Get ready to sing and dance, laugh and love all over again. Ten years after Mamma Mia! The Movie grossed more than $600 million, you're invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. With the film's original cast returning and new additions including Lily James, Andy Garcia and OscarÂ® winner Cher.
This visual and musical masterpiece features Yul Brynner's Academy Award winning performance an unforgettable Rodgers and Hammerstein score and brilliant choreography by Jerome Robbins. This masterful musical celebrates its 50th anniversary in 2006! It tells the true story of an English woman Anna Leonowens (Kerr) who comes to Siam as schoolteacher to the royal court in the 1860s. Though she soon finds herself at odds with the stubborn monarch (Brynner) over time Anna and the Kin
Teen Beach Movie centers around two teen surfers Brady and Mackenzie who are magically transported into a 1960s Beach Movie where they must try to blend in until they can find their way out! They soon discover that there is an intense rivalry between the local surfers and bikers. Things don't go according to plan when our modern-day duo accidently change the plot of the movie and the two lead characters fall for them instead of each other! As everyone around them starts singing and dancing and a fight between bikers and surfers break out Brady and Mack must attempt to get out of the movie and back to present day.
Seven Brides for Seven Brothers, starring MGM soprano Jane Powell and handsome baritone Howard Keel, has retained a remarkably loyal following among fans of the musical film ever since its release in 1954. Although it was filmed in state-of-the-art CinemaScope, Stanley Donen was obliged to direct much of the film on Metro's sound stages, where the artificial sets and painted backdrops don't inevitably live up to the scenes shot on location in Oregon. Viewers coming fresh to the picture may find this visual discrepancy jarring and some too may find Miss Powell's singing a shade plummy. The screenplay, by husband and wife team Albert Hackett and Frances Goodrich with Dorothy Kingsley, tells the story of seven brothers living in the Oregon hills and their adventures to find themselves wives. The casting of each brother with his rugged, masculine looks and ability to dance with grace and athleticism, presided over by an authoritative Howard Keel, gives the film a dynamic impetus second to none in an MGM musical. The lengthy barn-raising episode under choreographer Michael Kidd's intrepid direction, where the music and the incredibly agile and energetic male and female dance ensemble unite as one, produces a square dance without parallel. The music and lyrics by Gene De Paul and Johnny Mercer--including the mating chorus, "Spring, Spring, Spring", the rollicking "Bless You're Beautiful Hide", the rousing "Sobbin' Women" and the visually enchanting "June Bride"--are both tuneful and mindful of the plot's exposition. Adolph Deutsch and Saul Chaplin won the Academy Award in 1954 for their arrangements and conducting. On the DVD: The digital remastering has created a clearer picture of what had been a faintly muddy Ansco colour system on the original print while the polish and attack with which the MGM Studio Orchestra play the music on this full-bodied stereophonic soundtrack remains a thing of wonder. Howard Keel, standing tall and erect in his 80s, hosts the "making of" documentary. Director Donen, choreographer Kidd, Jane Powell and several of the dancers recall how the film was considered a "sleeper" during production and wasn't expected to do as well as Brigadoon, in production at the same time. The documentary also highlights the care taken over the casting of the brothers, two of whom including Keel were not dancers and their often brave and brilliant feats of acrobatic dancing executed on precarious planks and other props. When Howard Keel takes his farewell walk down the main street lot at MGM, breaking into a few brief dance steps, it's impossible not to feel a moment of regret that the curtain had to come down on MGM's most treasured possession. --Adrian Edwards
A nerdy florist finds his chance for success and romance with the help of a giant man-eating plant...
A musical remake of the classic 1937 film of the same name, A Star is Born was designed as Judy Garland's comeback vehicle after she had been cruelly axed by MGM studios for professional unreliability. Her erratic moods caused serious production delays this time around, too, but the behind-the-scenes turmoil was certainly worth it--Garland gives just about the greatest one-woman show in movie history. The story is the stuff of pure Hollywood legend. Aspiring actress-singer Esther Blodgett meets fading matinee idol Norman Maine (James Mason), who navigates her to stardom under the more melodious handle of Vickie Lester. As she rises meteorically, he declines into alcoholic self-pity--and the result, if you haven't guessed, is plenty of heartbreak. Mason lends subtle support in a role Cary Grant refused as too downbeat for his image, but Garland grabs centre stage with an all-out emotional performance that rivets the attention. Director George Cukor was famous for coaxing the very best out of screen divas, and A Star is Born must be counted as his crowning achievement. The lush visual style that he contributes provides a suitable setting for Garland's deep, rich voice--throbbing with melancholy in the Harold Arlen-Ira Gershwin ballad "The Man That Got Away", then capering joyfully in the gargantuan musical number "Born in a Trunk". Moss Hart's script takes many cynical swipes at the pretensions of Tinsel Town--perhaps too many for the taste of studio boss Jack Warner, who ordered drastic cuts in the film after its premiere. --Peter Matthews
Rock of Ages tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams.
Set in 1899, this musical drama from director Baz Luhrmann ("Romeo + Juliet") stars Ewan McGregor as a young poet who begins a passionate but doomed affair with the most famous courtesan in Paris (Nicole Kidman).
After several years as the hottest musical director on Broadway, Bob Fosse made his film directorial debut with this movie version of his Broadway hit, which was based on Fellini's Nights of Cabiria. Shirley MacLaine is terrific as the proverbial hooker with the heart of gold, one who is convinced that she will find the right man if she just turns enough tricks. The Cy Coleman score is a solid one; the film is at its best when Fosse lets his cast of singer-dancers (which includes Chita Rivera, Paula Kelly, and Sammy Davis Jr) unleash his leggy brand of choreography. While the film suffers from stylistic excesses of the period, you can see the seeds being planted for Fosse's future musical film forays in Cabaret and All That Jazz. --Marshall Fine
Titles Comprise:Australia: Nicole Kidman and Hugh Jackman join forces with visionary director Baz Lurhman in Australia, an epic and romantic action adventure set on the brink of World War II. When an English aristocrat (Nicole Kidman) travels to this faraway continent, she meets rough-hewn cattle drives (Hugh Jackman) and an enchanting Aboriginal child (Brandon Walters). This unlikely trio joins forces and embarks on a transforming journey, driving a herd of cattle across hundreds of miles of the world's most beautiful, yet unforgiving terrain. When their world is torn apart by powerful enemies, they must try to find each other amidst the bombing of the city of Darwin by the Japanese forces that attached Pearl Harbour. Moulin Rouge: Oscar winner Nicole Kidman, Ewan McGregor, Jim Broadbent and John Leguizamo head an internationally renowned cast in this musical extravaganza. Baz Luhrmann's sensual reinvention of the movie musical was Nominated for 8 Academy Awards including Best Picture. Set in a Paris nightclub that caters to society's decadent elite, the exhilaration Moulin Rouge follows the story of the ill-fated love affair between a stunning courtesan (Kidman) and a struggling you writer (McGregor). Romeo and Juliet: Baz Luhrmann's modern classic unfolds with its heart on its sleeve and guns ablaze. In this dazzling adaption of Shakespeare's classic love story Oscar Nominee Leonardo DiCaprio stars opposite Claire Danes. They Light up the screen as the original star-crossed lovers against a thumping soundtrack and boldly imagined modern-day setting. Strictly Ballroom: From Baz Luhrmann - the director of the award-winning hits Romeo & Juliet and Moulin Rouge! - comes Strictly Ballroom... the hilariously funny romantic comedy that's sure to leave you laughing, cheering and feeling great. It's the magical story of a championship ballroom dancer who's breaking all the rules, and his ugly duckling dancing partner. Together they make their dreams come true.
Annie is the story of a plucky red-haired girl who dreams of a life away outside her orphanage and its gin-soaked tyrant Miss Hannigan (played to perfection by Carol Burnett). One day Annie meets the famous billionaire ""Daddy"" Warbucks and the pair share spectacular times in 1930's New York City. But Miss Hannigan and her zany villainous colleagues are determined to spoil the fun for America's favourite orphan...
By any rational measure, Alan Parker's cinematic interpretation of Pink Floyd's The Wall is a glorious failure. Glorious because its imagery is hypnotically striking, frequently resonant and superbly photographed by the gifted cinematographer Peter Biziou. And a failure because the entire exercise is hopelessly dour, loyal to the bleak themes and psychological torment of Roger Waters' great musical opus, and yet utterly devoid of the humour that Waters certainly found in his own material. Any attempt to visualise The Wall would be fraught with artistic danger, and Parker succumbs to his own self-importance, creating a film that's as fascinating as it is flawed. The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerising film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon
After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber-Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s. Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film Evita has a similar quality--it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. --Jeff Shannon
Maddie fresh from a long-term relationship has embarked on a whirlwind holiday romance with the gorgeous Raf and overcome with passion the pair decide to get married straight away. With the wedding location set for Italy Maddie invites her sister Taylor along but little does she know Taylor and Raf once had a whirlwind romance of their own… With a soundtrack packed with 80s pop classics including Cyndi Lauper’s ‘Girls Just Want to Have Fun’ and Wham’s ‘Wake Me Up Before You Go-Go’ Walking on Sunshine is a joyful feel-good musical you’re bound to love.
Titles Comprise: Annie Get Your Gun: Betty Hutton (as Annie Oakley) and Howard Keel (as Frank Butler) star in this sharpshootin' funfest based on the 1 147-performance Broadway smash boasting Irving Berlin's beloved score including Doin' What Comes Natur'lly I Got the Sun in the Morning and the anthemic There's No Business like Show Business. As produced by Arthur Freed directed by George Sidney and seen and heard in a new digital transfer from restored elements. This lavish spirited production showcases songs and performances with bull's-eye precision earning an Oscar for adaptation scoring. The story is brawling boy-meets-girl-meets-buckshot rivalry. But love finally triumphs when Annie proves that yes you can get a man with a gun! Easter Parade: When his long-time dance partner abandons him for the Ziegfeld Follies Don Hewes decides to show who's who what's what by choosing any girl out of a chorus line and transforming her into a star. So he makes his choice and takes his chances. Of course since Fred Astaire portrays Don and Judy Garland plays the chorine we know we're in for an entertainment sure thing. Calamity Jane: The Deadwood Stage is comin' to town bringing Doris Day and Howard Keel to fuss feud and fall in love as Calamity Jane and Wild Bill Hickok in this entertainment from the golden age of movie musicals. At first curvaceous Calamity is too durned busy fighting Indians and cracking a bullwhip to pay much mind to such girlie what-alls as dresses and perfume. And Wild Bill is too danged busy wooing a dainty chanteuse to give a hoot about a hotheaded tomboy. But things change in a rootin' tootin' big way with love and romance just down the trail. There are wide-open Technicolor Western spaces lots of high-stepping terpsichory and a hummable humdinger of a score by Academy Award winning songwriters Sammy Fain and Paul Francis Webster who won an Oscar for the classic ballad (and '50's mega hit) 'Secret Love'. High Society: Beautiful aloof Newport heiress Tracy Lord (Kelly) is about to marry bland businessman George Kittredge (John Lund) but matters become complicated when her ex-husband C K Dexter-Haven (Crosby) moves to her neighbourhood determined to win back her hand. Things go from bad to worse for Tracy when journalist Mike Connor (Sinatra) arrives to cover the wedding for Spy Magazine. When Tracy is forced to choose between her suitors will she realise that safe doesn't always mean the best bet? Meet Me In St Louis: The wonderful Judy Garland stars in this charming musical as Esther Smith whose father comes home and announces he is going to uproot his whole family to New York on the very eve of the 1903 St. Louis World Fair. Brilliantly directed by Vincente Minnelli and full of wonderful songs - 'Trolley Song' 'Have yourself A Merry Little Christmas'.
MGM's bold idea to remake George Cukor's Oscar-winning upper-class romantic farce, The Philadelphia Story, into a star-studded technicolor musical with Cole Porter tunes somehow works splendidly and remains an underrated gem. Even the plot and character names--and some bits of dialogue--all remain the same as the original. Crooning Bing Crosby replaces Cary Grant as the wealthy ex-husband trying to win back his soon-to-be-remarried ex-wife, spoiled ice queen Tracy Lord (Grace Kelly, stunning and aloof in her last film role, originated in the earlier comedy by Katherine Hepburn). Unlike Grant, however, Crosby has jazz great Louis Armstrong, playing himself, in his corner for quixotic persuasion. Frank Sinatra (cocky in James Stewart's former role) and Celeste Holm add support as the nosy reporters covering, and subsequently complicating, the upcoming wedding. Sure, High Society lacks the original's witty satire, sarcasm and character complexity; but it's assuredly paced and wonderfully acted, and contains enough romantic chemistry to keep the plot engaging. And then there's the music. Unlike the grandiose production numbers of many 40s and 50s musicals, High Society's musical sequences are considerably low-key and intimate, focusing on Porter's lyrical content and the style in which it's delivered by the charismatic performers. Armstrong kicks the film off in telling style: he sings the title track, a calypso tune outlining the plot like a Greek chorus--not as an elaborately choreographed song-and-dance number, but instead stuffed claustrophobically in the back of a limousine with his jazz band. Other musical standouts include Sinatra and Crosby playfully tossing barbs during "Well, Did You Evah?"; Crosby and Armstrong teaming up for an energetic clash of styles in "Now You Has Jazz"; the two soaring, archetypal ballads by the leads--Crosby's "I Love You, Samantha" and Sinatra's superior "You're Sensational"; and, finally, the satirical Sinatra/Holm duet, "Who Wants to Be a Millionaire?", the closest High Society ever comes to social or class-commentary. --Dave McCoy, Amazon.com
A barnstorming box set of Rodgers and Hammerstein's classic musicals! Carousel (Dir. Henry King 1956) Gordon MacRae and Shirley Jones are reunited in this second classic Rodgers and Hammerstein musical. In this bittersweet love story Billy Bigelow (MacRae) a smooth-taking carny barker falls in love with a mill worker (Jones) in a little town on the coast of Maine. Although Billy is killed during a robbery before the birth of his daughter years later he is allowed to return
Grease Is The Word! The classic tale of good girl Sandy (Olivia Newton-John) and bad boy Danny (John Travolta) gets tuned up with new special features in this Grease: Exclusive 40th Anniversary Edition. Your favorite movie musical just gets better with time! Features: Commentary by Director Randal Kleiser and Choreographer Patricia Birch Introduction by Randal Kleiser Rydell Sing-Along The Time, The Place, The Motion: Remembering Grease Deleted/Extended/Alternate Scenes with Introduction by Randal Kleiser Grease Reunion 2002 - DVD Launch Party The Moves Behind the Music Olivia Newton-John and Robert Stigwood Grease Day Interview Photo Galleries
Elvis Presley's seventh film was the first of his "Hawaii trilogy" (a group completed by Girls! Girls! Girls! and Paradise, Hawaiian Style). While its story is daft--the King has just been released from his army-posting in Italy and returned to the islands, where he's trying to avoid working in his father's fruit business--the music, including "Blue Hawaii," "Almost Always True" and the beautiful "Can't Help Falling in Love", is not. Angela Lansbury plays Elvis's mother, who can't seem to get through to him. The film is directed by Elvis's frequent collaborator, Norman Taurog. --Tom Keogh
Cabaret is one of those film musicals whose cultural and stylistic influence extend well beyond the cinema. It confirmed Bob Fosse's status as one of the boldest choreographers of the 20th century and gave Liza Minnelli an early peak in a film career which would never scale such heights again. Minnelli is both the film's strength--on its own merits her performance is an Oscar-winning tour de force--and weakness. The real Sally Bowles was a third-rate performer and just one of a rich gallery of characters; here, the constant allowances for Minnelli's star turns and mannerisms ultimately throw the story off balance. But the source material is impeccable: Kander and Ebb's stage show, based on the autobiographical stories of Christopher Isherwood, has long since been acknowledged a classic. The songs, augmented by some new numbers in the film, are ageless. Joel Grey from the original Broadway production is the Emcee, the master of ceremonies who, with his Kit Kat Klub girls, provides a depraved Greek chorus satirising the rise of the Nazi regime and the lazy complacency of the 1930s Berlin cabaret-goers. The "divine decadence" tag is only part of the story, though. Cabaret still works a sinister, uncomfortable magic which sets it apart as a uniquely powerful film musical. On the DVD: Cabaret's 30th Anniversary Special Edition is packed with extras which include a scratchy "making of" documentary from 1972 and a retrospective from 1997, the latter featuring reminiscences from the cast. Theres also the original theatrical trailer, though in the absence of the late director Fosse the lack of some kind of commentary is a disappointment. The picture itself, presented in widescreen 16:9 letterbox format with a Dolby Digital 2.0 stereo soundtrack, gleams as sharply, visually and aurally, as it did on its first release. --Piers Ford