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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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.
Gillespie has to finally choose his official assistant, or Red and Lee are going to kill themselves in competition. So, it's another diagnosis competition. Lee's assignment is a small girl ... See full summary »
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 »
The movie is not the same as the stage production but it stands on its own as one of the best MGM musicals of the era. Howard Keel and Katherine Grayson were never better in any other of their films; Ann Miller is her usual energetic and delightful self, plus you get to see some superb dancers who made very few films at all, and they are all at the top of their form: Tommy Rall, Jeannie Coyne, Bob Fosse, Carol Haney and Bobby Van. The big closing number, From This Moment On, is a showcase for those five dancers plus Miller...look out for Fosse and Haney's amazing hipster/be-bop flavored segment! That song was added to the movie from another Porter show and it is the highlight of this great movie!
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