Fred and Lilly are a divorced pair of actors who are brought together by Cole Porter who has written a musical version of The Taming of the Shrew. Of course, the couple seem to act a great ... See full summary »
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Fred and Lilly are a divorced pair of actors who are brought together by Cole Porter who has written a musical version of The Taming of the Shrew. Of course, the couple seem to act a great deal like the characters they play. A fight on the opening night threatens the production, as well as two thugs who have the mistaken idea that Fred owes their boss money and insist on staying next to him all night. Written by
John Vogel <firstname.lastname@example.org>
The movie was shot full frame (1.33:1, including soundtrack area) and then printed with optical soundtrack and interlocked with a magnetic, full-coated strip of film in the theater. While shot on Ansocolor film stock, the prints were by Technicolor, who optically centered the picture to fit the soundtrack on the film (unfortunately, new prints do not have this advantage and the left portion of the picture is cut off prematurely). According to trade ads, the film was only shot in 3-D and except for the premiere (at Radio City), played at almost all major theaters across the USA in 3-D. According to the director in a 1953 interview, the aspect ratio was intended to be 1.75:1, although it was protected for almost every ratio, due to the ever-changing standards of flat widescreen at the time. See more »
Boom mic shadows very visible in scenes backstage during the performance of the show. See more »
Great adaptation of the Broadway musical with a wonderful Cole Porter score. Yes the plot is just an excuse (though not a flimsy one) to put the numbers together, but so what? Kathryn Grayson and Howard Keel are very good as battling exes who are destined to be together, in the best tradition of Scarlett and Rhett, with a dash of His Girl Friday thrown in. Plus, it's all acted out amidst Shakespeare's Taming of the Shrew, which provides for some great comic moments. Keenan Wynn and James Whitmore as the two gangsters are hilarious in the classic "Brush Up Your Shakespeare." Bob Fosse, who plays Bianca's blond suitor in the "Shrew" play-within-a-play, electrifies the screen with Carol Haney in their short but spectacular dance during the "From This Moment On" number. But it is Ann Miller who steals the show with her tradmark perkiness, charm and dynamite dancing skills, demonstrated memorably in another classic, "Too Darn Hot," and her numbers with Tommy Rall. Definitly recommended if you want a laugh, a tune to hum and a great show to see.
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