Anniversary Alert! “With All the Frills Upon It:” The 70th Anniversary of “Easter Parade.”

By Michael Lyons

Ah, classic Hollywood Musicals from MGM.  Only there, could a popular song become an entire film!

In 1948, the Studio used one of songwriter Irving Berlin’s most classic holiday songs, “Easter Parade,” as the basis for a full-blown, feature-length, song and dance musical starring none other than Fred Astaire and Judy Garland.

While the idea of a song turned into a film would be a staple at MGM (1952’s “Singin’ in the Rain” is a perfect example), “Easter Parade” stands out as a favorite among fans.

With the holiday weekend approaching, coupled with the film’s 70th anniversary this year, now is the perfect time to celebrate “Easter Parade.”

The film tells a very simple, “Pygmalion”-like story of a Broadway star named Don Hewes (Astaire) who hires a young, unknown singer named Hannah Brown (Garland) to be his partner in his act and what starts as a relationship that makes Don’s previous partner and best friend jealous, develops into a romance between Don and Hannah.

And that?  Pretty much the entire plot.  But, a movie like “Easter Parade” is really an excuse to link musical numbers together.  And some of those in this film rank as some of MGM’s most memorable.

There’s the opening number, “Happy Easter,” where Astaire does an amazing tap dance in a toy shop that looks as if it was all filmed in one, continuous shot.  Peter Lawford, who plays Don’s best friend Jonathan, sings the hummable ballad “A Fella with an Umbrella” and “Steppin’ Out with my Baby,” features not only some more fancy footwork from Fred, but some of the most creative camerawork and effects to come out of the studio’s musical heyday.

There’s also “A Couple of Swells,” in which Astaire and Garland play “hobos” in their act.  Watching the two of them have so much fun in this scene, it’s easy to see why they were counted as the top talent and stars of their day.

And, of course, the title song, “Easter Parade,” which concludes the film in grand style.  The song, which had been produced by Berlin in 1933 and already featured in “Holiday Inn” (1942) is given the “MGM treatment” here, as Garland and Astaire perform it toward the end of the film, with beautiful shots of the Easter Parade on Fifth Avenue in New York City and a soaring chorus in the background.

Released on June 30, 1948, “Easter Parade” is like candy found in an basket on Easter Morning: a light, colorful confection that’s a wonderful indulgence and oh-so-sweet!

Happy Easter Everyone!

Sources: IMDb

Wikipedia

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Fun for “EveryBunny!”: The Rankin/Bass Easter Specials

By Michael Lyons

They’re the Studio that has become so closely associated with Christmas that the Yuletide Season would seem like a “Blue Christmas” without them.  However, they have also done their part to put some “Spring” into Easter.

Rankin/Bass, the Studio whose versions of Rudolph and Frosty, among many, set the standard for TV Christmas specials, has also done the same for Easter.  Their tales of the season of bunnies and colored eggs may not be as numerous and also may not have had the lasting, pop culture impact of their Christmas specials.  But, like their wintry, holly jolly  counterparts these specials are filled with their own special Rankin/Bass brand of seasonal magic and are still the perfect way to celebrate Easter time.

“Here Comes Peter Cottontail” (originally broadcast April 4, 1971)

Taking a cue from a number of their Christmas specials, Rankin/Bass took a hit, seasonal pop song and expanded it into an hour long special.  Combining the Gene Autry song with the book, “The Easter Bunny That Overslept,” “Here Comes Peter Cottontail” tells an origin story-like plot that was utilized in specials like “Rudolph the Red Nosed Reindeer” and “Santa Claus is Comin’ to Town.”

In the special, we meet Peter, who lives in April Valley (some of the best and coziest world building Rankin/Bass has ever done!) and is about to be named the new Easter Bunny, when the current bunny, Colonel Wellington B. Bunny decides to retire.

However, the resident villain, Irontail the Bunny (an example of wonderful character design, paired with Vincent Price’s amazing and distinct voice) also wants to be the Easter Bunny and talks the Colonel into holding a contest: whoever can deliver the most Easter Eggs will become the Easter Bunny.

When Peter oversleeps for the contest, he must do whatever he can to save Easter and April Valley from the clutches of Irontail.  This involves Peter racing through all of the other holidays on the calendar (St. Patrick’s Day, Fourth of July, Halloween) to try and deliver all of his colored eggs.

This plot essentially turns “Here Comes Peter Cottontail” into an EVERY holiday special and an extremely fun and original one at that!

Using the usual Rankin/Bass trope of a celebrity as a narrator, “Peter Cottontail” features Danny Kaye as the voice (and caricature) of Seymour S. Sassafras who relays the tale.  Listen closely and you will also hear him providing the voices for the Colonel and Antoine the caterpillar.

Another familiar voice in the Cast is none other than Shaggy (“Zoinks!”) himself, Casey Kasem as Peter.  

All of these talents are coupled with another strong story by Rankin/Bass’ talented writer Romeo Muller, who had an uncanny ability to create a mythology from our pop culture.

Brought to life through the stop motion “AniMagic” Animation that was a hallmark of the Rankin/Bass studio, “Here Comes Peter Cottontail,” like most of the Studio’s efforts, has rightly become a holiday classic of its own handed down through the generations.

Plus, this one hour trip to April Valley simply makes it feel like Easter!

“The First Easter Rabbit” (originally aired April 9, 1976)

Another origin-like story, this time brought to the screen through the equally comforting Rankin/Bass 2D animation, “The First Easter Rabbit” adds the also comforting voice of Burl Ives (Sam the Snowman from “Rudolph”) as the Rabbit who narrates the story.

The special focuses on Stuffy (Robert Morse), a stuffed rabbit who is given to a young girl named Glinda, as a Christmas present.  In a dark turn, Glinda is diagnosed with Scarlet Fever and all of her belongings, including Stuffy, need to be burned, in order to stop the sickness from spreading.

Stuffy is rescued by a sprite named Caliope, who takes him to Easter Valley (which is oddly at the North Pole and none other than Santa himself watches over it).

Here, Stuffy and the other rabbits of Easter Valley square off against the villainous ice wizard named Zero and his sidekick Bruce the Snowball, who are trying to capture the Lily of Easter Valley.  If they do, there will be no Easter.

“The First Easter Rabbit” plays almost like a Rankin/Bass Best of:  there is artist Paul Coker, Jr’s  familiar character designs; the voice of actor Paul Frees (a part of so many of the Studio’s specials) as a number of characters, including Santa and a popular holiday song featured in the special.

This time, that song is “Easter Parade,” sung by Ives at the end of the special.

While “The First Easter Rabbit” has been relegated to a tier of forgotten Rankin/Bass specials, it’s definitely worth a viewing.  If for nothing else than that opportunity to watch “Easter Parade” played out in lovely, pure’70’s, spring time animation.

“The Easter Bunny is Comin’ to Town” (originally aired April 6, 1977)

Tossing out the Peter Cottontail story in favor of a different Easter Bunny origin story, crossed with a shared universe tale, “The Easter Bunny is Comin’ to Town” copies and pastes the “Santa Claus is Comin’ to Town” script, almost beat for beat.

This is fitting, because the Studio brings back the character of S.D. Kluger, (voiced again by Fred Astaire) the mailman who narrated “Santa Claus is Comin’ to Town,” to once again relay the story.  This time S.D. Is driving a train and telling the story of another holiday icon.

In the town of Kidville (yup, populated all by kids), the young residents find a baby rabbit one Easter morning and name him Sunny.  Sunny grows up to assist the kids of Kidville  and in the process becomes the Easter Bunny.

Along the way, we learn how coloring, rolling and hiding eggs came to be; how the first jelly beans were made and even how the Easter Lilly got its name.

If it all seems a little familiar...it is.  The plot of “Santa Claus is Comin’ to Town” has essentially been transposed here (Romeo Muller had penned both specials).  In place of the Winter Warlock is Gadzooks the Bear; the Queen takes the place of the Burgermeister and a town called simply Town takes the place of Sombertown from “Santa Claus.”  Additionally, there are all of the explanations behind how standards of the holiday came to be.

While it gets no points for originality, “The Easter Bunny is Comin’ to Town” captures the spirit of the season and is as bright and, yes, Sunny, as its title character.

So, while they haven’t entered the popular stratus that their Christmas specials have, the Rankin/Bass Easter specials are like Easter eggs themselves: hidden treasures that are worth hunting for!

Sources: “The Enchanted World of Rankin/Bass” by Rick Goldschmidt

Wikipedia

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A Lucky Pair: The Perfect St. Patrick’s Day Double Feature!

By Michael Lyons

Neither movie was released in March, but through the years they have become as closely associated with St. Patrick’s Day as Parades, corned beef and cabbage, green beer, bagpipe music, shamrocks and even shamrock shakes!

“The Quiet Man” and “Darby O’Gill and the Little People” have become viewing staples for many on or around March 17th.  Sure, there are many other films set in Ireland and/or that use the Irish culture as its background, but “The Quiet Man” and “Darby O’Gill” truly capture the beauty, the wonder and yes, even the magic, of Ireland.

The two couldn’t be more different in their story or tone, but together, they make the perfect St. Patrick’s Day Double Feature!

And, our double feature begins with...

“Darby O’ Gill and the Little People” (released June 26, 1959)

One of Walt Disney’s most under appreciated live-action films, the film tells the tale of the title character (Albert Sharpe) an aging, ner do well, who acts as a caretaker of a local estate in a small village in Ireland and regales the townsfolk in the local pub of tales of leprechauns or Little People.

When Darby finds himself captured by King Brian and the other Leprechauns, he uses his wiles to not only escape back into town, but he captures King Brian, and also tries to use the leprechaun’s magic to play matchmaker for his daughter Katie (Janet Munro) and the town newcomer Michael (Sean Connery in his first US film).

Michael has been sent to town to replace Darby at his job and other complications, and a wee bit of magic, soon arise.

Directed by Robert Stevenson (who would go on to helm “Mary Poppins” and become a stalwart Disney director), “Darby O’Gill” is brimming with charm, starting with the film’s actors.

As Darby himself, Sharpe is amazing: a constant glint in his eye, perfect comic timing and the ability to deliver real emotion during the film’s gripping climax.  Munro is full of charm as Katie and Connery’s charisma was evident even in his early days.  Additionally, Jimmy O’Dea as King Brian proves the perfect antagonist for Darby.

Another star of the film are the visual effects.  Not only is the scale and world of the Little People brought to life believably, Sharpe’s ability to exists within it is nothing short of amazing.  If there’s a chance to check out the DVD’s bonus features on how this was accomplished, it’s worth checking out, as a glimpse into the trials of bringing visual effects to life decades before computers were a reality.

There is also a finale involving a banshee that is extremely effective and surprisingly scary.  All of this practical movie magic brings Irish folklore perfectly to life.

Many of the Studio’s films have eclipsed it through the years, but “Darby O’Gill and the Little People” is, without a doubt, the best Disney classic you’ve never seen.

After a brief intermission, we will begin the second film in our St. Patrick’s Day double feature...

“The Quiet Man’ (released September 14, 1952)

Never has the Irish countryside and its people come to life more fully on film than in “The Quiet Man.”  

In it, John Wayne plays Sean Thornton, an Irish born American, who returns to Inisfree, the small town of his birth in Ireland.  While there, he falls for the fiery read head Mary Kate Danaher (Maureen O’Hara) and causes quite a commotion in the community, upsetting Mary Kate’s brother Will (Victor McLaglen), a bullying farmer and landowner, which results in a finale fight between the two of them that goes on for almost ten minutes!

The cinematic joys of “The Quiet Man” begin during the film’s comforting opening credits that play over shots of Ireland and last until the final shot of John Wayne and Maureen O’Hara walking into their “wee humbles cottage.”

In between, is a leisurely paced story that never once is dull, but instead is loaded with colorful characters that we come to know as close friends and neighbors by the film’s end.

This is thanks in all parts to the supporting cast of “The Quiet Man,” which includes the the scene stealing and amazingly impish Barry Fitzergald as Michaleen “Og” Flynn, the village matchmaker and bookmaker; stalwart actor Ward Bond as the village priest and Mildred Natwick as the spinster widow Tilane.

Directed by Hollywood legend John Ford (who would win an Oscar for his efforts), “The Quiet Man” is a labor of love that’s evident with the care that’s evident up on the screen.

This is filmmaking at its finest and watching “The Quiet Man,” it’s easy to see why the movie influenced an entire generation of filmmakers, most notably Steven Spielberg, who featured a scene from the film as part of a pivotal moment in “E.T. - The Extra Terrestrial.”

Like that film, “The Quiet Man” is a masterpiece in every sense of the word.  This tale of family, tradition and life’s real treasures is not just a perfect “St. Patrick’s Day” film, it’s a film for all seasons.

And so, the curtain closes on our double feature.  Now, off to the pub for a pint!

Wishing you all the Luck in the world and a Happy St. Patrick’s Day!

Sources: Wikipedia

IMDb

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Anniversary Alert! Built Ford Tough: The 25th Anniversary of “The Fugitive”

By Michael Lyons

“Thrillers are a much-debased genre these days, depending on special effects and formula for much of their content.  “The Fugitive” has the standards of an earlier, more classic time, when acting, character and dialogue were meant to stand on their own, and where characters continued to change and develop right up until the last frame.  Here is one of the year’s best films.”

-Film critic Roger Ebert, August 1993

Mr. Ebert’s thoughtful words reflected the response of both critics and audiences twenty-five years ago when “The Fugitive” debuted in theaters.  In the ‘90’s when the fad of bringing every classic TV show to the big screen encompassed everyone from Jed Clampett to Fred Flintstone, here was a small-screen adaptation that was striving for something unique and not just leaning on the fandom and built in audience that would come with it.

Based on the TV series of the same name that ran on ABC from 1963-1967 (and became most famous for its series finale), the film “The Fugitive” tells the taught story of Dr. Richard Kimble (Harrison Ford) who is wrongly accused of his wife’s murder and, after escaping from prison, spends his days not just on the run from Deputy Sam Gerard (Tommy Lee Jones) and a team of US Marshalls, but also trying to track down his wife’s real killer.

Directed by action-movie-maestro Andrew Davis, “The Fugitive” is like a coiled spring that snaps into action so quickly that the murder of Dr. Kimble’s wife, the  Dr.’s arrest, trial and incarceration all unfurl during the film’s opening credits.

Then, there is Kimble’s escape, in a scene in which a bus full of convicts, including him, collides with a train.  Undoubtedly one of the best action sequences placed on screen, even after multiple viewings, the audience is exhausted when its over.

From there, the hunt is on, in a cat-and-mouse story, in which audiences find themselves rooting for parties on both sides.  As the cynical, tireless Deputy Gerard, Tommy Lee Jones is at the top of his game, with a career pinnacle performance that rightly brought him the Best Supporting Actor Oscar.  The character is a combination of surliness and sympathy that’s truly unlike anything seen before and we get to watch Gerard’s perspective shift and change throughout the film.

In the lead, as Dr. Richard Kimble, Harrison Ford’s performance still ranks as one of Oscar’s notorious snubs.  Ford brings brings a vulnerability and emotion to the role (particularly in his early, interrogation scenes) that reveal just what a wonderful actor he is.

With strong supporting performances from character actors like Joe Pantoliano, Jereon Krabbe and Sela Ward, coupled with a perfectly executed script by David Twohy and Jeb Stuart, “The Fugitive” has that rare re-watchability factor that makes it no surprise that fans still talk about the film twenty five years after its debut on August 6, 1993.

If the anniversary isn’t enough to entice one to re-visit “The Fugitive,” consider it as the perfect movie for this time of year, as it takes place on and around St. Patrick’s Day.  An extended sequence in the film occurs during Chicago’s famed St. Patrick’s Day Parade (complete with the river dyed green), where deputy Gerard pursues Kimble through the festivities.

One could almost say that accusing Dr. Kimble of murder is a wee bit o’ Blarney!

Sources:

RogerEbert.com

Wikipedia

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The Losers‘ Club: Seldom Seen Best Picture Oscar Nominees

By Michael Lyons

“The Wizard of Oz,” “It’s a Wonderful Life,” “Star Wars” and “E.T. - The Extra Terrestrial.”  Not only are they cinematic masterpieces, they’re all “losers.”  

These four films have been remembered by audiences through the years, but they were forgotten by The Academy Awards.  Each movie was nominated for Best Picture, but lost out to other films, during their respective years.

They can all take comfort in the fact that they are in good company.  With The Oscars this Sunday, it’s the perfect time to celebrate some other, seldom seen, Best Picture Nominees.

“The Yearling” (1946) - Lost to “The Best Years of Our Lives.”

Based on a novel by author Marjorie Kinnan Rawlings, “The Yearling” tells the tale of a family of farmers living in Florida, just after the Civil War and how their young son Jody adopts an orphaned doe, that he raises as a pet.

Adolescent Jody grows and the young Doe named Flag, grows into a deer, in an unforgettable and heartbreaking coming of age story.  Directed by Clarence Brown in gorgeous Technicolor, “The Yearling” brings the landscape of this natural story to beautiful life.

“The Yearling” also features an outstanding Cast, such as the one and only Gregory Peck, turning in a wise, peaceful performance as Jody’s father and child actor Claude Jarman, Jr whose performance earned a deserved special “Academy Juvenile Award.”

Through the years, this film has earned a special place in many moviegoers hearts and rightly so.  “The Yearling” is a Hollywood classic in every sense of the word.

“Giant” (1956) - Lost to “Around the World in 80 Days.”

With a fitting title, movies don’t get bigger or more epic than “Giant.”  Spanning several decades in the life of a Texas Cattle rancher “Bickley” Benedict, “Giant” sprawls across the screen at three and a half hours in length.

Legendary director George Stevens brings to life the span and scope of Texas in grand, ‘50’s, wide screen style that has truly never been matched since on film.

As if all this wasn’t enough, the three leads in “Giant” are legends Rock Hudson, Elizabeth Taylor and James Dean (in his final role).

It’s an investment of time for the viewer, but “Giant” is so worth it: a perfect example of “they just don’t make ‘em like that anymore.”

“The Towering Inferno” (1974) - Lost to “The Godfather Part II.”

Many scoff, but in the ‘70’s Disaster movie era, there were few that more action packed, effects heavy, melodramatic, all-star and indicative of the decade than “The Towering Inferno.”

With Paul Newman, Steve McQueen, Faye Dunaway, William Holden, Fred Astaire, Jennifer Jones and William Holden in the cast, its a wonder that there were any stars left in Hollywood while they were filming it.

“The Towering inferno” tells the tale of a massive fire breaking out at the unveiling of the world’s tallest building.  While the story may be strictly soap opera, the pyrotechnics and effects steal the show and will have you either glued to your seat or covering your eyes.

There were many like it at the time, but when it comes to disaster movies, “The Towering Inferno” reaches new heights.

“Quiz Show” (1994) - Lost to “Forrest Gump”

Who would have thought that a movie about TV game shows would make for a compelling, real-life mystery, but director Robert Redford’s film is just that.

Telling the true story of the scandal that rocked game shows in the 1950’s, Ralph Fiennes stars as Charles Van Doren, an audience favorite contestant who finds himself seduced by the allure of cheating to continue his game show “star” status, while a government investigation quickly catches up to him.  

“Quiz Show” brings to life the decade in great detail, while using the scandal as an analogy for the loss of innocence that was looming for the country.  What could have easily been TV-movie-of-the week-like fodder becomes a gripping glimpse into a dark moment in TV history and human frailty.

“Michael Clayton” (2007) - Lost to “No Country For Old Men”

Writer/director Tony Gilroy’s legal thriller was so compelling when it was released that many wondered what novel it had been based on, only to learn it was written directly for the screen.

That’s how rich and deep “Michael Clayton” is.  George Clooney is the title character, an attorney who discovers corruption with one of his firm’s major clients and, in the process, unearths some dark and deadly secrets.

Tilda Swindon, who won the Best Supporting Actress Oscar for her amazing, brittle and fragile performances as a corporate attorney.  Along with Tom Wilkinson and Sydney Pollack, she is just one of the many amazing and startlingly real performances in “Michael Clayton.”

The film’s screenplay is also a tightly-wound example of brilliant storytelling.  From it’s quiet opening moments to its twist ending, there is no way not to be glued to every minute.

With themes of how those we love will ultimately save us, “Michael Clayton” is a masterpiece that improves with each viewing and is truly one of the best films of its decade.

So, when the final envelope is opened on Sunday night, don’t feel too bad for the films that go home without a Best Picture Oscar.  They join an outstanding club of “winning losers.”

Sources: IMDb

Wikipedia

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