Camelot (Special Edition) (1993) Review

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(More customer reviews)In the annals of musical theater, there are more than a few great scores. Among them is Lerner and Loewe's "Camelot" which has more than its share of great songs that shine away from the musical play.
In 1964, Jack Warner produced "My Fair Lady" at Warner Brothers. It was an excellent film, if a bit too cautious. The play was a phenomenon and Jack didn't want anyone mucking about with it. Going to see it was almost as exciting as going to church, even though the film itself was entertaining and beautiful to look at.
Four years later, Warner attempted to do the same thing with "Camelot." In many ways, he failed, but in a couple of others, he outshone "My Fair Lady" and many other fine movie musicals. First, but not foremost, he enlisted the talents of John Truscott to design the film. No medieval tale has ever benefitted from so fine a vision. His sets and costumes are among the finest -- yet most realistic -- ever created. Second, and this is the best part (for me) -- he acquired the services of the finest composer/conductor Hollywood has ever produced. Alfred Newman had already won 8 Academy Awards prior to scoring "Camelot." Newman was one of a handful of composers who invented film scoring in the 1930s and 1940s. As head of the Fox music department from 1940-1959, Newman had the best orchestrators, best musicians and best composers working for him at Fox than could be found anywhere else.
For "Camelot," Newman had a free hand, along with his associate Ken Darby who had worked with Newman for nearly 20 years, collaborating on such film musicals as "Carousel," "The King and I" and "South Pacific."
The reason I'm making such a fuss over this -- in addition to the fact that "Camelot" earned Newman his 9th Oscar -- is that "Camelot" rates as one of the best scored musicals in film history and on this DVD, you can hear the entire musical score, free of dialogue and solo vocals, in 5.1CH stereo!
What separates "Camelot" from "My Fair Lady" is that in the latter, Warner would not let conductor Andre Previn alter the basic orchestrations of the play. Previn had some leeway, and it really shows in the score when he cuts loose. By and large, though, this did not include songs....just musical underscore/transitions. Newman, on the other hand, virtually co-composed the entire score. Using the thematic material, he wrote a dynamic, Erich-Wolfgang-Korngoldian ("Robin Hood," "The Sea Hawk," etc.) underscore that rouses you, thrills you and makes you feel great even if the film drama itself can't quite live up to it.
Watching a film for this isolated score feature alone is something only die-hard music lovers could tolerate, but it's there and can be enjoyed by anyone. Think of it as a full-orchestra karaoke feature and you can sing your favortie songs backed by one of the finest Hollywood orchestras ever assembled!
I've always been partial to "Camelot" for the score, the sets and the luminous presence of Vanessa Redgrave.
In truth, however, "Camelot" never looked as good in its first-run roadshow performances as it does on this DVD. This movie shimmers and sparkles and glows. It looks absolutely NEW. The sound does show its age in spots.
If only Arthur didn't run around all the time calling Guinevere and Lancelot "Ginny" and "Lance." (Lance. Ginny. Ginny. Lance.). That almost ruins the film for me -- that and Arthur's eccentric blue eye shadow. And if only Hollywood had not entrusted another great musical into the musically uninspired hands of Joshua Logan (one of Broadway's greatest directors but whose heavy hand all but ruined the film versions of "South Pacific", "Camelot" and "Paint Your Wagon.")
It's a whale of a movie. And the score is one of the finest ever committed to film.

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LERNER AND LOEWE'S MOVING MUSICAL ABOUT KING ARTHUR, GUENEVERE, LANCELOT AND THE ROUND TABLE.

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Les Miserables - The Dream Cast in Concert (1998) Review

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(More customer reviews)Words fail me when I try to describe this video. Les Miz is a glorious play, what with the genius of Boublil & Schonberg. I didn't think I would much enjoy this video because of its lack of actual set & acting and also the few short pieces cut. But it still blew me away. Best of all was the cast. It truly was the definitive edition.
Colm Wilkinson is just the perfect Valjean. His voice has such emotion & resonance to it. And he has such a strong presence as an actor.
Philip Quast was another excellent performer. I've once heard his voice described as "flinty" and I think that that's a good word for it. He really portrays Javert with such coldness, he makes the character quite vivid.
Ruthie Henshall's Fantine is one of those rare performances in musical theatre which simply cannot be surpassed. Henshall's voice is so stirring, heartbreaking, reverberating, deep, chilling, and beautiful. Her "I Dreamed a Dream" is excellent!
Michael Ball's Marius needs to introduction. He's THE Marius, what else is there to say? His voice so, so powerful and he sings with such heart. His "Empty Chairs At Empty Tables" is truly captivating.
Michael Maguire's Enjolras is often criticised. Yes, this wasn't the best performance he probably could have given and he did miss a few notes. But he still has a great voice. People argue that Anthony Warlow is a better Enjolras. While I agree that Warlow has the vocal edge, there's something in Maguire's performance that makes him so much like Enjolras and just so perfect for the part.
Judy Kuhn's Cosette was the one performance which I can say is good but not great. She didn't strike me the first time I heard her, though she has grown on me. She does have a lovely voice, but I just don't go for the whole "ringing soprano" thing. In fact, almost all Cosettes & Christines and the like in general just annoy me. I think Kuhn sounded better as Pocahontas.
Hannah Chick's little Cosette was SO adorable! She didn't miss a note during "Castle On A Cloud" which she just sang so sweetly. At the same time, she didn't seem to overact the sweetness, which I've seen all too many Cosettes do. And the way she kept singing after the stage light explosion was very professional.
And Adam Searles, gotta Love him. Similar to Maguire, I have heard Gavroches with better voices that Searles but he just has the part of Gavroche down so well. He just has the perfect street-wise, smart-aleck attitude perfectly.
I was shocked as to how many people disliked Lea Salonga's Eponine. Even more shocking was how people insisted that Frances Ruffelle was much better. I think Salonga was THE most phenomenal singer of the night. To me, Ruffelle sounds terrible! Many have called Salonga too "bitter" or "angry" but Eponine is a bitter, angry character! Salonga sings with such force, and at other times (e.g. "A Little Fall of Rain") with such sad sweetness. Her "On My Own" was so excellent that watching it is an intense experience. I could barely tear my eyes from the screen the first time I saw her sing it. I think there is no question that she's THE definitive Eponine. 'Course that's just my opinion.
All in all, this was the greatest performance of Les Miz I have ever seen!

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The 10th anniversary of the international musical sensation Les Misérables is celebrated in this 1995 concert at London's Royal Albert Hall. The all-star cast features Colm Wilkinson (Valjean), Ruthie Henshall (Fantine), Michael Ball (Marius), Judy Kuhn (Cosette), Lea Salonga (Eponine), Philip Quast (Javert), and Alun Armstrong (Thenardier).Favorite songs from the Alain Boublil and Claude-Michel Schönberg score include "Who Am I?", "I Dreamed a Dream," "Master of the House," "One Day More," "Do You Hear the People Sing?" and "Bring Him Home."

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Bye Bye Birdie (1995) Review

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(More customer reviews)This 1995 made for TV movie is millions of miles away from the tacky propaganda-filled 1963 film. This version follows the real story and doesn't leave out any key parts or songs. The casting was done well, especially Tyne Daly as Mae Peterson (hilarious) and the actor who plays Conrad Birdie--an amazing voice! George Wendt plays the role of Mr. MacAfee and not only can he sing but is a riot in the Ed Sullivan scene. However, Chynna Phillips is not a great choice for Kim--she looks too old, her singing voice is only so-so (Kim's songs have all been lowered an octave) and the way she interpreted the role made Kim seem snotty. One of the best scenes is when Ursula and co. are doing "Bye Bye Birdie" at the malt shop--their voices and enthusiasm are unbelievable. All in all, it's a great show, excellent viewing for anyone wanting to produce or direct the musical.

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No Description Available.Genre: MusicalsRating: NRRelease Date: 21-SEP-2004Media Type: DVD

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A Chorus Line (1985) Review

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(More customer reviews)The day the film version of "A Chorus Line" opened across the country, director Richard Attenborough was interviewed by Jane Pauley on the Today Show. "And what's this film really about?" asked Jane. Sir Richard answered, "It's about kids trying to break into show business."
And there you have everything that's right and wrong about the film. Some have enjoyed this film (as you can see from some of the other reviews), and even been inspired by the inside look at young professionals trying to make it to the top, or even just get in the door. I'm very happy for them.
The only problem is, that's NOT what A Chorus Line is about - at least the Pulitzer prize winning stage musical conceived by the late Michel Bennett. And if the movie's director is that far off base, well what you end up with is confusing series of characters and stories that don't seem to have a lot of point to them, other than all these folks are auditioning together one afternoon.

Kids breaking into show business? No, A Chorus Line is (was) about top-of-their-career professional dancers trying to get one more lousy job to keep food on the table and injuries at bay, letting them work one more year. And asking the question "Is it really worth the physical pain, humiliation, and invisibility?" Most had already let go of the dream of being a star - that would have happened by now if it was in the cards. No they were dancers - but what did that mean?
Although the creators thought they were putting a project together in workshop that would appeal only to the Broadway community - audiences strongly identified with the dancer's stories. The audition became a metaphor for any place where people are treated as interchangeable commodities, whether its on a stage, in an office, or in a factory. We're all "on the line".
It's this core that is missing from the film. The stage musical has three pivotal group numbers: the opening "I Hope I Get It", "Montage", and "What I Did For Love". The rest are individual character songs. (The popular number "One", is really outside the plot, more of a curtain call than a book number.) "What I Did for Love" is practically the emotional climax of the show - the dancers reaching for an answer to the inevitable question of "why do this?" In the film, however, it's a love ballad for Cassie, musing over her former love for Zach. On stage, the heart of the show is "Montage", a single musical number about 15 to 20 minutes long takes the characters stories from the pain and wonder of childhood related in the first half, through puberty, and into young adulthood.It contains the song "Hello Twelve, Hello Thirteen", as well as several other themes. It's not in the movie - replaced with a new (and much less ambitious) song "Surprise". That leaves only the opening number, which thankfully is still there. Unfortunately it pails in comparison to Bob Fosse's "appropriation" of the idea that he used to open his film "All That Jazz" in 1980.

With the major themes shuffled off to the background, what you are left with is the dancer's colorful stories, and the Cassie / Zach failed love affair melodrama pushed to the fore. The love story isn't any more compelling here than it was on Broadway, where Bennett wisely kept it in the background, only using to add an extra layer of tension to the proceedings. But it is good to see the individual dancer's stories and songs can still impress in the film. The late Greg Burge is riveting in what, on Broadway, was the tiny role of Ritchie. The film gives him his own number, the aforementioned "Surprise". Michael Blevins is sweet as the young Mark, experiencing his first audition. Janet Jones lights up the screen in the tiny part of Judy, demonstrating why she was the sole newcomer to go on to other films (and to marry star hockey player Wayne Gretzky). Broadway veteran Terence Mann (Cats, Les Miserables, Man of La Mancha) is memorable in the small part of Larry, the assistant choreographer with a heart of gold. Cameron English gives a heartfelt rendition of what is probably the greatest piece of writing in the canon of American musicals: Nicholas Dante's story of Paul, the young gay dancer who's family disowned him after seeing him perform in a drag show.

Others don't fare as well, however. Audrey Landers is exactly the WRONG type of vixenish actress to play Ms. Dance-Ten, Looks-Three. The song comes off as vulgar and slutty. It only worked on stage because these shocking things were coming out of the mouth of a petite blond Drew Barrymore look-alike in disarming pigtails. And Alyson Reed, a wonderful dancer, doesn't really register as Cassie. Perhaps if a star had been put in the part, it would have justified all the extra screen time devoted to Cassie's chorus girl to star to chorus girl story. But Alyson doesn't have the right charisma or face for the camera. Choreography was handed over to Jeffery Hornady, who was the man of the moment after the success of his Flashdance numbers. Big mistake. Obviously Mr. Hornaday had never see a Broadway show, for the dances look like outtakes from a Wham! video.

So there you have it - add this one to the list of landmark Broadway musicals butchered on film, along side Gypsy, A Little Night Music, and Man of La Mancha. Maybe someone can convince Chicago film director Rob Marshall to give us a television version of Chorus Line? It really deserves a do-over.
Back stage note: When Universal studios bought the rights to Chorus Line in 1976, they also hired Michael Bennett as producer (and implicitly as director). Michael spent over a year and a half working on various versions of the screenplay, but eventually got tired of "taking meetings" and left LA for New York where he went to work on Dream Girls. One concept for the movie was to depart from the original setting and make it about dancers auditioning for the film version of "Chorus Line". He had already approached two hot newcomers to participate. He wanted Mikhail Baryshnikov as Zach, and in a gender switch, Saturday Night Fever star John Travolta in Cassie role. Already that sounds like a more interesting movie.

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Michael Douglas stars as a choreographer who subjects 16 dancers to a grueling audition in this Academy AwardÂ(r)-nominated* adaptation of the landmark Broadway musical. Featuring Marvin Hamlisch's OscarÂ(r)-nominated* music and Jeffrey Hornaday's (Flashdance) sizzling choreography, this thrilling portrayal of life behind the velvet curtain is truly "One Singular Sensation"!After narrowing down hundreds of Broadway hopefuls, Zach (Douglas) leads a select group of dancers on the tryout of their lives. In an audition twist, Zach asks each performer personal and intimate questionswith results that powerfully affect not only the young performers but the hardened stage veteran as well.*1985: Original Song, Sound, Film Editing

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