This comedy-drama is partially a gentle satire on America's drive to change the world in the post-war years. One year after World War II, Captain Fisby is sent to the village of Tobiki in ... See full summary »
The destiny of three soldiers during World War II. The German officer Christian Diestl approves less and less of the war. Jewish-American Noah Ackerman deals with antisemitism at home and ... See full summary »
The growing ambition of Julius Caesar is a source of major concern to his close friend Brutus. Cassius persuades him to participate in his plot to assassinate Caesar but they have both sorely underestimated Mark Antony.
Val Xavier, a drifter of obscure origins arrives at a small town and gets a job in a store run by Lady Torrence, a sex-starved woman whose husband Jabe M. Torrance is dying of cancer ... See full summary »
C.K. Dexter-Haven, a successful popular jazz musician, lives in a mansion near his ex-wife's Tracy Lord's family estate. She is on the verge of marrying a man blander and safer than Dex, ... See full summary »
All the hot gamblers are in town, and they're all depending on Nathan Detroit to set up this week's incarnation of "The Oldest Established Permanent Floating Crap Game in New York"; the only problem is, he needs $1000 to get the place. Throw in Sarah Brown, who's short on sinners at the mission she runs; Sky Masterson, who accepts Nathan's $1000 bet that he can't get Sarah Brown to go with him to Havana; Miss Adelaide, who wants Nathan to marry her; Police Lieutenant Brannigan, who always seems to appear at the wrong time; and the music/lyrics of Frank Loesser, and you've got quite a musical. Includes the songs: Fugue for Tinhorns, "Luck Be a Lady", "Sit Down, You're Rocking the Boat". Written by
Syam Gadde <email@example.com>
Just after the sewer crap game, Nathan tells Adelaide that green and white are the Whitney colors. C.V. Whitney colors are light blue with brown cap. John Hay Whitney raced the Greentree Stable's horses under flamingo and pink colors. See more »
Damon Runyon's world of Times Square, in New York, prior to its Disneyfication, is the basis for this musical. Joseph L. Mankiewicz, a man who knew about movies, directed this nostalgic tribute to the "crossroads of the world" that show us that underside of New York of the past. Frank Loesser's music sounds great. We watch a magnificent cast of characters that were typical of the area. People at the edges of society tended to gravitate toward that area because of the lights, the action, the possibilities in that part of town. This underbelly of the city made a living out of the street life that was so intense.
Some of the songs from the original production were not included in the film. We don't know whether this makes sense, but this is not unusual for a Hollywood musical to change and alter what worked on the stage. That original cast included the wonderful Vivian Blaine and Stubby Kaye, and we wonder about the decision of not letting Robert Alda, Sam Levene, Isabel Bigley repeat their original roles. These were distinguished actors that could have made an amazing contribution.
The film, visually, is amazing. The look follows closely the fashions of the times. As far as the casting of Marlon Brando, otherwise not known for his singing abilities, Frank Sinatra and Jean Simmons, seem to work in the film. Sky Masterson is, after all, a man's man, who would look otherwise sissy if he presented a different 'look'. Frank Sinatra is good as Nathan Detroit. Jean Simmons, as Sarah Brown, does a nice job portraying the woman from the Salvation Army who suddenly finds fulfillment with the same kind of man she is trying to save.
Vivian Blaine is a delight. She never ceases to amaze as Miss Adelaide, a woman with a heart of gold who's Nathan Detroit's love interest. Ms. Blaine makes a fantastic impression as the show girl who is wiser than she lets out to be. Stubby Kaye makes a wonderful job out of reprising his Nicely Nicely Johnson.
The wonderful production owes a lot to the talented Abe Burrows, who made the adaptation to the screen. The costumes by Irene Sharaff set the right tone.
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