Arthur, a sheet music salesman, has an ear for the hit tunes, but nobody will trust it. And his imagination often bursts into full song, building musical numbers around the greatest ... See full summary »
Joe Mulholland, Head of Production at a Hollywood studio, makes a rather fool-hardy promise to a dying friend. He undertakes to make a major movie using the title - if not the content - of ... See full summary »
With the help of a talking freeway billboard, a wacky weatherman tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early 1990s Los Angeles.
Richard E. Grant
Larry Poole, in prison on a false charge, promise an inmate that when he gets out he will look up and help out a family. The family turns out to be a young girl, Patsy Smith, and her ... See full summary »
In Chicago during the 1930s depression, sheet music salesman Arthur Parker is trying to sell his products, but it's not easy to convince unwilling music store owners to buy them. Although he's already married to the somewhat drab Joan, when he meets school teacher Eileen in a music store, he falls in love with her.Written by
At least four paintings are recreated as "tableaux vivants" in the film: "Hudson Bay Fur Company" (1932) and "20 Cent Movie" (1936), both by Reginald Marsh, and "New York Movie" (1939) and "Nighthawks" (1942), both by Edward Hopper. Three of the four were painted after 1934, when the movie takes place, and all depict scenes in New York, not Chicago, the setting of the movie. Turner Classic Movies uses the "Fur Company" and "Nighthawks" shots in their "Open All Night" interstitial. See more »
In the classroom, a modern Canadian flag can be seen. It wasn't designed until 1964. See more »
One reason musicals have been going out of style for the past 30-odd years is that audiences simply don't buy the escapism and optimism that permeated the genre in its heyday. This lavish and biting 1981 work solves the problem brilliantly by using the upbeat nature of '30s popular song ironically. The production numbers, and there are many, are toe-tapping, feel- good entities that play in devastating counterpoint to the somber narrative. The production design is amazing, Martin a surprisingly sympathetic Everyman with some rough edges, Peters perfection, Walken amazing in his one scene (imagine what a brilliant Pal Joey he would have made). But then, everybody in this movie seems to be performing at his peak: Even Marvin Hamlisch, whose musical scoring is usually so soppy and obvious, comes through. A salute, too, to Herbert Ross and his wife, Nora Kaye, for employing so many wonderful stage- trained dancers who seldom got a chance to shine on film: Robert Fitch, Vernel Bagneris, and Tommy Rall, who was so splendid in the movie of "Kiss Me, Kate." As far as I'm concerned, the movie's a masterpiece -- but nobody went to see it, and Ross reacted by making nothing but safe, mainstream entertainment for the rest of his life. At least this one shows the audacity and power of which he was capable.
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