bought the set.

I suppose we should all be pleased to see that these movies have a "very long wait" for rental; sometimes I get the depressing feeling that fans are passing on at the same rate as the greatest generation who made these wonderful movies.

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Matt
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#35 Post by Matt » Mon Aug 13, 2007 12:15 pm

Belmondo wrote:I suppose we should all be pleased to see that these movies have a "very long wait" for rental; sometimes I get the depressing feeling that fans are passing on at the same rate as the greatest generation who made these wonderful movies.
It may be more depressing than you think: "very long wait" usually means that Netflix bought very few copies of that particular DVD and it's only shipping out of a few distribution centers.

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devlinnn
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#36 Post by devlinnn » Thu Aug 16, 2007 4:33 am

I don't think it was the second gin talkin', but I doubt I'd be the only 'straight' gent here to find Stanley Donen pretty damn sexy and cool chattin' to Mr. Osborne on the Royal Wedding disc. Effortlessly charming, honest and direct, I'd give a million dollars to look this good in my 40s, let alone my 80s. The beard, the gaunt, the sunnies and jacket - no fuckin' wonder his films still sweat and pulse with the vigor a 18-year-old trickster jumpin' at loose bait on hot summer nights.

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Highway 61
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#37 Post by Highway 61 » Thu Aug 16, 2007 5:14 pm

Damn, I had the exact same reaction watching that interview. Every time I shop now I look for a camel-colored jacket, but I've yet to find anything (that I can afford) that equals Donen's elegance and cool.

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starmanof51
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#38 Post by starmanof51 » Sun Aug 19, 2007 9:03 pm

I'm walking away from this set coming to the conclusion that Royal Wedding is my favorite, which I hadn't entirely expected going in. Belle of New York is underrated as well - not great, but better than its trifling reputation.

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starmanof51
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Classic Musicals From the Dream Factory Vol.3

#39 Post by starmanof51 » Mon Dec 10, 2007 4:00 pm

Before Dancing with the Stars,

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Belmondo
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#40 Post by Belmondo » Mon Dec 10, 2007 8:42 pm

Thank you for the complete info. This is where I generally show up and grumble about the lack of commentary tracks. However, the two commentaries on the previous box set (for THE PIRATE and WORDS AND MUSIC) didn't really do it for me and this set sounds interesting on its own merits.
These "so-called" second tier musicals have much to recommend them and my classic musical shelf is getting as long as my film noir shelf - get ready for the essay on how traditional values were being upheld on stage one and undermined on stage two at exactly the same moment!

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Lino
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#41 Post by Lino » Mon Dec 10, 2007 10:43 pm

Not that I'm complaining (all the movies here are great and I feel very tempted to spring for the whole set) but just where is that Eleanor Powell boxset we were promised at this year's chat? I really hope it's still happening.

Even the boxset's cover artwork is not so shabby.

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zedz
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#42 Post by zedz » Mon Dec 10, 2007 11:34 pm

Lino wrote:Not that I'm complaining (all the movies here are great and I feel very tempted to spring for the whole set) but just where is that Eleanor Powell boxset we were promised at this year's chat? I really hope it's still happening.
With the four Powell films herein, maybe this set has superceded it? After this, a Powell-dedicated set is likely to look rather depleted.

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starmanof51
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#43 Post by starmanof51 » Mon Dec 10, 2007 11:41 pm

zedz wrote:With the four Powell films herein, maybe this set has superceded it? After this, a Powell-dedicated set is likely to look rather depleted.
I think that's fairly certain. It also (along with last month's A Date With Judy) pretty well scotches any Jane Powell set as well.

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#44 Post by Stefan Andersson » Tue Dec 11, 2007 8:57 am

The remaining Eleanor & Jane musicals will likely be in Vols. 4-5.

shearerchic
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#45 Post by shearerchic » Wed Dec 12, 2007 12:51 pm

starmanof51 wrote:
zedz wrote:With the four Powell films herein, maybe this set has superceded it? After this, a Powell-dedicated set is likely to look rather depleted.
I think that's fairly certain. It also (along with last month's A Date With Judy) pretty well scotches any Jane Powell set as well.
They could actually still do a Jane Powell set with:

-Luxury Liner/Holiday In Mexico
-Three Daring Daughters/ Athena
-The Girl Most Likely/ Rich, Young, and Pretty

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starmanof51
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#46 Post by starmanof51 » Wed Dec 12, 2007 1:47 pm

shearerchic wrote:They could actually still do a Jane Powell set with:

-Luxury Liner/Holiday In Mexico
-Three Daring Daughters/ Athena
-The Girl Most Likely/ Rich, Young, and Pretty
Well that would be fine if they did, but it seems like the odds have gone well down. Should such a thing come to pass, I'd like to think Small Town Girl would be in it, even though she's shown up by Bobby Van and Ann Miller.

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Lino
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#47 Post by Lino » Thu Apr 10, 2008 3:38 pm

Individual cover artwork here.

DVD Talk review.

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KISMET

#48 Post by bluebird1111 » Tue Jun 03, 2008 10:11 pm

KISMET looks beautiful on DVD. The color range is stunning, and the audio is top notch. The excised bit of Rahadlakum is a treat, also. This disc alone justifies the entire set, for me.

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Lino
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#49 Post by Lino » Wed Jun 04, 2008 6:20 pm

Got my set in the mail today and the box is silvery and sparkly. AND the movies are housed in slim packs! Just beautiful! Can't wait to start watching those Eleanor Powell movies now!

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Via_Chicago
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#50 Post by Via_Chicago » Tue Aug 19, 2008 1:15 pm

I caught It's Always Fair Weather recently on TCM and I came away pretty impressed. While Comden and Green originally construed the film as a kind of sequel to their On the Town, one of the weaknesses of Fair Weather is our (the audience's) relative lack of familiarity with these characters and their situations. There is no built-in sympathy and thus, when the characters do meet again in 1955, our allegiances shift with every critical faux-pas, and as a consequence, we're ultimately left with no allegiances to speak of through the first half of the picture. Even Kelly's star power isn't enough to diminish the impression that he's just a loutish gambler (which isn't a far-off estimation, even at film's end). As narrative construction goes, this appears to be a critical mistake - there is no audience identification through the entire first forty-five minutes of the film! As a result, it's not difficult to see why audiences largely rejected the film in 1955; it's not because the film is melancholy (though it is), but because the characters are completely unsympathetic (they don't even like each other!) through the entire first half of the movie.

In a different film, the restaurant scene ("Why Are We Here") would be the culmination of the film's tragic narrative arc, but here it serves as the impetus for a complete one hundred eighty turn around in tone. In other words, this is where the Hollywood magic begins to kick in and reality (thankfully) flies out the window. I would argue that this shift occurs even before Charisse's wonderful "Baby, You Knock Me out" number. We become completely aware of this tonal shift when Dolores Gray begins her diva fit in the television studio and the television execs essentially plot the course of the rest of the picture. But there is something clever to this device since it definitely approximates the Hollywood schematic to a "T".

This shift in tone couldn't come at a better time, and it results in some of the most wonderful musical/dance numbers of the film - "Baby, You Knock Me Out," "Saturation-Wise," and "I Like Myself" coming all in succession. The first of these features some absolutely sublime dancing from the incomparable Charisse - and unfortunately, it's all too brief. Dailey's "Saturation-Wise" is great - in part because of Dailey's wonderfully acerbic drunk and absolutely manic energy - but also in how it masterfully plays with the music of the song as previously sung by the company executives (and that song itself transitions wonderfully into "March, March"). Finally, Kelly's "I Like Myself" has to be the least fun of the three songs, but the most amazing as a work of dance art. What's most impressive about the whole sequence is that he and Donen never fudge the shots - we see Kelly move effortlessly from skating into tapping, all in one shot. The whole sequence, which compares favorably with Kelly's more famous title number from Singin' In the Rain, absolutely elevates Fair Weather into the pantheon of great Kelly musicals.

Dave Kehr has noted that Donen's direction in this is "formally perfect,"and there is some truth to this. Like Minelli, Donen had an almost instinctive gift for filming music and dance numbers, and Fair Weather is no exception in his oeuvre. He (and I suppose also, Kelly) fills each and every CinemaScope frame and allows characters to use and occupy the spaces that are open. The result is a triumph of economy; a minimal amount of cuts allow the dancing to breathe and Kelly's choreography consequently takes on a narrative form of its own. Particularly succesful are the tableau-like street shots (characters pivot to face the camera [and the street]) which heighten the energy of the film's early scenes and open up the frame horizontally, allowing the dancers to move laterally. In other words, it allows them to use the entirety of the frame, and Kelly and Donen make sure that they do. This is to say nothing of the editing, which is, in all of the dance sequences, simply sublime - the action crisp and intelligible throughout.

Special mention to Dolores Gray and the fabulous "Thanks a Lot, but No Thanks." What a crazy and totally bizarre dance number!

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