Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
Tommy Williams desperately wants to get to Broadway, but as he is only singing in a spaghetti house for tips he is a long way off. He meets Penny Morris, herself no mean singer, and through... See full summary »
Johnny Brett and King Shaw are an unsuccessful dance team in New York. A producer discovers Brett as the new partner for Clare Bennett, but Brett, who thinks he is one of the people they lent money to gives him the name of his partner.
Don Hewes and Nadine Hale are a dancing team, but she decides to start a career on her own. So he takes the next dancer he meets, Hannah Brown, as a new partner. After a while this new team is so successful, that Florenz Ziegfeld is interested in them, but due to the fact, that Nadine Hale dances also in the Ziegfeld Follies Don says no. In spite of the fact, that he is in love with Hannah, he keeps the relation to her strictly business. So Hannah is of the opinion, that he is still in love with Nadine, and her suspicion grows, when he dances with Nadine in a Night Club Floor Show. Written by
Stephan Eichenberg <firstname.lastname@example.org>
The song "Easter Parade" that the movie was based upon was first sung in Irving Berlin's 1933 Broadway revue "As Thousands Cheer" by Marilyn Miller and Clifton Webb and was inspired by the annual event in New York City where people stroll down Fifth Avenue displaying their new hats (some very outrageous) and their Easter finery. The song also appeared in the Irving Berlin movie Holiday Inn (1942). See more »
In the "Roof Garden" scene, Nadine is wearing high heels when she does the "Magazine Cover" number. In the wings at the end of it, she removes her headdress, discards her huge fan, and goes back onstage to call Don Hewes out of the crowd to dance their old number. Suddenly, she's wearing ballet slippers. In fact, in all of her scenes with Don, she wears flat shoes, so as not to tower over him. See more »
"Oh I Could Write a Sonnet, about your Easter bonnet."
For the only teaming of Fred Astaire and Judy Garland, Gene Kelly had to break an ankle playing touch football although he told the studio it was in rehearsal. So Fred Astaire who after another Irving Berlin musical extravaganza, Blue Skies at Paramount, got pulled out of retirement for this film. It was a happy accident for film fans.
Easter Parade by this time had become the national anthem for Easter and enjoys a grand seasonal popularity as Irving Berlin's White Christmas also. It was originally written for the musical revue As Thousands Cheer in 1933 and sung as a duet by Clifton Webb and Marilyn Miller. Bing Crosby reprised it in Holiday Inn in a very nice number driving a horsedrawn sleigh from church Easter services. But usually when it is presented visually, the clip of Judy Garland singing it in the finale is the one always shown.
By the way the melody originally was for a lyric entitled Smile and Show Your Dimple which bombed for Irving Berlin. Berlin was quoted as saying that popular songs are a perfect marriage between words and music and in this case the melody got divorced and married a second lyric successfully.
Easter Parade is a good mixture of old Irving Berlin material and new songs written for this film. Fred Astaire shines with one of the new ones in Stepping Out With My Baby which is a good followup to Putting On the Ritz which Astaire sang and danced to in Blue Skies. And Judy just shines in Better Luck Next Time.
The plot is a pretty simple one and for the MGM opulence that their musicals were known for their are very few actual speaking roles in this film. It's a romantic quadrangle with Fred Astaire being dumped by his erstwhile partner Ann Miller and then taking on Judy Garland in one of those 'I'll show her' moments of bravado. Peter Lawford's around to get whoever Astaire doesn't.
The acting honors in Easter Parade go to Judy. For all that talent Judy Garland was a most insecure person in life and she drew from that in bringing Hannah Brown to the screen.
Ann Miller's big number is Shaking the Blues Away which Ruth Etting introduced in 1927. Doris Day in fact does it in Love Me or Leave Me. Still Ann makes it more of a dance number than Doris did which is what Irving Berlin originally intended it to be.
The thing about Easter Parade and so many other films like it is that all that talent was contracted to that studio. You can't make a film like Easter Parade today because you'd have to pay full market price for the talent, even as Irving Berlin's numbers slip year after year into public domain.
The Easter parade with women dressed in their finest most tasteful frock is still a New York tradition on Easter Sunday. So is this film.
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