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 ...
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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.
On a trip to France, millionaire Jervis Pendleton sees an 18 year old girl in an orphanage. Enchanted with her, but mindful of the difference in their ages, he sponsors her to college in ... 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.
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 complete their mission and to retrieve them. She starts out condemning the decadent West, but gradually falls under its spell, with the help of Steve Canfield, an American movie producer.Written by
John Oswalt <firstname.lastname@example.org>
This film marked a return to MGM for Jules Munshin, who had been signed by the studio in 1947 in response to his breakout stage success in Harold Rome's postwar musical "Call Me Mister" (1946). After his screen debut in Easter Parade (1948), Munshin was quickly cast back-to-back in That Midnight Kiss (1949), Take Me Out to the Ball Game (1949) and On the Town (1949), after which the studio unceremoniously dropped his option. Nearly ten years later, Munshin was invited back to appear in both Silk Stockings (1957) and Ten Thousand Bedrooms (1957). See more »
When Peggy Dainton first gets off the plane in Paris, she is handed the same bouquet of red roses twice. See more »
How does it look?
Perfect. But, perhaps we could alter the under garments so that the line will be more smooth!
Good! Good. Its what's under the dress that counts.
You know -
Since my trips have been extensive everywhere, I've become a much wiser gal, For I've noticed that expensive underwear, Can improve a gal's morale. It is strange how lovely lingerie, Can affect a gal's false modesty, If she's wearing silk and satin, Satin and silk. Though she knows that boys are evil ...
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There are a number of good things about Silk Stockings, but there also is a professional finality about the movie that makes it easier to observe than to be delighted by it. It was one of the last of the big MGM musicals coming from Arthur Freed's production unit. It was the last musical Fred Astaire made as the lead. It was the last film directed by Rouben Mamoulian. It was based on the last Broadway musical Cole Porter wrote. Silk Stockings also was used to make a statement about the excesses some thought were ruining films and music...the advent of rock and roll and the technological changes in films with wide screen and stereo sound. It even takes a crack at the fashion for ballet in many musicals. You've got to be very clever and original to successfully parody things which are already self-parodies. Silk Stockings, even with its many entertaining moments, isn't that clever.
The story is based on Ninotchka, the female Soviet commissar who comes to Paris and finds romance reluctantly...and then enthusiastically. Paris is presented as a place where decadence was never more innocent and persuasive.
One of the things that seems so odd is that, for a Fred Astaire film, Astaire spends a good deal of time doing knee drops, full-length on-the-floor sprawls and athletic dance moves that limit the sophisticated and smooth Astaire style. He was 59 when he made the picture, and this might explain the relative shortness of some of the sequences. Still, while he is assured and immensely watchable (and while he can still do wonders with a cane), three major dance productions he is in just seem choppy.
Most of the songs from the Broadway show were retained and Porter wrote a couple of new ones. It's become routine with Porter to say that whatever his latest show was, the score was never one of his best. In this case, it's true. The romantic songs are great, but the topical specialty numbers just seem tired. Siberia and The Ritz Roll and Rock in particular miss the mark, in my opinion.
Astaire, as always, is first class. Charisse is easy to look at and a fine dancer. George Tobias, as a commissar in Moscow and Ninotchka's boss, gives a sly and dead-pan performance. Some of Porter's songs are very good. Mamoulian brought the film in on time and under budget. And Silk Stockings was a success with ticket buyers.
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