On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
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>
Watch Hannah's hat in the "Fella With the Umbrella" scene. She makes it through the drops to the umbrella with her feather relatively unharmed. The shot changes to a close up and her feather is drenched. Later its standing up straight again, then down again. Its pretty obvious that the close up shots were filmed before or after the longer shots. See more »
Originally intended as a re-teaming of Judy Garland and Gene Kelly, EASTER PARADE ran into trouble when Garland's doctors advised against her working under the direction of her husband, director Vincent Minnelli--and no sooner did director Charles Walters take the helm than Gene Kelly broke his leg. Out of such confusion are movie musical miracles born: although a bit old to act as Garland's leading man, Fred Astaire was coaxed out of retirement. He and Garland had tremendous chemistry, EASTER PARADE was a box office smash, and Astaire unexpectedly found himself reborn as an MGM star.
Set in 1900s New York, the film's story line is flimsy but enjoyable. After long-time dance partner Ann Miller abandons the act, Astaire hires chorus girl Garland and attempts to recast her in his former partner's mold--a situation which offers Astaire and Garland considerable comedy and gives Astaire the chance to parody several of his own famous dance of the 1930s. Garland eventually convinces Astaire that she needs to be herself, and once the act is revamped they become a hot ticket--and, once their several romantic complications are resolved, romantic partners as well.
Astaire is every bit as charming here as he was in his Ginger Roger days, and his choreography retains his signature sharpness, wit, and elegance. Although Garland isn't really a dancer, she holds her own with Astaire and she tears strips off a brilliant score of Irving Berlin favorites. Both are well supported by Anne Miller, who gives a brilliant turn with 'Shakin' the Blues Away,' and Peter Lawford, who is quite charming as one of Garland's admirers. Although this really isn't as inspired as the truly great MGM musicals of the late 1940s, director Walters keeps it going at a smart pace, and the star power, clever script, memorable score, and those legendary MGM production values elevate it well above the pack. Musical fans will be in for a treat! Recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer
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