Les Chansons d’amour is unusual because of the realism of its characters, setting and story; the film has little dance and no big production numbers, but it is a musical.[…]
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“With his impish grin, twinkling eyes, and boyish blond hair, he looks like Tom Sawyer crossed with a Tammany Hall fixer.”
“The reason I sought out Betty Garrett’s book in the first place was because of something devastating that I read – and didn’t want to be true – in Farley[…]
This article first appeared in Bright Lights in October 2000. We reprint it as a tribute to the seminal composer on what would have been his 130th birthday. (And frankly, we’re surprised[…]
“Arriving in Los Angeles for the film’s premiere there, he quickly blotted his copybook by hurling a drink at the producer Sam Spiegel, the most powerful man in Hollywood at the time. Spiegel had ‘massacred’ Lawrence, O’Toole remarked, by cutting twenty minutes of it in order ‘to sell more fucking ice cream to the punters.'”
“In the 1930s, Warners effectively became the studio to go to for social critique, a risky position to hold under the Hays Code when pictures could be censored not just[…]
Director George Sidney is known mainly for: (1) glamourizing women, and (2) showing the audience a good time. In The Three Musketeers (1948), he does both. The principal woman glamourized[…]