Writers Comden and Green create a theatrical variation of Singin’ in the Rain‘s studio setting, with Fred Astaire as a washed up Hollywood hoofer aiming for a Broadway comeback. When artistic differences with director Jack Buchanan and co-star Cyd Charisse and a disastrous preview in New Haven threaten to sink the production, the troupe turns it around with song and dance, the knockout numbers including "That’s Entertainment" (#45 on AFI’s 100 Years…100 Songs), “A Shine on Your Shoes”, and Astaire and Charisse’s dream pairing in “Dancing in the Dark”, plus the stylish Mickey Spillane spoof, The Girl Hunt. —American Film Institute
Vincente Minnelli (February 28, 1903 – July 25, 1986) was a Hollywood director and stage director. His skilled integration of story, music, lighting, and design elements in a film made him the most critically respected crafter of American film musicals. With first wife Judy Garland, he was the father of Liza Minnelli.
Born Lester Anthony Minnelli in Chicago, Illinois, United States, Minnelli was the youngest surviving child of Mina Mary LaLouette Le Beau and Vincent Charles Minnelli. His father was musical conductor of Minnelli Brothers’ Tent Theater. Minnelli’s Chicago-born mother was of French Canadian descent and his paternal grandfather was from Sicily.
With his background in theatre, Minnelli was known as an auteur who always brought his stage experience to his films. The first movie that he directed, Cabin in the Sky (1943), was visibly influenced by the theater. Shortly after that, he directed Meet Me in St. Louis (1944), during which he befriended the film’s star… read more
Choreography is ok but rest is not. too many cliches. "Triplets" sequence a little funny and mostly original. Nanette Fabray shines. Ava Gardner and Julie Newmar made a cameo. "Girl Hunt Ballet" scene inspired Michael Jackson's Smooth Criminal.
Like Astaire, it moves a bit slow; age has caught up with him. And yet, it hasn't, for he is still lighter than air and 10x better than you'll ever be. Around him, the production inflates until the borders of the theater force its implosion. From the wreckage, cinema is born.