- SKU: 29198249
- Release Date: 10/20/2015
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- Closed Captioned
Viva Las Vegas, one of Elvis Presley's most popular vehicles, adheres as rigidly to formula as a Kabuki dance. Elvis plays a race-car driver competing in the Las Vegas Grand Prix opposite his principal rival, Cesare Danova. To finance his entry, Elvis takes a job as a casino waiter. Naturally, he is occasionally prevailed upon to sing, making one wonder why he didn't choose this talent as a means of making some quick cash. As always, Elvis chases all the wrong girls, only to ignore the "right" one, portrayed by Ann-Margret in her considerable youthful prime (We're supposed to believe that A-M is the daughter of irascible William Demarest. So much for the reliability of gene pools). With a pre-fat Presley, an indescribably gorgeous Ann-Margret, and no fewer than 12 songs on the soundtrack, how could Viva Las Vegas help but reap a fortune at the box office? ~ Hal Erickson, Rovi
Seven Brides for Seven Brothers
Based extremely loosely on the Stephen Vincent Benet story Sobbin' Women," Seven Brides for Seven Brothers is one of the best MGM musicals of the 1950s. Most of the story takes place on an Oregon ranch, maintained by Adam Pontabee (Howard Keel) and his six brothers, played by Jeff Richards, Russ Tamblyn, Tommy Rall, Mark Platt, Matt Mattox, and Jacques d'Amboise (it is no coincidence that five of those six boys are played by professional dancers). When Adam brings home his new bride Milly (Jane Powell), she is appalled at the brothers' slovenliness and sets about turning these unwashed louts into immaculate gentlemen. During the boisterous barn-raising scene, the brothers get into a scuffle with a group of townsmen over the affection of six comely lasses: Virginia Gibson, Julie Newmeyer (later Newmar), Ruth Kilmonis (later Ruth Lee), Nancy Kilgas, Betty Carr, and Norma Doggett (yep, most of the girls are dancers, too). Yearning to become husbands like their big brother, they ask Adam for advice. Alas, he has been reading a book about the abduction of the Sabine Women (or, as he puts it, the Sobbin' Women); and, in order to claim their gals, Adam explains, the boys must kidnap them--which they do, after blocking off all avenues of escape. Vowing to remain on their best behavior, the boys make no untoward advances towards their reluctant female guests--not even during one of the coldest winters on record. Comes the spring thaw, the angry townsfolk come charging up the mountain, demanding the return of the stolen girls (who, by this time, have "tamed" their men). A happy ending is ultimately had by all in this delightful if politically incorrect concoction. ~ Hal Erickson, Rovi
The Music Man
Meredith Wilson's hit 1957 Broadway musical was transferred to the screen in larger-than-life fashion in 1962. Robert Preston repeats his legendary stage performance as fast-talking con man Harold Hill, who goes from town to town selling citizens on starting a "boy's band," then extracts money from them by ordering instruments and uniforms, with the promise that he'll teach the kids how to be musicians. Once he's collected his bankroll, Hill skips town, leaving the kids in the lurch. Looking for new suckers in Iowa, Hill arrives in River City, where he declares that the only way to save the youth of River City from the lure of the poolroom is to organize a boy's band. He charms the mayor's wife Eulalie (Hermione Gingold) into forming a "ladies' dance committee" and sets his sights on winning over local music teacher Marian Paroo (Shirley Jones). Marian rightly considers Hill a fraud, especially when he espouses the "Think System" of learning music: if you think a tune, he claims, you can play it. But Marian becomes Hill's staunchest ally when her young brother Winthrop (Ronny Howard), sullen and withdrawn since the death of his father, exuberantly comes out of his shell at the prospect of joining Hill's band; and Marian's budding romance with the charming but unreliable Hill ultimately brings her out of her own shell as well. Marion Hargrove's script uses most of the original play, with a handful of amusing expansions, especially in the roles played by Gingold and by Buddy Hackett as Hill's comic sidekick. ~ Hal Erickson, Rovi
Yankee Doodle Dandy
Singin' in the Rain
Hollywood, 1927: the silent-film romantic team of Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) is the toast of Tinseltown. While Lockwood and Lamont personify smoldering passions onscreen, in real life the down-to-earth Lockwood can't stand the egotistical, brainless Lina. He prefers the company of aspiring actress Kathy Selden (Debbie Reynolds), whom he met while escaping his screaming fans. Watching these intrigues from the sidelines is Cosmo Brown (Donald O'Connor), Don's best pal and on-set pianist. Cosmo is promoted to musical director of Monumental Pictures by studio head R.F. Simpson (Millard Mitchell) when the talking-picture revolution commences. That's all right for Cosmo, but how will talkies affect the upcoming Lockwood-Lamont vehicle "The Dueling Cavalier"? Don, an accomplished song-and-dance man, should have no trouble adapting to the microphone. Lina, however, is another matter; put as charitably as possible, she has a voice that sounds like fingernails on a blackboard. The disastrous preview of the team's first talkie has the audience howling with derisive laughter. On the strength of the plot alone, concocted by the matchless writing team of Betty Comden and Adolph Green, Singin' in the Rain is a delight. But with the addition of MGM's catalog of Arthur Freed-Nacio Herb Brown songs -- "You Were Meant for Me," "You Are My Lucky Star," "The Broadway Melody," and of course the title song -- the film becomes one of the greatest Hollywood musicals ever made. ~ Hal Erickson, Rovi
Cast & Crew
- Elvis Presley - Lucky Jackson
- Ann-Margret - Rusty Martin
- Cesare Danova - Count Elmo Mancini
- William Demarest - Mr. Martin
- Nicky Blair - Shorty Farnsworth