- ► 2017 (147)
- ► 2016 (172)
- ► 2015 (127)
- ► 2014 (118)
- ► 2013 (124)
- ► 2012 (147)
- Victor Heermann | Animal Crackers
- Irwyn Franklin | Harlem Is Heaven
- Thornton Freeland | Flying Down to Rio
- Mark Sandrich | Top Hat
- Roy Del Ruth | Broadway Melody of 1936 / Norman Ta...
- Victor Fleming, George Cukor, and Mervyn LeRoy | T...
- Michael Curtiz | Yankee Doddle Dandy
- Andrew L. Stone | Stormy Weather
- Busby Berkeley | The Gang's All Here
- Charles Walters | Easter Parade
- Michael Powell and Emeric Pressburger | The Red Sh...
- Stanley Donen | Royal Wedding
- Stanley Donen and Gene Kelly | Singing in the Rain...
- George Sidney | Kiss Me, Kate
- Vicente Minnelli | Brigadoon
- Michael Curtiz | White Christmas
- Richard Quine | My Sister Eileen
- Stanley Donen and Gene Kelly | It's Always Fair We...
- H. C. Potter | Three for the Show
- Fred Zinnemann | Oklahoma!
- Walter Lang | The King and I
- George Abbott and Stanley Donen | The Pajama Game
- George Abbott and Stanley Donen | Damn Yankees
- Jerome Robbins and Robert Wise | West Side Story
- Morton DaCosta | The Music Man
- Carol Reed | Oliver
- Allan Dwan | Robin Hood
- ▼ July (27)
Wednesday, July 27, 2011
Charles Walters | Easter Parade
Sidney Sheldon, Frances Goodrich, and Albert Hackett (screenplay), Irving Berlin (songs and music), Charles Walters (director), Easter Parade / 1948
Clad in a yellow dress cutaway in front—so that all can keep their eyes peeled on her long, shapely legs—with a longer, knee-high train in back, Ann Miller, hands in air, smile frozen upon her face, is kept busy “Shaking the Blues Away” in Easter Parade. The cascades of her coiled hear on the top of her head echoes her frilly black bustier and the drapes behind her, all intimating something so close to kitsch that it is hard to take her seriously. Yet how she can dance, tapping her feet out as fast as a speed typist. Reputedly, the taps were fabricated by the sound man in most of her films, but she moves her gams so well that we are certain that her toes perfectly match those clicks.
Throughout the film she is mad at Don Hewes (Fred Astaire) and jealous of his attentions to his new partner, Hannah Brown (Judy Garland). So that jackhammer of a performance might almost be interpreted as nails driven into his coffin (Hewes sits in the audience), or, at least, a kind of passionate dance of revenge. But then, Miller always seems to be giving her all, if a little ungainly at times, stirring a storm up to the rafters.
Los Angeles, February 28, 2011