It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New ...
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Susan and Lorenzo have been married for over five years and they are starting to drift apart. So into her life comes an angel, which only Susan can see, to tell her that there will be ... See full summary »
In an effort to understand the plight of homeless women living on the streets, young social worker, Carrie Lange (Daphne Zuniga) attempts befriending a homeless woman named Florabelle ('... See full summary »
Matchmaker Dolly Levi travels to Yonkers to find a partner for "half-a-millionaire" Horace Vandergelder, convincing his niece, his niece's intended, and his two clerks to travel to New York City along the way.
Nicky and Tacy are going to be married. Nicky wants to save up money for a house, but Tacy dreams of starting off with their own home on wheels--a trailer. After the two are hitched, they ... See full summary »
The funny story of mad but kind and chivalrous elderly nobleman Don Quixote who, aided by his squire Sancho Panza, fights windmills that are seen as dragons to save prostitute Dulcinea who is seen as a noblewoman.
It's the late 1920s. Upon the death of wealthy Chicagoan Edward Dennis, his nine-year old son Patrick Dennis becomes the ward of their only living relative, Edward's equally wealthy New York residing sister, Mame Dennis. Edward's will states that Patrick is to be raised Protestant in a "traditional" manner and that the trustee, Mr. Babcock with the Knickerbocker Bank, will pay Mame for expenses incurred in raising Patrick, he having the right of refusal to pay if he deems that the spirit of Edward's will is not honored. Mr. Babcock and Patrick's longtime nanny, the timid Agnes Gooch, are to ensure that Patrick is raised correctly. Edward included these stipulations in his will as he knows his sister is a flamboyant, free wheeling and eccentric woman who can be considered anything but traditional or conventional. Despite the disruption each provides in the other's life, Mame and Patrick form a loving, supportive relationship. Mame wants to provide her sense of guidance to Patrick, ...Written by
The Paragon of American Film: 1970s Opulence Over '50s/'60s Camp & Kitsch
Like the glorious cinematography from beginning to end, "Mame" sparkles in true silver-screen opulence and is to the embarrassment of 1950s/1960s musicals and films represented by "Auntie Mame" that 1970s "Stars Wars" is to the embarrassment of 1950s/1960s science-fiction films. On par with 1970s "The Black Stallion" and "The Godfather," the unsurpassed cinematography during a time when silver was still used in film-making, with every shot of Lucy a photographic masterpiece, the lush orchestrations and arrangements of the masterfully-reworked songs brought to shimmering life by the 1970s characteristic most monstrous orchestras in history, the seamless dance numbers and unparalleled choreography, and some of the most touching scenes in all of film, with young-Patrick singing to Lucy after her cameo stage number, all come together in a chef d'oeuvre that elevates this "Queen of Television" to her throne as "The Queen of Film" too. The intellectual and artist apex of this civilization represented by the 1970s is in blazing contrast against the campiest and most kitschy time-period in history represented by 1950s/1960s film, television, and music. And this film, Lucy's most revered trophy, stands as that symbol.
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