Cholita, after a long absence in Mexico City, is returning home to take up her duties as head of the rancho and, as everyone expects, to marry her childhood sweetheart José. Expectations ... See full summary »
Live scenes of Paris and a continuity Narrator link together four dramatic choreographies, all by Roland Petit: Carmen (1949), La croqueuse de diamants (1950), Deuil en 24 heures (1953), and Cyrano de Bergerac (1959).
The beautiful Nellie Hill has many admirers but when one of them gets killed all the others are suspected. All this in among some great singing and dancing, some great bands and songs. This... See full summary »
Young Sherry Williams dreams of having a singing career, and she idolizes her older sister Josephine, who has gone to New York to perform on the stage. When Sherry is distraught just before... See full summary »
All-girl school Mar Brynn tries to get more pupils and publicity by making fun of the Quincton college. For revenge, the boys there sent Bob Sheppard to Mar Brynn, dressed as a girl, to ... See full summary »
Cholita, after a long absence in Mexico City, is returning home to take up her duties as head of the rancho and, as everyone expects, to marry her childhood sweetheart José. Expectations are somewhat dashed as she shows up with Fernando to whom she is engaged. This makes José and Cholita's uncle more than a little bit put out as Fernando is not only not a Mexican, he is also a city slicker afraid of the country. Written by
Les Adams <firstname.lastname@example.org>
This film probably would be of very, very little interest, were it not shot in colour. At least you can enjoy the magical reds and blues that have never been seen again since Technicolor process was replaced with cheaper and inferior ones. Amazingly enough, even as we are people from the 21st century, and are soon to celebrate Technicolor's one hundredth birthday (it began in 1917 with The Gulf Between, first two-strip Technicolor feature which has not survived), we still manage to be raptured by colour in these early films - especially if these only run for 45 minutes. The film features almost no plot, but at least a dozen songs - not bad ones - and the opportunity to see Anne Ayres, who a few years later became the leading lyrical soprano in the Metropolitain and returned to the screen only in 1951, when he was cast as Antonia in Tales of Hoffmann. Incidentally, she was the only woman in that film who actually lip-synced to her own voice. Her acting style is very sober and unassuming, so you might want to check out her other screen appearances.
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