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DVD Silk Stockings
Fred Astaire took one of his final musical turns in this delightful 1957 comedy, a cold war update of the classic Ninotchka. Cyd Charisse, having previously wrapped her endless legs around Fred in The Band Wagon, plays the Greta Garbo role: a humorless Soviet functionary who sternly refuses the allure of Paris… for a while, anyway. Like some of the first widescreen musicals, Silk Stockings feels a little slowed down by the horizontal format, but nothing can dim the sparkle of Astaire and Charisse, nor quench the razzmatazz of Janis Paige. Paige and Astaire assess the current state of movies by singing that films today need "glorious Technicolor, breathtaking CinemaScope, and Stereophonic sound!" In the hands of Cole Porter, that phrase becomes wonderfully musical--and by the way, it's nice to see the composer identified with so many breezy 1930s songs staying au courant in the age of Sputnik and television. --Robert Horton
For those like me who are exploring the world of old movies for the first time, there is an excellent list at the NY Times website called "The 1000 best films ever made." This is one of those films, and I'm enjoying following their recommendations as opposed to just clicking on TCM or AMC and seeing whatever's on.
But that doesn't mean I always agree with those recommendations. I'm not particularly a fan of this genre, so it takes something really special to appeal to me. If this describes you too, skip "Silk Stockings" and go directly to Fred & Ginger's earlier films "Top Hat" and "Swing Time." Although this film with Fred & Cyd Charisse has its moments (Janis Paige gets some laughs, Charisse has a terrific solo dance number where her dour Communist character finally gets into those silk stockings, and this is the only place you'll ever see Peter Lorre sing and dance), ultimately it just drags. One could never say that about the above-mentioned Fred & Ginger classics.
Even the score by the legendary Cole Porter has zero memorable tunes...again, unless this type of film is your cup of tea, in which case it'll appeal to you. As for me, by the final half-hour I was continually amazed the film wasn't over yet, as another scene and then yet another scene started up while I was hoping for "The End." And it's actually surprising to me to find that this film is considered a comedy; other than Paige, I got zero laughs out of it. And Astaire, now middle-aged in 1957, is a shadow of his former self. Ultimately I just shut it off before the ending because I was falling asleep, so even though the film has its moments I give it only one star. A sleeping pill deserves no more.
the End of Fred Astaire
Fred Astaire has always been a performer who's work is very close to my heart. The last real Fred Astaire movie (excluding his geriatric non-singing, non-dancing or non-starring roles) is 1957's "Silk Stockings".
I was a little afraid to watch Silk Stockings at first. Sure, it had a Cole Porter score supervised by Andre Previn, and Hermes Pan choreography, and, sure, Fred made fabulous movies even at that age ("the Bandwagon", "Daddy Long Legs"), but I knew it was Fred's last, and I didn't want to know why. Now I know what a pleasure I was depriving myself of.
"Silk Stockings" is a musical remake of "Ninotchka", a 1939 Greta Garbo picture. It's about a serious stern young russian woman, sent as an envoy to nab a russian composer living illegally in Paris. The composer is betraying his russian classical heritage by writing music for a low brow movie musical. The director of this movie, played by Fred Astaire, distracts the pretty young russian (Cyd Charisse) with the wonders of Paris, classy night clubs, and dancing to jazz. In falling for him, her strict heartless personality melts away.
This movie was produced at the height of the cold war, and the height of Hollywood blacklisting, and it's commie-bashing could make some uncomfortable. To me, those jokes are anything but propaganda. The cultural stereotypes are played for laughs, and should be taken with a grain of salt. Of course, I'm a big fan of the top hat and tails ritzy romantic culture that Astaire's character teaches Charisse's character the joys of, so it's easy for me to say.
With the exception of the classics "All of You" and "Paris is For Lovers", Cole Porter's songs are comic, here. But, that being said, they are hilarious. This was towards the end of Porter's career too. Infact, this was towards the end of the movie musical as America knew it.
Rock and Roll was taking over. To me, the most moving moments in this movie are not the dramatic love scenes shared by Astaire and Charisse, they are the self referential moments, where Porter, Astaire, and choreographer Hermes Pan acknowledge that their era in over.
Porter wrote special material just for this movie. One highlight is a tune called "Stereophonic Sound". In it, the singer quips about how moviegoers used to be content to see talented performers do their thing, and a nice love story, but these days all they want is "glorious Technicolor, breathtaking CinemaScope, and Stereophonic sound!" The song puts down all the gimmickry of the modern Hollywood, and even has one verse quite obviously about Fred Astaire himself. Porter writes that these days a great hoofer in tails is not enough, they want a ballet (alluding to Gene Kelly's ballet dance number fad).
Fred Astaire's last MGM dance number is to the song "Ritz Rollin' Rock". It's Porter's parody of this new music called Rock and Roll, ironically borrowing from Irving Berlin's dated "Puttin' On the Ritz". This sequence, choreographed by Astaire's long-time collaborator Hermes Pan, ends with Fred writhing on the floor, wearing his 1930's tails and top hat. As the horns hit the last big chord, Fred removes his trade-marked top hat and smashes it flat with his fist.
The message Porter, Astaire and Pan slipped into this novelty number, is very powerful, if you know what you're seeing.
Pop entertainment changed in the sixties, and the the old kings abdicated their thrones to... well... the King, I suppose.
Anyway, if you're a Fred-head like me, and you're afraid to see Fred's final fling, "Silk Stockings", don't be. You'll be reminded why he and his period of Hollywood was great.
Enjoyable light entertainment.
Although I've seen better dancing by Astaire and Charisse, and it is not Cole Porters best music, the songs and comedy make it a very enjoyable movie.
One of the most famous tap numbers in film history distinguishes Broadway Melody of 1940, the fourth and final installment in MGM's Broadway Melody series. When Clare Bennett (Eleanor Powell, who had appeared in Broadway Melody of 1936 and 1938) needs a new partner for her hit Broadway show, small-time hoofers Johnny Brett (Fred Astaire in his MGM debut) and King Shaw (George Murphy) get their big chance. But due to a case of mistaken identity, King, rather than the more talented Johnny, gets the job, and the girl. Astaire and Powell can't match the chemistry he had with Ginger Rogers at RKO, but she was the best technical dancer he was ever teamed with, and the sense of fun they share is infectious. Their above-mentioned tap duet to Cole Porter's "Begin the... More Info about this DVD Actor(s): Fred Astaire - Eleanor Powell Director(s): Norman Taurog DVD Release Date: Released the 22 April 2003 Usually ships in 24 hours
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The devil is in the details when it comes to this effervescent Fred Astaire and Rita Hayworth musical. The slight storyline is a hook upon which to hang dance sequences, bits of humor, and songs by Jerome Kern and Johnny Mercer. Set in Buenos Aires, it's a remake of an Argentine feature from the previous year and followed You'll Never Get Rich. Astaire stars as a professional hoofer and Hayworth is Adolphe Menjou's second oldest daughter. The wealthy businessman won't let his youngest daughters marry until Maria (Hayworth) ties the knot. She couldn't care less--until a case of mistaken identity leads her to believe that Robert (Astaire) is in love with her (he's just looking for a job at her father's club). Highlights include a tap dance set to "Shorty George" and the... More Info about this DVD Actor(s): Fred Astaire - Rita Hayworth Director(s): William A. Seiter DVD Release Date: Released the 25 May 2004 Usually ships in 24 hours
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The Band Wagon (1953) marked the culmination of a series of near-autobiographical pictures Fred Astaire made for MGM following his return from premature retirement in the late '40s. Astaire plays Tony Hunter, a fading film star (his big hit: Flying Down to Panama) who decides to return to his former glory, the Broadway stage. (In 1931, Astaire had starred on Broadway with sister Adele in The Band Wagon, a revue that lent some of its songs to this film.) His playwright-songwriter friends (Nanette Fabray and Oscar Levant) hook him up with Broadway's hottest director, Jeffrey Cordova (a nicely hammy Jack Buchanan), who proves that the "new" theater traditions can be an awkward fit with the old. Hunter also finds himself at odds with his prima ballerina leading lady (Cyd... More Info about this DVD Actor(s): Fred Astaire - Cyd Charisse Director(s): Vincente Minnelli DVD Release Date: Released the 15 March 2005 Usually ships in 24 hours
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They don't make the most obvious screen couple--if you squint, you might think Stan Laurel had gotten together with Lauren Bacall--but their differences only serve to make this effervescent musical all the more entertaining. You'll Never Get Rich is the first of two that Fred Astaire and Rita Hayworth made together (followed by You Were Never Lovelier). Astaire, who stars as choreographer-turned-soldier Robert Curtis, has rarely been looser, and Hayworth, as dancer Sheila Winthrop, has rarely been more graceful. As in Royal Wedding, Astaire also engages in some fancy solo footwork. Robert Benchley and Frieda Inescort provide priceless support as Robert's philandering boss and his clever wife, and Cole Porter composed the music, including "So Near and Yet So Far,"... More Info about this DVD Actor(s): Fred Astaire - Rita Hayworth Director(s): Sidney Lanfield DVD Release Date: Released the 21 October 2003 Usually ships in 24 hours
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Fred Astaire plays a fashion photographer based on real-life cameraman Richard Avedon, in this entertaining musical directed by Stanley Donen (Singin' in the Rain). The story finds Astaire's character turning Audrey Hepburn into a chic Paris model--not a tough premise to buy, especially within this film's air of enchantment and surrounded by a great Gershwin score. Based on an unproduced play, this is one of the best films from the latter part of Astaire's career. --Tom KeoghMore Info about this DVD Director(s): Stanley Donen DVD Release Date: Released the 10 April 2001 Usually ships in 24 hours
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