It is early 1939 in Poland when Mrs. Bromley and Jennifer come to buy antiques for her business in London. Jennifer meets Count Stephen and they wine, dine and see the sights though out the... See full summary »
This 'Special' entry from the Warners/Vitaphone shorts department is less the story of Clara Barton, and more the story of how Clara Barton helped further the cause of the Red Cross in the ... See full summary »
At the Café Parisian during the can-can era, a young man, naïve but enthusiastic, arrives from Peru with two valises of money. He's immediately smitten by a lovely glove seller, who already receives attentions from a baron. The baron has additional admirers, including a florist whose beauty rivals that of the glover. Through dance, the lovers vie for each other's attention and affection while everyone can can-can. Written by
At the staircase's left side base, the ten foot tall torchiere-candelabra is a featured piece of set dressing. Two Baccarat crystal torchiere-candelabras, purchased in the 30s from the Baccarat factory in Lorraine, France, were shipped to the States for use in Jack L. Warner's estate. Too large in scale for the house, the two torchiere remained in Warner Brothers Property Department, packed in wooden crates. One of these Baccaract Crystal torchiere-candelabra was unpacked and used in the ballet set. Rarely released for an outside rental, the identical pair were used in the 70s for an NBC-TV Mitzi Gaynor musical special. Jack Warner had two full time decorator-buyers, covering European auctions and furniture galleries, acquiring pieces of furniture, tapestries, and paintings which would be used in his San Fernando Valley estate. Mrs. Warner, would schedule one or two rooms in their house, to be redecorated each year; she would co-ordinate with the two decorators each room's furniture style, period, and upholstery-drapery treatments. The rooms' used furniture removed and sent to the studio, added to Warner Property Department's inventory. See more »
In filming Massine's Gaite Parisienne with the Ballet Russe de Monte Carlo,director Jean Negulesco chose the shots and edited the film beautifully. Dance is very hard to film effectively. Also, Massine adapted his famous dance wonderfully for film and what a treat to see him dance The Peruvian, his own creation! The famous dancers of the early 1940's makes a breathtaking cast list: Frederic Franklin, Krassovska,Eglevsky--everyone dancing and looking marvelous. They just threw off the choreography with no effort whatsoever. Thanks to Turner Classic Films for bringing these Negulesco shorts to light. All of them well acted, nicely designed and written. The costumes perfect. Not that garish mess of costuming a few years ago for American Ballet Theater. What a thrill to know Gaite Parisienne has been caught forever on film and so well. The addition of the sound of Massine's footsteps in his allegro pas and other slight sound additions an important element of making the ballet seem alive and not just a silent dance filmed to recorded music. And what about those musicians coming in while playing the beginning of the Barcarolle? Shela Xoregos
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