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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Blow Up (1966) Review

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(More customer reviews)Michelangelo Antonioni's view of Britain in the 1960's was a groundbreaking film that appeared at a time of turmoil and change in the lifestyles and mores of the Western world. Britain ruled supreme in pop music (Beatles, Stones, Animals) and in fashion (Mary Quant, Twiggy, Carnaby Street). The jazz stylings of Herbie Hancock were used as the soundtrack for the film, but the live Rock performance in the film was performed by the post-Clapton Yardbirds with Jeff Beck and Jimmy Page. To reflect the London fashion scene, Antonioni used the German model Verushka in a simulated photo shoot that has been called the sexiest scene in film history.
(As an aside, Verushka's real name was Vera and her father was one of the German army officers who attempted to assassinate Hitler in 1944; with the failure of the plot, he was executed and his family was interred in labor camps.)
When I first viewed this film in 1967, I was enormously impressed. The photography was brilliant and the audio was the first "surround-sound" I had ever encountered. (During the park scenes, I kept looking over my shoulder to see what birds had gotten into the theater!) When I again saw this film about 1975, it looked dated and out of fashion. Now, more than 40 years later, I see that it is a true period film that reflects much of the character and thinking of the time.
David Hemming's character in the movie (known as "Thomas") is not satisfied with his success as a fashion photographer and wants to become a "reality/documentary" photographer in the genre of Dorthea Lange or Henri Cartier-Bresson. To this end, he pretends to be a street person and spends a night in a doss house, a sort of cheap barracks accommodation with shared sleeping and bath facilities. Thomas sneaks his camera into this establishment in a paper bag and surreptitiously photographs the other guests as they shower and dress in the morning. The clicking and whirring sounds of his camera and the stop-action showing the photographs that were produced constituted the opening scenes of "Blow-Up". Thomas intends to use these and other such photographs in a book that he hopes will establish him as a "real" photographer. For some incomprehensible reason, this entire opening sequence has been deleted from the Turner/MGM DVD release. Instead, the movie opens with Thomas leaving the doss house in the morning, after the original opening photography sequence. In the original movie, Thomas then returns to his parked Rolls-Royce, places his camera in the glove box and drives away. We viewers are surprised; is he stealing the car? This scene has also been deleted. In this DVD release, he suddenly and inexplicably appears, already driving the Rolls down the street.
With the deletion of the movie's opening scenes, it is difficult to make sense of some of the later scenes in the film. At one point, Thomas meets with his publisher (an early appearance by Peter Bowles, later known for his performances in "Rumpole of the Bailey", "To the Manor Born" and "The Irish RM") and reviews the photographs he had taken at the doss house. This is the only brief chance viewers of the DVD have to see anything of the opening scenes.
Those opening scenes are important because they set the theme of the film. Thomas first appears as a down-and-out man, but turns out to be far from it. Viewers are put on notice that they can never be sure what is real and what is make-believe. This continues through the film's final scene, where the make-believe of the mimes' tennis game becomes more real than the murder that Thomas accidentally photographed.
The DVD is marred by additional deletions. Thomas develops the roll of film he shot in the park, studies the photos and sees something. (We viewers never really see what it is.) He makes a series of larger and progressively blurrier enlargements. Finally, he makes his largest blow-up, examines it, and instead of hanging it out in the open as he had the others, he conceals it between a pair of cabinets. This seems a fairly long sequence in the original film and it is only later that we learn of its significance. Of course, the name of the film comes from this scene. I can only assume that Turner/MGM felt this sequence was boring and deleted most of it from the DVD. When Thomas later finds his studio has been robbed, we don't even know what was taken or why he has this one enlargement left. There are other odd little deletions here and there in the DVD; perhaps there were some bad frames in the original film from which the DVD was made. When I purchased the DVD, I expected some of his romp with the two young "wanna be" models to be deleted. I did not expect the evisceration of the basic theme of the film by the deletion of the important opening scenes.
I might describe this DVD as a "Bowdlerised" edition, but perhaps "Turnerized" may be more correct. The DVD includes commentary by Peter Brunette, an academician. author and presumed expert on the films of Michelangelo Antonioni. I have carefully listened to his commentary twice through, and can only conclude that he never saw the original film. His comments refer only to this DVD edition. At one point in his commentary, Mr. Brunette notes that the clothes worn by Thomas at the doss house mysteriously disappear. Yes they do, because of another nonsensical deletion!
I would not normally recommend a DVD with so many deletions, but it seems that this flawed DVD is the only version of the film that is currently available. To see it in this form is better than to not see it at all. I give it 3 stars instead of the 4+ that the original film deserves.

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Taking photographs of a couple making love proves deadly when the photographer enlarges the image and discovers murder.The film and pictures are stolen from his studio and the body vanishes.In this elegant balance of deciet and trickery, the photographer must question the reality of what he has actually seen.

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Letters to Juliet (2010) Review

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(More customer reviews)I went into "Letters to Juliet" wondering if I was paying too much to see a movie that is pretty much told in the two-minute trailer.
I ended up enjoying every minute of it
Sophie goes to Verona with her fiancé. Victor becomes distracted by everything that might help his new restaurant, so she finds a way to make the best of her free time. Sophie discovers a group of women who reply to letters left for the doomed heroine of William Shakespeare's classic love story.
The young woman finds a fifty-year-old letter and writes to the woman, who shows up with her uptight grandson less than a week later. The three of them set off to find the man Claire left behind.
The story is slightly predictable, but solid. The audience feels what the characters feel...whether it is Sophie's frustration toward Victor, Charlie's uncertainty about Sophie's motives, or the humor they find when each "Lorenzo" shows a very unique personality.
And the soundtrack fits perfectly.
After the movie, I initially thought the PG rating was a little harsh. Then I remembered the content that is inappropriate for children.
PG: (1) A scene where extras touch the breast of a statue; (2) An obscene gesture; (3) Alcohol use; and (4) A thematic element that will go over most viewer's heads.
This is the best romantic comedy that I have seen this year.

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In Verona, Italy the beautiful city where Romeo first met Juliet there is a place where the heartbroken leave notes asking Juliet for her help. It s there that aspiring writer Sophie finds a 50-year-old letter that will change her life forever. As she sets off on a romantic journey of the heart with the letter's author, Claire, now a grandmother, and her handsome grandson, all three will discover that sometimes the greatest love story ever told is your own.DVD Features:Audio Commentary with Amanda Seyfried and Director Gary Winick; Deleted and Extended Scenes; The Making of Letters to Juliet: In Italia; A Courtyard in Verona

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