Young and inexperienced Sister Ann has just arrived at her next posting at Samaritan House, a Dominican order located in a disreputable neighborhood of Ghent, Belgium. Sister Ann is ... See full summary »
In this magical tale about the boy who refuses to grow up, Peter Pan and his mischievous fairy sidekick Tinkerbell visit the nursery of Wendy, Michael, and John Darling. With a sprinkling ... See full summary »
The idea for a third edition was pitched by MGM/UA Home Video head George Feltenstein to then MGM/UA president Alan Ladd Jr. Feltenstein had typed up a list of musical numbers for a potential third movie back in 1976 after returning home from That's Entertainment, Part II (1976). Ladd approved the pitch, but because Feltenstein was a studio exec, he didn't get a screen credit for his contribution. See more »
[Referring to Fred Astaire]
Fred was a perfectionist. After exhausting hours of rehearsal, when we all thought we had it just right, he would say, "Come on, Annie. Let's do it one more time." Oh, what I wouldn't give to do it just one more time, again.
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A notice in the end credits says that "The MGM musical classics excerpted in this film are available in their entirety on videocassette and laser disc from MGM/UA home video." See more »
The final instalment in MGM's nostalgia fest of old musical clips is presented in much the same way as the first one twenty years earlier, as several luminaries from the studio's past are wheeled out in front of the cameras to reminisce on their time under contract. The film also marks the final appearance of an obviously ailing Gene Kelly, who introduces and closes the proceedings with some poignancy.
Others involved are Donald O'Connor, Mickey Rooney, June Allyson, Lena Horne, Ann Miller, and Esther Williams, and the clips include outtakes and unused material for the first time (a lavish production number intended for The Harvey Girls; Judy Garland's Mr Monotony' from Easter Parade, where she wears her trademark tuxedo and tights for the first time; and early clips from 1930s musicals which were junked).
We also see how an Eleanor Powell number was filmed, with stagehands rearranging the set to allow the camera to get close; and see a comparison of a Fred Astaire number in two different set-ups.
A good attempt to tidy up all the clips we hadn't already seen in TE 1 and 2, and worth a couple of hours of your time.
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