Ella Peterson is a Brooklyn telephone answering service operator who tries to improve the lives of her clients by passing along bits of information she hears from other clients. She falls ... See full summary »
A musical remake of Ninotchka: After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to ... See full summary »
After writing a tell-all book about her days in the dance troupe "Barry Nichols and Les Girls", Sybil Wren (Kay Kendall) is sued for libeling her fellow dancer Angele (Taina Elg). A Rash&... See full summary »
Two Americans on a hunting trip in Scotland become lost. They encounter a small village, not on the map, called Brigadoon, in which people harbor a mysterious secret, and behave as if they were still living two hundred years in the past.
An American boy and a French girl run away from a Swiss school making for Paris to reunite with their parents. The boy's father and the girl's mother join forces, despite cultural differences, to search for their kids.
Ted, Doug, and Angie are three ex-G.I.s who vow to meet again at a New York bar on October 11, 1955. They all show up on the appointed day, but quickly find that their friendship isn't what it used to be. However, a program coordinator wants to bring the three men together again on a live TV show. Circumstances are further complicated by a group of gangsters who are after Ted. Written by
Heavily promoted in the first episode of "MGM Parade" in 1955 with a clip and interview featuring star Cyd Charisse. See more »
In the opening montage of the three soldiers returning home in 1945 after the war, there is a shot of an ocean liner in New York harbor. The ship is the Italian liner Andrea Doria, which did not make its maiden voyage until 1953 (and which sank after a collision in 1956). Also, if the Doria is meant to be the ship the men are returning home on, it is facing the wrong way, headed out of the harbor instead of into it. See more »
Somebody stole my moustache. Fielding, I want that moustache returned, every hair in place.
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You notice how sparsely Gene Kelly's finest numbers are shot? Long takes,little in the way of cinematic flair? Well,ponder this for a moment-he will often do something truly spectacular at the end of a take,leading one to wonder just how many times the poor chap put himself through the preceding minutes before getting it right...
A case in point is the justly famed (among those in the know) "Rollerskate Number":In order to demonstrate that the skates are,indeed,authentic,Kelly will swap-flawlessly-from "tap" to "glide" at the end of each take.
Compare and contrast,by the way,with protege Donald O'Connor's emulation in "I Love Melvin"-we never see thetwo movements co-existing within the same shot.
Gene Kelly made me want to dance when I was 11,and not feel like a poof for doing so.
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