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About: Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. An early entry in the Met’s series of PBS telecasts, this 1978 performance captures a young James Morris in a smooth portrayal of the game role, with the legendary Joan Sutherl...
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About: Kpop woman group, BLACKPINK held a successful concert at the Tokyo Dome. The present was attended by about 55,000 fanatics and was full of energetic and dynamic performances. They performed at the Tokyo Dome for the first time as part of their "BLACKPINK 2019–2020 Globe Tour". The quartet lead the concert with their hits including “Forever Young,” “Kill This Love,” “Playing With Fire,” “Boombaya...
About: Don Quixote is a 19th century work, choreographed by Petipa in 1869. Rudolf Nureyev revived it in 1966 and it is his ver in La Scala Ballet’s repertoire, much loved by ballet audiences for its winning mix of technical bravura, exuberance and comic touches. La Scala Ballet brought the globe of a fantastical Spain brilliantly to life with their sophisticated dance, music, costumes and sets, energeti...
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I am a large Donald O'Connor fanatic and have seen most of his movies. Donald in the early forties made few teen B-Musicals, this one being one of his best. Donald O'Connor's charm and personality really shine through in this film. It is packed with variety of really nice songs and really fabulous dancing by O'Connor. He and Peggy Ryan, my favourite on screen duo, have nice chemistry in this film. It is short on time and budget, but is still my favourite of his teen pictures and I highly suggest it to others.
Both Don O'Connor and 16 y.o old Ann Blyth are cast as 3rd generation wannabes in their respective family professions of naval officers and actress/ singers. Naturally, they serendipitously meet on a train and instantly strike up a liking for every other, after an initial misunderstanding. Peggy Ryan is Don's frustrated wannabe official girlfriend, whom he brushes off in front of Ann when they meet. The two older generations of every family had unsatisfactory romantic dalliances with every other. Thus, Ann's mother and grandmother are determined that Ann won't create the same mistake with Don. Naturally, their efforts ultimately prove futile, though they create for melodrama in the meanwhile. Terrible Peggy! Obviously, she and Don were made for every another as relates to their comedic and dance personas, both having grown up on scene in vaudeville families.They were the teenage, musical, mixed sex equivalent of Universal's famous older Abbott and Costello comedy team, and an alternative to MGM's slightly older Mickey Rooney and Judy Garland vaudevillian team. But, in nearly each one of the movies they did together, except the last, Peggy was typecast as Don's 'side dish': nice for having nice times together, but not a serious candidate for his future wife. She simply came across as not cute enough, too wild and crude, and too scatterbrained to be the leading lady, not to mention her somewhat squeaky voice: succinctly summarized in her wild "Rude, Crude, and Unattractive" number with Don, in the previous "Mr. Big". In this respect, she suffered the fate of rather related contemporary musical comedians Martha Raye and Nancy Walker. Thus, noted juvenile songstresses with operatic singing voices and 'good girl' typecasting were usually cast as Don's 'official' girlfriend in this movie series. Initially, Gloria Jean filled this role. Then, in a series of movies released in late '43 and '44, either blond Suzanna Foster or brunette Ann Blyth took her place.This was Ann Blyth's first movie role, at age 16, and she seemed quite confident as the 'official' leading lady. However, as expected, Peggy steals the present with her uninhibited pursuit of Don, and her 3 song and dance routines with Don. The first one, about half method through, is done to "Is It Nice or Bad?" (for a man and woman to kiss), including a zany dance and chase stage in an informal setting. The second one begins with the pair sitting down singing "I Must Give My Feet a Break". The break isn't long, as they dance a bit before 'magically' transforming into mimics of Fred Astaire and partner, in tux and fancy dress attire, ballroom dancing on a mirrored floor, with ornate background. The third one, near the end, has them singing and dancing, along with presumably the 'Jivin' Jacks and Jills', as comical pirates(this being a present for the naval academy). The finale follows, with a sing by the 3 stars to a modified ver of "Is It Nice or Bad?", with Don getting kissed by both, who have by actually agreed their status as equals in Don's show romantic life.Don starts the movie with a comical skit and song, wearing an archaic style navy uniform, place on for the benefit of the naval academy he was attending. A bit later, Don and Ann take turns singing "Mighty Great to Have Met You", a pleasant romantic ballad, while on the train where they met. Later, in informal settings, Ann solos "Love is Like Music", and "My Song". In her second movie with Don and Peggy: "The Merry Monahans", released soon in '44, Ann and Don again serendipitously meet on a train and, again, their parents had once been a romantic pair. That movie had many more scene acts, as Don and Peggy enjoy a vaudeville team. But, the routines are often short, often too short for my liking. Again, due to adult interference, Don and Ann have problem maintaining their romantic connection, but succeed in the end. I suggest checking out both films, which actually are viewable at You Tube, the show one in 8 segments, while "The Merry Monahans" is in one piece. I won't be upset if you prefer the latter film, which contains the added premium of Jack Oakie as the vaudevillian father of Don's and Peggy's characters.
A talented star cast fully wasted (not for the first time), by a silly plot and far below standard execution of it. It has Donald O'Connor, with two teenagers Pgyy Ryan and Ann Blyth forming a semi-bigamist triangle. Of these two female leads of course I don't place much value on. Peggy I haven't seen much of screen time, so I can't really talk about her, Ann, I have seen a few, and neither, in the allocated screen, has shown much talent. Donald of course is in another circle, his antics are quite charming. The major wasted talents were the two Helens (Vinson and Brodrerick) as Gloria I and II, the mother and the Grandmother. Of course none of them looked old enough to be of that relation, but I would overlook it, since they should have been just that (real age then was 37 and 53, so allowing for kid marriages, they should have just made it). But allow me rein my horse a bit. The Grand mother was in love with Angry Michael Corrigan, and he escaped. Naturally the hearl broken Glory I wasn't, or may be she did, marry on rebound, but that, considering she was already a Broadway actress then when Michael breached the promise and engagement, couldn't have been too young. In that circumstances, the relation would be just too bad, and the daughter naturally would be sufficiently brainwashed to be careful to the pursuit of the enemy's son, Judd (Corrigan). Even if he finally succeeded to breach the wall and then finally breach the promise (he too followed suit), the daughter Glory I would have been quite advanced age, by the time she decided to marry (again I suppose on rebound). With these two histories well explained, I doubt that Glory III would fall for Corrigan III, but she fell like nine-pins, without any misgivings whatsoever. Of course it isn't still very clear why Corrigan III was virtually rusticated from Academy (when Fight was till going strong, and they wanted recruits, not lose them), and what was the Dean expected to gain by setting him gratis ! As far as I know, military academies don't work like that, especially to bring the hard recruits into line. When Glory III was offered to become actress, I wonder why she would ask the tip of the, not too dependable teenager, Corrigan III, especially when her mother as well as Grandmother had accepted (another slip- just some time back, they had been clear that they didn't wish the heiress to join the profession). The entire thing is full of these slips. If one wants to create a musical comedy, there shouldn't be a story, or if it is, it could be simple, uncomplicated, just to stitch in the dances and songs. And that's where this one missed, trying to bring in Military, misplaced-patriotism,... Despite O'Connor, it was hard to watch it through.
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