20 Film Collection from Warner Brothers: Musicals

Posted on February 25, 2013 at 8:00 am

A+
Lowest Recommended Age: All Ages
MPAA Rating: Varied
Profanity: Varied
Alcohol/ Drugs: Varied
Violence/ Scariness: Varied
Diversity Issues: Varied
Date Released to DVD: February 25, 2013
Amazon.com ASIN: B009Z59782

Warner Brothers has issued a spectacular collection of musical films, from the ground-breaking “The Jazz Singer” to classics like “Cabaret,” “Signin’ in the Rain,” “Seven Brides for Seven Brothers,” and “The Music Man.”  This is a treasure that should be in every family DVD library, and every school and community library as well.  It includes:

The Jazz Singer ( 1927) Al Jolson plays the son of a cantor who wants to sing popular music in this groundbreaking film that was the first live-action film with a synchronized soundtrack.  (Remade twice, with Danny Thomas and Neil Diamond)

Broadway Melody of 1929 Winner of the second Best Picture Oscar, this early talkie includes “Give My Regards to Broadway,” “You Were Meant for Me.”

42nd Street (1933) “You’re going out there a chorus girl, but you’re coming back a STAR!”  This classic pre-code backstage musical features the title tune and “Shuffle Off to Buffalo.”

The Great Ziegfeld (1936) Another Best Picture winner (and Best Actress for Luise Rainer), this story of impressario Florenz Zeigfeld has rare filmed performances by Fanny Brice (the singer Barbra Streisand played in “Funny Girl”).

The Wizard Of Oz (1939) One of the most beloved films of all time, this enduring classic has Judy Garland singing “Over the Rainbow” and following the yellow brick road to see the wizard.

Yankee Doodle Dandy (1942) James Cagney plays the bantam-like singer/dancer/performer George M. Cohan in this biopic of the superstar who wrote classics like “For it was Mary” and “Give My Regards to Broadway.”

An American in Paris ( 1951) Gene Kelly.  George Gershwin.  Vincente Minnelli.  Glorious.

Show Boat (1951) This second version of the Jerome Kern musical based on the Edna Ferber story stars Ava Gardner, Marge and Gower Champion, Howard Keel, and Kathryn Grayson, with classic songs like “Old Man River” (sung by Wiliam Warfield in the part played by Paul Robeson in the original), “Life Upon the Wicked Stage,” and “Only Make Believe.”

Singin’ In The Rain (1952) This may just be the perfect movie as comedy, romance, satire, and musical.  Gene Kelly is the silent movie star who has to adjust to the talkie era.  In addition to the rapturous title number, the movie features Donald O’Connor’s classic “Make ‘Em Laugh.”

Seven Brides for Seven Brothers (1954) Seven rambunctious red-headed backwoods brothers named in alphabetical order (Adam, Benjamin, Caleb, Daniel, Ephram, Frank, and Gideon) are tamed by love in this rollicking musical with wildly athletic dance numbers choreographed by Michael Kidd.

A Star Is Born (1954) Judy Garland and James Mason star in the second (of three–so far) versions of the story of the fading star who marries a rising star.  Garland sings “The Man That Got Away” and “Born in a Trunk” and introduces herself as “Mrs. Norman Maine!

The Music Man (1962) Robert Preston re-creates his legendary stage performance as “Professor Harold Hill,” a con man who sells a small Iowa town on the idea of a boys’ band.  He plans to skip town before they discover that he has no idea of how to teach kids to play instruments, but then he meets “Marian the Librarian” (an almost impossibly pretty Shirley Jones) and things get complicated.  Songs include “Trouble,” “76 Trombones,” “Goodnight My Someone,” and “Til There Was You.”  And a barbershop quartet singing “Lida Rose.”

 Viva Las Vegas (1964) Elvis and Ann-Margret sing and dance.  What else do you need to know?

http://www.youtube.com/watch?v=MFw5a5Bp_Pw

Camelot (1967) The grand Lerner and Lowe musical about King Arthur, Guinevere, and Sir Lancelot stars Richard Harris, Vanessa Redgrave, and Franco Nero.  Songs include “The Lusty Month of May,” “If Ever I Should Leave You,” and the poignant title number.

Willy Wonka & The Chocolate Factory (1971) This is the first and best version of Roald Dahl’s classic children’s book about the poor boy who finds a golden ticket to visit the world’s most magnificently magical candy factory.  Too bad for the naughty kids who are greedy and spoiled!

Cabaret (1972) The film, director Bob Fosse, and stars Joel Gray and Liza Minnelli won Oscars for this searing musical about pre-WWII Germany, brilliantly presented in an adult musical that deals with issues like the rise of the Nazi party, anti-Semitism, and “divine” decadence.

That’s Entertainment (1974) This delicious compilation includes highlights of dozens of classic and underrated musicals and led to two sequels.

Victor, Victoria (1983) James Garner, Robert Preston, and Julie Andrews star in a wildly funny musical about an impoverished singer whose career takes off when she pretends to be a man pretending to be a woman.

Little Shop Of Horrors (1986) Possibly the most improbable source for a musical was a cheap horror film about a carnivorous plant, shot over a weekend.  But the cheeky score made it a theatrical hit and this movie version is a lot of fun.

Hairspray (1988) John Waters’ non-musical film about the controversy over integration on a teen dance show in 1960’s Baltimore inspired this musical remake with John Travolta as the mother of the adorable Tracy (Nikki Blonsky).  Michelle Pfeiffer, Queen Latifah, and Zac Efron co-star in this tuneful treat that includes “Good Morning Baltimore,” “Run and Tell That,” and “You Can’t Stop the Beat.”

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Classic Comedy DVD/Blu-Ray Pick of the Week Movie Mom’s Top Picks for Families Musical Romance

Beautiful Creatures

Posted on February 13, 2013 at 6:00 pm

B
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for violence, scary images, and some sexual material
Profanity: Some strong language, crude insult
Alcohol/ Drugs: Drinking
Violence/ Scariness: Supernatural images, violence, peril, characters injured and killed, references to loss of parents
Diversity Issues: Diverse characters
Date Released to Theaters: February 14, 2013
Date Released to DVD: May 20, 2013
Amazon.com ASIN: B009AMAGXK

In a small Southern town that feels far from everything, where everyone is “too stupid to leave or too stuck to move,” a teenage boy named Ethan (Alden Ehrenreich) dreams every night of a girl he has never seen.  Ethan has recently lost his mother.  His father is never there.  He is about to start his junior year in high school “so insanity’s inevitable.”  But his mother’s best friend Amma (Viola Davis), the local librarian, looks out for him.  There are books that he loves.  And the dream feels very real and somehow comforting.

Suddenly it is real as Lena Duchannes (Alice Englart) comes to town to live with her uncle, Macon Ravenswood (Jeremy Irons) in a creepy old mansion. Ethan feels an immediate connection, but Lena seems reluctant to talk to him or to make any friends in her new school.  Some of the other kids in the class feel the same way.  There are rumors that the Ravenswoods have strange powers.

The rumors are true.  “You know how some families are musical and some have money.  We have powers,” Lena explains.  She is a witch or, to use the term her people prefer, she is a “caster.”  She is 15 and on her 16th birthday she will be chosen for the light side or the dark.

No one wants Ethan and Lena to be together.  But the love they share is stronger than any caster powers from the dark or the light.

The storyline is fairly basic but touches of self-aware humor help to hold our interest.  And it is fun to watch Irons swan around in ascots and smoking jackets, striding past the swooping banister-less staircase in his mansion.  Thompson and Emmy Rossum clearly relish the chance to chew scenery with Spanish moss hanging all over it. They revel in the Southern gothic setting, tossing off Dixie-isms like “Slap my ass and call me Sally!” and “She looks like death eating a cracker.”  Viola Davis does what she can stuck with an exposition role that includes a completely random Nancy Reagan reference.  It is also buoyed by the lushy imaginative settings from production designer Richard Sherman and goth-glam costumes from Jeffrey Kurland and an entertaining assortment of literary and popular culture references, from Slaughterhouse Five and poet Charles Bukowski to the “Final Destination” series, Bob Dylan, To Kill a Mockingbird, and Jane Austen.  Most important, writer/director Richard LaGravenes creates a world where strange things seem both wonderful and normal.  The various transformations, expanding powers, and sense of alienation seem like a tangible reflection (and only mild exaggeration) of the experience of adolescence.

Parents should know that this film includes themes of good and bad magic, some disturbing images, characters in peril, and sad deaths.

Family discussion: Who makes the choice for the casters?  What makes Lena different?  What do you learn from the sacrifice in the movie?

If you like this, try: the series of books by Kami Garcia and Margaret Stohl, the books read by Ethan and Lena in the movie, and the “Twilight” films

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Based on a book Date movie Drama DVD/Blu-Ray Pick of the Week Fantasy High School Romance

Warm Bodies

Posted on February 3, 2013 at 9:48 pm

B+
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated PG-13 for zombie violence and some language
Profanity: Brief strong language (b-word, s-word, f-word)
Alcohol/ Drugs: Beer
Violence/ Scariness: Zombie violence with some graphic and disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: February 1, 2013
Date Released to DVD: June 3, 2013
Amazon.com ASIN: B008220BLG

You don’t often hear the word “adorable” used to describe a zombie movie, but that is probably because you don’t often have a story about a zombie in love.

Oh, it’s still a zombie movie.  Brains get eaten.  In fact, that’s how our undead anti-hero, known only as R (Nicholas Hoult) falls in love.  We meet him as a zombie who has a semblance of an inner life, already an arresting notion.  The whole deal about zombies is that they are undead, soulless creatures who have just one remaining motive or compulsion — they need to eat, preferably brains.  This gives them an important advantage over the rest of us, with our ambivalences, consciences, and that pesky ability to reason that requires us to consider a range of competing considerations.  They also have an even more important advantage — being undead, they cannot really be killed.

R introduces himself via an internal narration that provides a comic contrast with his very limited mode of oral expression and compromised memory.  R is all he can recall of his name.  As he explains when he introduces his “best friend,” M (Rob Corddry), “by best friend I mean we occasionally grunt and stare awkwardly at each other.”  He spends his days trudging stiffly through the airport, now the home base for the zombies, until he gets the urge to feed.  A part of him longs to be human and a bigger part of him fears turning into one of the “bonies,” a further devolution from zombie, skeletal figures who are much more aggressive, eating their own skin.  “They’ll eat anything with a heartbeat.  I will, too, but at least I’m conflicted about it.”

There is one thing he likes about eating brains, “the part that makes me feel human again, a little less dead.”  R eats the brains of a young man named Perry (Dave Franco of “21 Jump Street”), which give him access to Perry’s memories and to his feelings, especially his feelings of love for his girlfriend, Julie (the warmly appealing Teresa Palmer of “Take Me Home Tonight”).  R and Julie — yes, there is a balcony scene, too.  Julie lives in a walled, post-apocalyptic city ruled by her father (John Malkovich).  The surviving humans are at war with the zombies.  But R rescues Julie and as they are hiding out, his love for her begins to make him more human.

Hoult easily makes us understand why Julie is drawn to R, and his small, gradual awakening to the pleasures and pains of being human are beautifully chosen.  Based on the book by Isaac Marion and with able script and direction from Jonathan Levine, this works as a zombie movie and as a romance.  The massive losses have caused the humans to jettison some of their humanity for survival.  Julie’s friend Nora (Analeigh Tipton of “Crazy, Stupid, Love”) to abandon her dream of being a nurse to be an armed forager.  She has held on to a small store of make-up in hopes of a return to a more civilized life and tells Julie ruefully, “I wish the internet was working so I could look up what is wrong with you.”  The movie’s nicest moments are when Julie must pretend to be a zombie and R must pretend to be a human.  We see how superficial the differences have become and  M and some of the other zombies find their hearts re-animated through the power of longing for love and Julie’s father has to open his heart despite his grief at losing his wife.  R’s concerns about how he appears to Julie (“Don’t be creepy!  Don’t be creepy!”) are only a slightly amplified version of what we all go through when we meet someone who inspires us to enlarge our spirits and be on our best behavior.  And a simple “hi” turns out to be a poignant reminder of what being human really means.

Parents should know that this movie has fantasy/sci-fi violence, some graphic, with disturbing images, guns, brain-eating, knife, and weed-wacker attacks, some strong language (b-word, one f-word), a beer, and some lingerie.

Family discussion:  What is the significance of the names R and Julie?  What makes R more human?

If you like this, try: “Shaun of the Dead” and “Zombieland”

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Based on a book DVD/Blu-Ray Pick of the Week Fantasy Horror Romance Science-Fiction

Downton Abbey 3rd Season DVD!

Posted on January 27, 2013 at 8:00 am

A
Lowest Recommended Age: Middle School
MPAA Rating: NA
Profanity: Mild language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Illness and death
Diversity Issues: A theme of the movie
Date Released to DVD: January 28, 2013
Amazon.com ASIN: B0099Y2MYK

The most popular television show in the world has a gorgeous new DVD/Blu-Ray release this week, Season 3 and some marvelous extras:

–    Downton Abbey Behind the Drama
–    Shirley MacLaine at Downton
–    The Men of Downton
–    Downton in 1920
–    Season 3 Christmas Special bonus episode “A Journey to the Highlands”
–    and much more!

The returning cast includes Hugh Bonneville, Dame Maggie Smith, Elizabeth McGovern, Dan Stevens, Michelle Dockery, Jim Carter, Penelope Wilton, Joanne Froggatt, Brendan Coyle and a host of others, joined by Shirley MacLaine, who plays Martha Levinson, the very American mother of Cora, Countess of Grantham. Written and created by Julian Fellowes, Downton Abbey, Season 3 is a Carnival Films and Masterpiece co-production, in association with NBCUniversal.  I have one Blu-Ray to give away!  Send me an email at moviemom@moviemom.com with “Downton” in the subject line and tell me your favorite character in the series.  Don’t forget your address!  (US addresses only)  I will pick a winner at random on February 2.  Good luck!
Photo caption: The Great War is over and a long-awaited engagement is on, but all is not tranquil at Downton Abbey as wrenching social changes, romantic intrigues, and personal crises grip the majestic English country estate for a third thrilling season. With the return of its all-star cast plus guest star Academy Award®-winner Shirley MacLaine, Downton Abbey, Season 3 airs over seven Sundays on PBS beginning on January 6, 2013. Shown in the photo from left to right: Maggie Smith as Violet, Dowager Countess of Grantham and Shirley MacLaine as Martha Levinson

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Contests and Giveaways Drama DVD/Blu-Ray Pick of the Week Television

The Abolitionists

Posted on January 21, 2013 at 3:59 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Lynching, abuse
Diversity Issues: A theme of the series
Date Released to DVD: January 21, 2013
Amazon.com ASIN: B00A3THVGE

The new release from the PBS series “The American Experience” is a three-part story called “The Abolitionists,” the story of the fight to end slavery in the United States.  They were called radicals, agitators, and troublemakers. They thought of themselves as liberators. Men and women, black and white, Northerners and Southerners, poor and wealthy, these passionate anti-slavery activists fought body and soul in the most important civil rights crusade in American history. What began as a pacifist movement fueled by persuasion and prayer became a fiery and furious struggle that forever changed the nation. Bringing to life the intertwined stories of Frederick Douglass, William Lloyd Garrison, Angelina Grimké, Harriet Beecher Stowe, and John Brown, “The Abolitionists” takes place during some of the most violent and contentious decades in American history. It reveals how the movement shaped history by exposing the fatal flaw of a republic founded on liberty for some and bondage for others. Despite opposition and abuse, beatings, imprisonment, even murder, abolitionists held fast to their cause, laying the civil rights groundwork for the future and raising weighty constitutional and moral questions that are still with us today.  “The Abolitionists” interweaves drama with traditional documentary storytelling, and stars Richard Brooks, Neal Huff, Jeanine Serralles, Kate Lyn Sheil, and T. Ryder Smith, vividly bringing to life the epic struggles of the men and women who ended slavery.

http://www.youtube.com/watch?v=xU3RSqT76ic

I spoke to one of the historians who worked on the series, Dr. Manisha Sinha, Professor of Afro-American Studies and History at the University of Massachusetts, Amherst.

How did you get involved with this program?

I’m in the process of finishing a big book on the history of abolition from the revolution to the civil war. I was tapped for this series to be consulted on the script and be a sort of talking head for it.

One thing that I think is very hard for contemporary people to understand is that even among those who wanted to end slavery, there were many different kinds of views on the reasons for abolition.

Right at the outset it is important to distinguish between people who are sort of anti-slavery, who did not like the system of slavery for a variety of reasons, but who choose not to do much about it, versus the abolitionists, who devoted their lives to fighting against slavery.  If you want to look at the roots of the movement, you could go back to the Revolutionary era.  There were some outstanding Quaker individuals and African-Americans who fought for abolition and founded some early abolition societies, which resulted in emancipation in the North.

The people who we call abolitionists, they are the ones who came on in the antebellum period, which was 20 or 30 years before the Civil War, when you had people like William Lloyd Garrison, whose publication of The Liberator in 1831 is seen as the starting point of the formal abolition movement in the United States. Garrison of course, owed his inspiration to many of these early Quaker abolitionists, one of whom he served under as an apprentice.

Most importantly, he was very influenced by the black tradition of protest against against slavery and racism. That’s really important to remember. Garrison rejects the idea of Jefferson and later on even Lincoln, which was anti-slavery but wanted to colonize black people outside the United States.  What’s unique about Garrisonian abolitionists is that they adopt the African-American program of anti-colonization and black citizenship. If you looked at the roots of Garrisonian abolition, it very much lies in a long tradition of black activism of rejecting colonization and citizenship in this country. To that he adds what is known as Immediatism, which is the immediate abolition of slavery.

That’s when the movement starts taking off in the 1830’s that’s inspired by British abolitionists, who first came up with the idea of Immediatism. It’s inspired by these early outstanding Quakers who fought against the African slave trade and slavery supplemented by this long standing black tradition of protest that had its roots during the Revolutionary era.

I’ve always been very interested in the Grimké sisters. They were pioneering feminists as well as promoters of the abolition of slavery. To me that speaks to a very modern view of equality.

It does. In fact, you could say the abolitionists were well ahead of their time, because they’re fighting not just against slavery, but also racism. They fight against racial discrimination in the North and then they fight for women’s rights. Now of course, that becomes one of the issues that fractured the abolition movement.  There were many varieties of abolitionists. You had the Garrisonians, who were fairly radical in their rejections of all kinds of hierarchy, gender and race. You had Evangelical abolitionists, who really didn’t want to mix the question of women’s right with abolition. They thought they had one unpopular cause. They didn’t want to advocate another. Many of these abolitionists were also clergymen.

There were evangelical clergymen, who opposed having women stand up and speak in public like the Grimké sisters, most famously.  Of course, before that, an African-American women, Maria Stewart, had done that.  And before her, Fanny Wright who was an abolitionist and a workingman’s and women’s rights advocate had spoken out in public to what ware known as “promiscuous” audiences that included both men and women. These are the issues that started dividing the abolitionists.

By the end of the 1830s, we have different varieties of abolitionism. Some of these abolitionists became political abolitionists. Unlike Garrison, they felt that they could work through the political system to abolish slavery. Garrison saw the system that was very dominated by slave holders and by the Northern allies and realized that the fight for abolition would be a long and difficult one. He sort of said that the way for abolitionists to go politically was to agitate in the streets rather than to become part of political system that was corrupt.

The series emphasizes the economic basis of the pro-slavery advocates.  It was less a matter of philosophy than it was of money.

Exactly. There were a whole bunch of revisionist historians of the Civil War, who said, “The Civil War was not really a war about slavery. It was about the industrial North against the agrarian South. It was really economic interests that were divergent.” That is true that, that slavery gave rise to a distinct society in the South. In fact, the economic interests of Southern slave holders were quite complementary and in fact linked with that of Northern economic elite.

The people who started attacking abolitionists first were what we call “gentleman of property and standing.” Prominent leaders and the Democratic party were that time leading heavily toward the south. Also, economically others, including the lawyers and politicians, these are the people who led mob violence against abolitionists because they saw abolitionists as threatening these unions, these alliances between Northern capitalists and Southern slave holders.

A lot of work needs to be done on this, but we know that slavery was sort of a national economic interest. Slave-grown cotton was the largest item of export from United States before the Civil War, and its values exceeded the value of all other items of exports from this country, so this was a huge national economic interest that involved Northern banking, insurance, shipping.

It also involved Northern manufacturers.  The textile mills at Lowell were dependent on slave-grown cotton from the South. Northern manufacturers of clothes, tools, shoes, found a market in the South.  Economically, the North and South had complementary economies, not economies that were in conflict. These are the odds the abolitionist faced.  Slavery was entrenched in the nation’s political institutions, it was an enormous part of the nation’s economy.  To fight against that made the abolitionists seem like radical fanatics who are advocated women’s equality which was unheard of. They were really taking on big causes and they were fighting against the enormous odds.

Was the abolitionist movement really the first big American political initiative coming from the people?  Did it inspire later movements like the civil rights, the women’s movement, the labor movement, anti-war protests, and other reforms? 

That’s a great question. Abolition was the first truly radical social movement in this country. It was one of the first to be successful. It became a model for radical activists in later ages. Civil rights activists many times called themselves The New Abolitionists and called for a second reconstruction of American democracy referring back to Reconstruction after the Civil War. Women’s Rights, Second Way Feminism clearly had most of their heroines in this 19th century movement for women’s rights.

It is true that there are a lot of divisions within abolition and within women’s rights during the Civil War over issues of black suffrage and female suffrage.  But the fact remains ideologically, the abolitionists remain a source of inspiration. Even Eugene Debs, the head of the American Socialist Party, often pointed to the abolitionists as his inspiration. There were some populists in the Midwest, who looked up to the abolitionists, too. The abolitionists became a kind of a touchstone, because they are one of the few radical movements in this country that was actually successful at the end.

My husband and I stood in line for two hours on New Year’s Day, the 150th anniversary of the Emancipation Proclamation, to get a rare glimpse of it at the National Archives.  We have to remember it did not free all the slaves, though it was a very  important step.

The Emancipation Proclamation was an official document, a legal document, a military document, born in the midst of war. Its scope was modest, mainly because Lincoln wanted to issue a proclamation that could not be challenged Constitutionally.  He invoked his war powers to free the slaves only in the states that were in rebellion, because that’s what he could Constitutionally do as President.

Everyone knew that if the Union won the war, slavery would be dead in Mississippi and in Louisiana and South Carolina. If slavery was dead in those regions, there was very little chance that it could survive in the border slave states that were still in the Union and were not included in the purview of the Emancipation Proclamation. They had far fewer slaves and Lincoln had been pushing them on compensated emancipation since the start of the war.

The idea that it was not momentous, I think is false. Yes, its purview was demarcated for specific reasons, but the Emancipation Proclamation was a turning point in the war. It clearly linked black freedom with the powers of the federal government and the fortunes of the Union army.  In many respects, it was actually quite a revolutionary doctrine. No less a person than Karl Marx said that it made the Civil War into a revolutionary war for freedom.

 

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