"In your Easter bonnet, with all the thrills upon it..."
One of my favorite Easter traditions is the annual showing of Easter Parade on Turner Classic Movies (TCM). It's a lighthearted musical inspired by Irving Berlin's catchy tune of the same name. Filmed in 1948, it features two of Hollywood's biggest stars at the time: Fred Astaire and Judy Garland.
Astaire plays Broadway hoofer, Don Hewes, whose long-time dance partner breaks the news on Easter day that she is leaving him to pursue a solo career. His partner, Nadine (Ann Miller) leaves Don broken hearted and partnerless. Don however decides he won't let Nadine's leaving finish him; he immediately starts a (drunken) search for a replacement dance partner.
Garland and Astaire rehearsing for Easter Parade.Via.
He ends up finding Hannah Brown (Garland), a show-girl at a local bar who is more than eager to dance with a Broadway star. The morning after he hires her however, when Don has sobered up, he finds that Hannah is more inexperienced than he thought. Hannah seems unable to mimic the smooth ballroom dancing Don and Nadine were known for. Even worse, Hannah has a small habit of forgetting her left foot from her right foot.
Don (Astaire) "discovering" Hannah (Garland). Via.
Don remains determined however to turn Hannah into a sophisticated and elegant performer, just like Nadine. He selects feathered and bejeweled gowns for her to wear for their performances, in hopes of making her a carbon copy of Nadine. Don then decides that Hannah's stage name will be 'Juanita,' trying to give her a more exotic and mysterious personae.
Don and "Juanita's" first performance in Easter Parade.Via.
As expected, Don's plan is not a success. Their premiere performance is mediocre at best. Don begins to realize that Hannah isn't Nadine- or Juanita! She's a down-to-earth and talented girl who doesn't need feathers or frills to be an entertaining performer. Together they reboot the act to be a more fun and approachable show that highlights both of their talents. In little time, they are a Broadway smash, giving Nadine's solo show a run for its money.
It's your average show biz musical with lots of laughs, a little heartache, and a satisfying happily-ever-after. The real strength of the film is unquestionably the phenomenal talent. Garland and Astaire are simply a marvel as they sing and dance their way through the movie. Astaire obviously exceeds in the dancing, but Garland, as a triple threat, more than holds her own. It's her incomparable voice though, that never fails to bring a smile to my face- or (depending on the song) a tear to my eye. While Astaire might surpass Garland's dancing, Garland downright saves Fred in the singing department.
Astaire and Garland were both major Hollywood stars by the time Easter Parade was released. Surprisingly though, this film was not only the first time the two worked together, but also the first time they met one another. As legend has it, Garland was very nervous about meeting and working with Astaire. The two got along quite well though and had a great time filming Easter Parade together. It was before filming started that all the problems occurred.
Gene Kelly was actually set to star as the leading man, Don Hewes, before Astaire. The studio wanted to put Kelly and Garland together again after the great success of their most recent collaboration, The Pirate (which to me was nothing special- it definitely hasn't stood the test of time the way Easter Parade has). Before filming started however, Kelly broke his ankle. Kelly told the studio that he broke it during rehearsals; years later in an interview however, he admitted that he had actually broke it playing touch football.
The studio couldn't afford to delay filming for the weeks Kelly needed to recover. That's when they decided to bring Fred in as a replacement. Astaire, ever the gentleman, called Kelly before accepting the role. He asked Kelly three things: Would this hurt Kelly's career? Would he be able to learn all the dances? And, was there any way Kelly would still be able to do the film? Kelly put Astaire at ease, verifying that the only way Easter Parade would be made was if Astaire joined the cast. And with that reassurance, Astaire joined the film.
Shortly after Fred signed on, another casting issue surfaced. Cyd Charisse, who was cast to play Nadine announced she was pregnant. The studio found itself scrambling to find another replacement, which is when the relatively unknown Ann Miller was brought in. Although Miller was thrilled to have the part, she also was not at 100% health during filming. She was recovering from a fairly serious back break. She danced her big solo, "Shakin' the Blues Away," in a full back brace. Looking back in interviews, she confessed she was in excruciating pain the entire time.
And to think she was in a back brace through this entire dance routine.
Judy Garland was the only original cast member to actually make the film, but of course even Judy had her troubles. Her husband, Vincente Minnelli, was supposed to direct the movie. However, it was right before Easter Parade that Garland's nervous breakdown began; this was a persisting breakdown that, just a few years later, would be the end of her MGM career. Her psychiatrist thought that her husband was associated with some of her troubles, and recommended that they not work on the film together. With Garland being their headlining star, the studio agreed and found another replacement- Charles Waters as director.
Easter Parade a perfect example of an old Hollywood musical movie. Gorgeous, over-the-top costumes and sets, Irving Berlin music, and, of course, show-stopping talent. If you're looking for a new Easter tradition or if you're just looking for something to do this Sunday, tune into TCM and you will be able to experience the magic of Easter Parade.
Lisa Helene.
I love this Italian poster for Easter Parade! Via.
BODILY RESISTING AND REFUSING TO OBEY AN AUTHORITY
The 1958 film, The Defiant Ones, follows two escaped cons: one white and one black. They are chained together, on the run from the authorities who are tirelessly chasing them. Throughout their journey, the film explores racism, social injustice, and the impact an act of defiance can have.
Noah Cullen (Sydney Poitier) and Joe "Joker" Jackson (Tony Curtis) are chain-gang prisoners in the south. After a prison truck flips over in an accident, the two convicts escape but are unfortunately still handcuffed together. They are forced to work together in order to claim their freedom. The two men however have a mutual disdain for each other. Jackson, as a white racist bigot, hates Cullen because he's black; and Cullen hates Joker for being a white, racist bigot. Throughout their journey to outrun their pursuers, they slowly begin to overcome their prejudices, and an unexpected friendship emerges.
I was surprised when I found out this film was made in 1958. I was sure, based on its brutally honest portrayal of racism, that it had been made at least 10 years later than that. The director, Stanley Kramer, did not shy away from the harsh realities of discrimination: offensive language, unjust punishments, and cruel treatment. But Kramer doesn't include these disturbing examples of racism just for show. Throughout the entire film, he's using these examples to demonstrate the never-ending cycle of racism. He shows us the it takes bold and brave individuals- defiant ones - to put a stop to the cycle.
"What's eatin' you? Just because I called you a n? ... Don't crowd me. I didn't make up no names!... I didn't make any rules!"- Jackson
"No, but you breathe it in when you're born and you spit it out from then on!"- Cullens
I love the quote above. It encapsulates the whole point of the film. No, Tony Curtis' Jackson didn't create racism, but he also does nothing to stop it. He picked it up the day he was born and he continues the sick cycle of racism just because it's the status quo. The Defiant Ones shows us we have to be brave enough to not only recognize when social constructs are wrong, but also be brave enough to stand up and say "No, this is wrong."
One of the most disturbing parts of the movie is this young boy's reaction to Noah (Poitier).
Another example of discrimination starting "when you're born."
Cullen and Jackson are not the only defiant characters in The Defiant Ones. The film presents several different characters who are defiant in their own ways. One example is Big Sam, a resident of the small town Cullen and Jackson pass through in their travels. When the town discovers Cullen and Jackson, they organize an "old fashion prayer meeting;" it turns out, "prayer meeting" is a euphemism for lynch mob. Big Sam stands up to his friends and neighbors for two complete strangers. In a way, I think his act of defiance is even more commendable; it's easy (okay, easier) to stand up to our enemies, but standing up to loved adds another layer of consequences- losing those loved ones. Sam admirably stands up against what he knows is wrong, despite any possible repercussion for himself.
One of my personal favorite scenes in the movies. Big Sam's monologue gets me every time.
Another admirably defiant character is the county sheriff, Max Muller who is heading the manhunt for Cullen and Jackson. While his State supervisors want him to sic the blood hounds on the escapees and shoot them on sight, Sheriff Muller stands by his moral beliefs. He reminds them that it's a manhunt- not a manslaughter; that theses men were sentences to prison-time, not to death. Muller stands up to his superiors and colleagues, and jeopardizes his entire career, to maintain the pillars of justice he believes in.
Defiance played a role behind the scenes of The Defiant Ones as well. At the time of the movie's release, screenwriter credit was attributed to Harold Jacob Smith and Nathan E. Douglas. It wasn't until the 1958 award season rolled around, that it was discovered Nathan Douglas didn't exist. Douglas was a pseudonymous for blacklisted screenwriter, Ned Young.
Anti-Communist propaganda. Their argument was that Communist screenwriters were trying to brainwash the American public through film and television. Via.
Young was blacklisted after refusing to testify during 1953 House Committee on Un-American Activities (HUAC) trials: a nonsensical effort to purge Hollywood of communists and communist-supporters. Because of his defiance, Young was prohibited from writing or acting in Hollywood. Despite his ban, Young continued to write in Hollywood using his pseudonymous. "Nathan E. Douglas" (N.E.D.) actually won an Oscar for his work on The Defiant Ones, even though by then it was common knowledge that Ned Young was the true writer. It wasn't until 1993, however, that the Academy changed the credited to writer's real name- Young had already been dead for 25 years.
Another behind the scenes player who showed his own defiance, was actor Tony Curtis. When Curtis first heard about the part of "Joker" Jackson, he immediately he wanted the role. He begged Kramer to consider him for the part. To Curtis, this was his chance to cast aside his pretty-boy imagine, and show his true acting skills in a gritty, unlikable role. He believed so deeply in the The Defiant Ones, he even helped raise the film's $1 million budget through him and his wife's production company, Curtleigh.
Curtis was finally awarded the role, after several first-choices turned the part down (including Kirk Douglas). He went on to give a spectacular performance as the racist and offensive Jackson. Upon the release of the film, Curtis showed Poitier great respect; according to his contract, Poitier was only to receive supporting billing. Curtis went to director, Kramer, and demanded Poitier share top billing with him. In his own account, Poitier said it was because of Curtis and his act of defiance, that he was able to receive "top billing for the first time in [his] life."
Poitier, Curtis, and Kramer on the set of The Defiant Ones. Via.
Throughout his prestigious career in Hollywood, Sidney Poitier collaborated with writer/directer/producer, Stanley Kramer three times. Kramer was known for using his films as a medium to address social issues of his day including racial discrimination, antisemitism, and nuclear warfare. Poitier also had a social cause driving his career; he was determined to only accept admirable and distinguished roles. He hoped that he could help break the stereotyping that affected so many African American actors in Hollywood. Between Kramer's social cause and Poitier's personal conviction, the pair was destined to make some great movies. And they did, starting with The Defiant Ones.
The Defiant Ones is well worth the watch. It features fantastic acting, directing, and great movie-making overall. It is also, unfortunately, a timeless film- unfortunate because it's timelessness only proves that the film's context is still more than relevant today. Racism, prejudice, and social injustices are still issues our society struggles to overcome. Fortunately, we have filmmakers, like Kramer, Poitier, and Curtis, to make us face our faults and help us define a brighter future with their defiance.
