The year was 1942 and the movie was Casablanca. At the time of filming, everyone involved with the film thought they were making just another wartime propaganda fluff piece, a genre of film that made up the majority of box office showings during the WWII era. Espionage, intrigue, exotic locale, forbidden love, and, of course, Nazi villains who get out-smarted at the end: Warner Bros. figured this new film had a little bit for everyone. What they didn't realize is that this run-of-the-mill wartime film would go on to became a standard classic of American cinema revered by generations to come.
Casablanca stars Humphrey Bogart as American nightclub owner, Rick Blaine. Bogart's Rick is the quintessential anti-hero; cynical and aloof, Rick is an ex-Freedom Fighter who now resides in French-occupied North Africa with just his booze, his apathy, and friend/piano-player, Sam, for company. He's committed to his political neutrality, refusing to take sides in the ever-intensifying conflict raging throughout the Western World. That is until one night when the old flame who once broke his heart walks into his bar, and back into his life.
"Of all the gin joints, in all the towns, in all the world, she walks into mine."
Ilsa Lund (Ingrid Bergman) has traveled to Casablanca with her underground-resistance-leader and concentration-camp-escapee husband, Victor Lazlo. Ilsa and Victor are desperate to get their hands on exit visas that would allow them to leave Casablanca and travel freely around Nazi-controlled Europe to continue Lazlo's resistance efforts. Of course, in classic Hollywood irony, the one person who happens to have two visas to give them, is none other than Rick.
Paul Henreid and Ingrid Bergman as Victor and Ilsa. Via.
The last time Rick saw Ilsa it was years earlier when the two of them had a whirlwind affair in their own little paradise of Paris. Their brief time of happiness came to a screeching halt when the Nazis invaded France and the war began. Having made plans to flee the city together, Rick waited for Ilsa on a rainy and chaotic train platform. Instead of meeting him, Ilsa sends a farewell letter with Sam, who joins Rick on the train out of the country. Now with Ilsa back in his life, Rick has a decision to make: help the woman who broke his heart- the woman he still loves- be with her husband, or find a way to make sure he doesn't lose Ilsa again.
"I remember every detail. The German's wore grey, you wore blue." -Rick
The film is rounded out with an amazing supporting cast including Peter Lorre, Paul Henreid, and Claude Rains. Rains in particular gives a stellar performance as Captain (Louie) Renault, the corrupt police official trying to make a good impression on the Nazi overlords.
"Rickie, I'm going to miss you. Apparently you're the only one in Casablanca with less scruples than I." -Louie
Also, Dooley Wilson made his first on-screen appearance as loyal Sam. Wilson had previously been a stage performer and musician. Ironically however, the piano wasn't Wilson instrument; in real life he was a drummer. His tickling of the ivories in the film is actually all miming.
"Play it, Sam. Play 'As Time Goes By.'" -Ilsa
Today, the legend of Casablanca has become bigger than the movie itself. It's been parodied and paid tribute to in numerous films and TV shows, and every-day people quote its beloved dialogue without having seen the movie. That's how you know this film has transcended time and pop culture: it has become a culture of itself. The timeless, and often misquoted, line "Play it, Sam," is so ingrained in our culture that it has become meaningful to those who aren't even aware of the reference. It also created its own genre of cinematic style, known now as the "invisible style;" instead of flashy and attention-grabbing visuals, the film relies on subtly that slowly draws the viewer in. The smoky nightclub; the foggy airport runway; the wide-brimmed hats and trench coats with upturned collars. These became the staple of ill-fated love and romantic yearning on screen.
Despite the legendary status Casablanca has held for the past 6 decades, the film at the time of its release did not enjoy even a morsel of its contemporary success. For whatever reason, the film failed to resonate among 1940's audiences and critics. One critic, William Whitebait of the New Stateman, described Casablanca in his 1943 review as "horribly wooden," complaining that the "cliches everywhere lower the tension." It wasn't until shortly after Bogart's death in 1957, that Casablanca experienced a rebirth and new-found appreciation. It makes sense that as the new-wave of American cinema began to emerge in the early 1960's, the nostalgic counter-culture would see the romance and enchantment of a film that so accurately depicts the Hollywood studio system in its heyday.
The story of Casablanca originated in a failed, un-produced play, Everybody Comes to Rick's. Warner Bros. acquired the right to this play, which had earned the title "biggest flop in the history of Broadway," for a mere $20,000. Supposedly the manuscript was quickly lost in the Hollywood studio hustle and bustle, until Warner Bros. story editor, Irene Lee found Everybody Comes to Rick's laying in a pile of discarded and presumably future-less movie scripts. Immediately she saw the potential the story had, and sent it on to her friend and colleague, director Hal Wallis.
"I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world." -Rick
"Everybody Comes to Rick's will hereafter be known as...Casablanca." Via.
Wallis quickly attached himself to this new film endeavor, and had various script writers start adapting the story right away. One of Wallis's requests was that the male lead be written into a stoic, hard-boiled cynic, setting the film up to be a career-making catalyst for an actor Wallis had recently taken a shine to: Humphrey Bogart.
Finding the perfect leading lady was the next hurdle. Wallis had previously tried to pair Bogart and Ingrid Bergman together on a prior film, but with no success. However, at the time of Casablanca'spre-production, David O. Selznick was less enchanted with his Swedish starlet; Selznick was embarrassed by the talk of Sweden possibly joining Axis forces in Europe. Worried that his star might soon be damaged goods, Selznick eagerly struck up a loan-out deal with Warner Bros. Bergman however, was not thrilled with her new role. She saw Casablanca as nothing more than romantic fluff that would do nothing to advance her career. Irony at it's height.
"Louie, I think this is the beginning of a beautiful friendship." -Rick
With Bogart and Bergman both locked in, all that was left was to successfully film the movie on time and under budget, an endeavor that was much more difficult than it sounds. It took several Hollywood writers, and several different script iterations to turn Everybody Comes to Rick's into the Casablanca we know and love today. According to Bergman, there were so many script changes, edits, and re-edits throughout the filming process, that she didn't actually know which man her character was going to end up with for the first few weeks of filming. It's also said that Rick's final speech to Ilsa was written on the airport set, writers using the hood of one of the cars to scribble down the film's last lines.
Even after filming finished, there were still proposed changes and edits. One proposed idea would have changed Casablanca's legacy as we know it; Max Steiner, the composer on the film, actually hated the now-famous song, "As Time Goes By." He requested to replace the song with an original piece of his own. This would, however, have required re-shoots of several scenes, which (thankfully) was impossible due to Ingrid Bergman; she had already cut off all her hair for her next picture, For Whom the Bell Tolls. So fans can thank Bergman's hair for "As Time Goes By" being kept in it's rightful place.
Casablanca truly is the epitome of classic American cinema. It holds a special place in film history, as well as in the hearts of its biggest fans. In my family, Casablanca is known as my parent's movie; the first time my Dad called my Mom to ask her out on a date, my Mom refused to come to the phone; Casablanca was the feature film on TV that night, and as my Mom said, "Who would call during the last 5 minutes of Casablanca!?" My Dad quickly learned his lesson.
If you haven't see the film yet, do yourself a favor and watch it. You'll fall in love with it's subtle beauty and sentiment. And if you have seen Casablanca before, revisit it when you have the chance, and fall in love all over again.
On a quick personal note, I want to apologize for the recent hiatus here on the Vintage Marquee. That unexpected and uncontrollable conflict called life has made it more difficult than usual to keep up with new posts. However, the New Year is right around the corner and my resolution is going to be to re-dedicate myself to the Vintage Marquee. I look forward to bringing you more reviews and write-ups on my favorite classic films.
I cannot believe it's been a year since I published my first blog post and began the Vintage Marquee! If you have not read my first post on Hitchcock'sRear Window, or some of my other early posts, I encourage you to explore the archive on the right hand side.
If you have a favorite post from the Vintage Marquee, I'd love for you to share below. Also, if you have an vintage films you'd recommend or would like me to review, please share as well in the comments sections! I'm always on the lookout for a great new film to discover!
And finally, thank you if you've taken the time to visit the Vintage Marquee in the past year. I hope you enjoy reading my posts as much as I love sharing them. I'm so proud of the Vintage Marquee, and I can't wait to share more with you!
In honor of the 4th of July, I wanted to take the opportunity to share one of my personal favorite Fred Astaire dances. The routine is from the 1942 film Holiday Inn, which stars Bing Crosby along with Astaire. It's a great movie musical that, although usually associate with Christmas, actually pays homage to all the year's major holidays, including the 4th of July.
Fred is commonly shown with a partner, whether it be Ginger Rogers, Rita Hayworth, Cyd Charisse, or even a coat rack. In this tap routine however, Astaire takes the stage by himself and blows us all away.
From the 1942 movie musical, Holiday Inn,here is Fred Astaire's famous "Firecracker Dance."
Earlier this year I wrote about Billy Wilder's The Apartment. In 1959, the year prior to The Apartment's released, Billy Wilder and Jack Lemmon worked together for the first time on a hilarious classic: Some Like It Hot. Lemmon and Wilder would go on to work together on 7 different films, but Some Like it Hot marked their first collaboration. While The Apartment perfectly mixed comedy and drama, Some Like it Hot is pure slapstick comedy at its greatest. This film really had everything going for it: a great script, a talented cast, and it's box office insurance: Marilyn Monroe. Rounding out the cast is Tony Curtis and, of course, Jack Lemmon. The three stars carry the film and keep the audience laughing the entire time.
The film follows musician pals, Joe (Curtis) and Jerry (Lemmon) who find themselves in the wrong place at the wrong time on Valentine's Day 1929. The two friends accidentally witness the infamous St. Valentine's Day Massacre in Chicago, and are consequentially on the run from the mob. In hopes of eluding their pursuers, then don dresses, heels, and little make-up, and join an all-girl Jazz band headed to a Miami. Keeping up their disguise however, turns out to be much more difficult than they thought.
Joe and Jerry's alter egos, Josephine and Daphne. Via.
"We got to get out of town! Maybe we ought to grow beards!" - Jerry
"We are going out of town. But we're going to shave."- Joe
With Joe as Josephine and Jerry as Daphne, the girls join Sweet Sue's Society Syncopators on a train headed to Florida. There they meet the band's lead singer, ukulele player, and resident troublemaker: Sugar Kane Kowalczyk (Monore).
How the other half lives. Plus, Marilyn Monroe's first entrance!
"Story of my life. I always get the fuzzy end of the lollipop."- Sugar
Sugar's story.
While Sugar thinks she's found two new gal pals, Joe and Jerry are more than tantalized by the blonde bombshell. But to Joe's dismay, not only does Sugar think he's a woman, she's also only interested in landing a millionaire- a young, cute millionaire with glasses and his own toothbrush. By the time the band arrives in Florida, Joe has already created a plan to land Sugar; he dons yet another disguise, that of a glasses-wearing, yacht-owning, Cary Grant-esque millionaire by the name of Junior.
Tony Curtis as his millionaire personae. I just love Monroe and Lemmon in the background! Via.
Curtis' Cary Grant-inspired Shell Oil Junior.
"Syncopators- does that mean you play that fast music? Jazz?"- Joe/Junior
"Yea, real hot!"- Sugar
"Oh. Well, I guess some like it hot."- Joe/Junior
Joe as Shell Oil Junior has Sugar head over heels. Via.
As Joe is wooing Sugar in his millionaire disguise, Jerry has love problems of his own. In his Daphne garb, he has caught the eye of a true millionaire, Osgood Fielding III (Joe E. Brown). Osgood is a quirky, old man who's been married multiple times, and has Jerry/Daphne in mind for wife ten!
"Dirty old man! I just got pinched in the elevator!"- Jerry/Daphne
"Well now you know how the other half lives." - Joe/Josephine
"I'm not even pretty!" - Jerry/Daphne
Jerry as Daphne dancing the night away with Osgood (Brown). Via.
On top of all their girl/guy woes, the Chicago gangsters they're on the run from show up in Florida at the same hotel the girls' band is staying at. Suddenly it's not just love on the line, it's their lives.
"The cops are going to find two dead dames and they're going to take us to the ladies' morgue and when they undress us, I tell you Joe, I'll die of shame!" - Jerry
Tony Curtis and Jack Lemmon were Wilder's first choices for Joe and Jerry. Curtis had been making movies for years prior, but had only recently found box office success in the 1957 film Sweet Smell of Success, and the 1958 film The Defiant Ones. Lemmon on the other hand, had appeared only in small film projects before Wilder discovered him. He was instantly impressed with Lemmon's comedic talent and wanted to cast him right away in the role of Jerry/Daphne. Shortly after Wilder met Lemmon, however, Frank Sinatra began to express interest in the part; while Wilder wanted to work with Lemmon, he also needed a major movie star who would ensure box office success.
Just cannot see Frank Sinatra pulling off this role.
Fortunately, Sinatra ended up pulling out of the running, allowing Wilder to officially cast the Jerry/Daphne we know and love: Jack Lemmon. And in the end, Wilder ended up with his box office insurance as well; Mitzi Gaynor was Wilder's initial choice for the role of Sugar, but when she became unavailable Marilyn Monroe was given the role. By 1959 Monroe was without a doubt a superstar and held significant box office power. With her name on the cinema marquees, Some Like it Hot was sure to turn a profit. While Monroe brought her best hip-shaking, eye-batting, and her most sultry, breathy voice to the role of Sugar Kane, she was far from pleasant to work with.
Stories of Monroe's unorthodox work ethic and lack of cooperation on movie sets has become the stuff of legends- maybe even as big of a legend as Monroe herself. She was known to be unreliable, moody, and demanding. But based on the stories I've read, she seemed to be at her worst during the filming of Some Like it Hot. Conflict began right off the bat in pre-production, when Monroe refused to be filmed in black and white; she so strongly felt she filmed better in color, that it stated in her contract she would not perform in black and white pictures. Wilder, however, knew from early screen tests that Curtis and Lemmon's drag make-up looked more convincing in black and white. It wasn't until Monroe saw the tests for herself, and could attest to the greenish color the make-up gave the actors, that she agreed to make the movie in black and white.
Monroe's hair and costume being touched up on set. Love her dress here! Via.
Problems continued into filming where Monroe was consistently hours late or wholly unprepared to shoot her scenes. For certain scenes Wilder actually had to tape Monroe's lines to set and prop pieces; a line of dialogue as simple as "Where's that bourbon," took 40+ takes for her to get right. She would argue with Wilder about her character and the script; other times she would get so upset and burst into tears mid-filming, which meant she had to go back into make-up before they could start shooting again.
Monroe's famous performance of "I Wanna be Loved by you."
In Marilyn's defense, she was going through several personal issues during filming- not to mention most of her life. She found out she was pregnant just before filming had started; she had already suffered several miscarriages and was very nervous about miscarrying again (which in fact she did). It was also around this time that Monroe and husband Arthur Miller started having major marital issues, which would soon lead to their divorce. All the same, by the end of filming Wilder announced he was "too old and too rich to ever go through [filming with Monroe] again."
Monroe during the Yacht scene, in one of her famous, sheer gowns. Via.
Monroe's co-stars also became resentful of her; Curtis explained in an interview that by the time Monroe finally delivered her lines successfully, he felt that his performance had lost all enthusiasm. He and Lemmon had to make sure they were at the top of their game for all the 30+ takes it took Monroe. Also, the longer Monroe took to film, the longer the men had to stay in their drag costumes and make-up; usually at the end of filming days, Curtis and Lemmon were soaking their sore and blistered feet in hot water.
Curtis and Lemmon getting glamorized for their drag scenes. Via.
Tony Curtis especially had a difficult time with their cross-dressing costumes. When their were first testing costumes and make-up prior to filming, Curtis was so embarrassed that at first he refused to leave the dressing room; Lemmon, who according to Wilder walked out of the dressing room "floating ten feet high, completely normal and natural," had to take Curtis by the hand and drag him out of the dressing room.
Unlike Curtis, Lemmon approached the crossing-dressing aspect of the role with no holds barred. He worked endlessly with the make-up team trying to achieve the perfect "Daphne look." He even offended the professional female impersonator who was hired to help him and Curtis master how to walk like women. Lemmon denied his help saying he didn't want to walk like a woman; he wanted to walk like a man trying to walk like a woman. He knew that was key to comedy of it all.
Sidney Poitier (Curtis' co-star from The Defiant Ones) visiting Curtis and Lemmon on set. Via.
According to Lemmon, for whatever reason initial screening of the film was a horrible flop; he recalled in an interview that the first test audience was dead silent throughout the entire showing. Thankfully by the next test screening, (after changing literally nothing in the film) the second test audience loved it. They started laughing within the first few minutes and didn't stop for the remaining 115 minutes! In fact, audience members were laughing so hard during certain scenes (such as the scene where Lemmon announces he's engaged to Osgood), that key pieces of dialogue were being missed. Wilder had to re-film certain scenes and add pauses to allow the laughter to die down; that's why in the engagement scene, Wilder gave Lemmon maracas to shake in between his lines. Genius.
"Who's the lucky lady?"- Joe "I am!"- Jerry
In the end, despite all the on-set difficulties, Some Like it Hot was a smashing success. It was considered a true hit by both critics and audiences alike. It went on to be nominated for several awards including several Golden Globes and Academy Awards. While it only won one Oscar (Best Costume design for a Black and White film), it won several Golden Globes including Best Comedy Motion Picture, and Best Actress in a Musical/Comedy for Monroe. It was the only performance-based award she would ever win.
Monroe with her Golden Globe award for Some Like it Hot.Via.
While the stories of Monroe's off-screen behavior sound horrific, she still brought a charm and comedy to the role of Sugar that is undeniably wonderful. It makes me even more sad that she had such a troubled personal life; Marilyn obviously had raw talent that she was never able to fully harness due to personal distractions.
To this day, Some Like it Hot is considered one of the best classic comedies of all time. It has lost none of its charm or humor over the years. The final line of the movie, delivered by Joe E. Brown's Osgood, is always included on lists of the best movie quotes of all time. It is without a doubt one of the best closing lines of a film that was ever written. Like Roger Ebert once said of the closing line, "If you've seen the movie, you know what it is, and if you haven't, you deserve to hear it for the first time from [Brown]."
"There once was a very lonely, very frightened girl.
She lived alone except for a nameless cat."
In today's pop culture, Audrey Hepburn is associated with several things: style, elegance, gracefulness. But more than anything, Audrey Hepburn has become synonymous with her 1961 films, Breakfast at Tiffany's. While I personally consider all of Hepburn's films classics, Breakfast at Tiffany's more than any of her other films remains as well-known and beloved as it was when it was first released.
Breakfast at Tiffany's introduced the world to Holly Golightly: a seemingly-carefree, fun-loving, money-driven playgirl of the NYC society. The story follows Holly and her various exploits as seen through the eyes of her gigolo neighbor, Paul Varjak. Both Holly and Paul (nicknamed "Fred" by Holly) are lost souls, or "two drifters" as the film's famous song, "Moon River," recites. They both have dreams of a better life, and have both resigned themselves to seedy monetary arrangements in hopes of making these dreams a reality.
"You know those days when you get the mean reds? ... The blues are because you're getting fat or maybe it's been raining too long; you're just sad, that's all.
The mean reds are horrible: suddenly you're afraid and you don't know what you're afraid of." -Holly Golightly
Audrey Hepburn and George Peppard on set of Breakfast at Tiffany's. Via.
"I'm crazy about Tiffany's." - Holly
While Paul is being kept by an older woman, Holly has an array of benefactors throughout New York's high society. Each night she gets all her drinks and meals paid for, and $50 for the powder room. In exchange, her patron for the evening accompanies her home. Paul and Holly's friendship forms out of their similar circumstances.
"I don't want to owe anything until I find a place where me and things go together. I'm not sure where that is but I know what it's like. It's like Tiffany's...the quiet and proud look of it. Nothing bad could happen to you there." - Holly Golightly
Paul dreams of becoming a successful author, and Holly dreams of finding her own happy place; her own "Tiffany's" for her and her brother who's currently serving in the army. Paul starts to get in the way of those plans, however, when he falls in love with Holly. But Holly is a self-proclaimed "wild thing," who is afraid of being tied down. When she learns her brother is getting out of the army sooner than she thought, Holly quits the field and resigns herself to finding a rich husband who'll be able to provide for her and her brother.
"I'm not Holly and I'm not Lula Mae either. I don't know who I am! I'm like Cat here, a couple of no-name slobs. We belong to nobody and nobody belongs to us. We don't even belong to each other."- Holly
Holly Golightly and the story of Breakfast at Tiffany's originated in Truman Capote short story of the same name. In Capote's story, Holly is much more of a mercenary and unsympathetic. She's also much more promiscuous and sexually-adventurous than the film ever really let's on. Capote always said he envisioned Marilyn Monroe in the part of Holly. At the time of filming however, Monroe wasn't only unavailable, Paramount also wanted to feature one of their own contracted actors.
Director Blake Edwards suggested Audrey Hepburn for the role, however Paramount studio heads were doubtful she would ever accept a role that, in essence, was a hooker. Contrary to their doubts, Hepburn was immediately intrigued by the role; she saw the role of Holly as a chance to take a big step in her career. Prior to Breakfast at Tiffany's Hepburn had portrayed the most moral and conservative of characters: a young princess, the proverbial ugly ducking-turned-swan beauty, and a nun, to name a few. Holly would be a chance for her to play a character that was so unlike herself, it would demonstrate her true acting skills.
Although Capote was never satisfied with Hepburn as Holly, I personally doubt the film would have had as profound of an impact if Monroe or anyone starred in the role of Holly. While Monroe would have definitely brought more raw sexuality to the role, I think Hepburn brought out Holly's heart and vulnerability. On the page, Holly is an anti-heroine; she's more self-centered and cold. Hepburn made her lovable.
My favorite scene of the entire movie: Moon River.
Yes, film Holly is still consumed by the idea of money and at times thoughtless, but Hepburn brings out her humanity as well. Just below the materialistic surface, Hepburn's Holly is lost, lonely, and trying more than anything to make a new life for her and her younger brother. That's the Holly that her neighbor Paul- and the audience- falls in love with. I think most audience members, both now and in 1961, walked out of Breakfast at Tiffany's not even thinking about the fact that Holly Golightly is a hooker; they are too entranced by Hepburn's ever-present charm and elegance to be even connect with her something so immoral and seedy.
You now what's wrong with you, Miss Whoever-You-Are? You're chicken; you've got no guts. You're afraid to stick out your chin and say 'Okay, life's a fact, people do fall in love. People do belong to each other.'
Because that's the only chance anybody's got for real happiness." - Paul
The character of Holly Golightly is only one iconic aspect of Breakfast at Tiffany's. Audrey Hepburn and designer, Hubert de Givenchy, revolutionized fashion with Holly's array of outfits throughout the film. Together Hepburn, Givenchy, and Holly introduced the world to a modern-day fashion staple: the little black dress. Hepburn was always known for the fashion, especially after her designer-muse relationship with Givenchy began. But more than any of her other films, Breakfast at Tiffany's emphasizes the sleek, simple, and modern elegance that sums up Hepburn's style.
One of my favorite outfits in the entire movie. Via.
See 30 secs in to get a glimpse of the famous, Tiffany's Yellow Canary Diamond
While flashy patterns and bold colors commanded the fashion scene in the 1960's, Hepburn showed us that less could- and still can- be more. Solid prints and conservative colors made up Hepburn's look which is what makes it so timeless and classic. While flashy fads come and go, but sleek and simple will always be in style.
"I'll never let anybody put me in a cage." - Holly.
"I don't want to put you in a cage. I want to love you!" - Paul
Breakfast at Tiffany's is well-worth the watch. It was an enjoyably timeless film with both comedic and dramatic scenes. And in addition, it's pop cultural presence warrants at least one viewing. In the end, I think you'll find it impossible not to fall in love with Hepburn's Holly Golightly.
"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.
