Movie Musicals - Tumblr Posts
Question time for Tumblr.
In movie adaptations of plays you love, what are some of the biggest stage-to-film changes that drive you up the wall? (Can include movies that are otherwise good.)
My example: The movie adaptation of Dreamgirls made many changes, some better than others, but IMO, getting rid of the song "Ain't No Party" was the biggest sin by far. I mean, not only does removing that song eliminate a significant amount of Lorrell's character development from a storytelling standpoint, but even ignoring that... they have Anika Noni Rose as Lorrell and they don’t even use her? What the hell?
Luke Newton’s animated movie Viana: The Legend of the Golden Hearts will be coming out Christmas 2025. It’s an animated musical love story, which really suits him because he has a beautiful voice. Disney really stopped doing animated love stories in favor of family stories, so this really has the potential to fill a niche if they promote it well!!
I hope it has a wide release!!!
The dynamic duo in their first film together. I love the way the dance grows out of the dialog, which continues in dance form throughout the pas de deux. Ginger wasn’t as accomplished a dancer as she’d later become, but she’s still damn good.
Fred & Ginger: “Roberta” 1935
K-12 (Dir: Melanie Martinez, 2019).
The movie debut of singer Melanie Martinez, released to coincide with her album of the same name.
The plot of K-12 follows on from and elaborates on the themes of Martinez’s previous album Cry Baby. However, prior knowledge of Cry Baby is not essential, as the movie is best enjoyed for its music and stunning visuals in what is, essentially, a long form music video. Albeit one with an ambitious cinematic grandeur.
With a distinctive colour palette utilising mostly pink and pastel shades, it has an arresting otherworldly quality, at times recalling the work of Terry Gilliam and the high kitsch of John Waters.
There is a certain brutal beauty to Martinez’s music which she has matched perfectly to the visuals. The dystopian fantasy addresses issues such as bullying and acceptance, but always in tuneful fashion!
As you might expect from Martinez the movie is sweary and creepy and not recommended for those of a sensitive nature. With its language, drug taking and no nips nudity, it is definitely not one to show the kids!
In truth, K-12 is a bit of an acquired taste and is probably limited largely to Melanie Martinez’s fan base. But it is artfully produced. Recommended especially to fans of Martinez but also to open minded movie lovers in the mood for an off kilter fantasy musical.
K-12 is available to steam on Melanie Martinez’s official YouTube channel: https://youtu.be/2HtaIvb61Uk
Check out my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.
BUGSY MALONE (Alan Parker, 1976).
Alan Parker’s feature film directorial debut is really something special. A musical homage to 1930’s gangster movies with a cast made up entirely of children really shouldn’t work, but it does.
Gang warfare rages in Prohibition-era New York as hoods Fat Sam and Dandy Dan battle for supremacy in the city. Armed with newfangled splurge guns (whipped cream firing machine guns), it looks like Danny Dan’s mob is winning. Speakeasy owner Sam engages good guy Bugsy Malone to help in his fight against Dan, while Bugsy has his sights set on aspiring showgirl Blousey Brown.
Recalling both the classic Warner gangster flicks and early backstage musicals, Bugsy Malone is itself a film which largely avoids categorisation. It is a love letter to the Hollywood of the 1930s. The beautifully detailed sets of dimly lit back alleys and colourful speakeasies faithfully recalling the era of Cagney and Robinson. Paul Williams superb jazz inspired score provides perfect accompaniment to the visuals, while the witty, quick fire dialogue would befit a period screwball comedy. The soft focus camera work and plethora of brown on display gives the feel of an old sepia tone photograph and adds to the era atmosphere.
An assured and charismatic performance from Scott Baio as Bugsy is surprisingly his first screen appearance. As was true of much of the cast. Florrie Dugger is touchingly melancholic as Bugsy’s gal Blousey in her only movie, while John Cassisi embodies gleeful roguishness as Fat Sam, one of only a handful of acting roles for the youngster. Only Jodie Foster, in the supporting role of showgirl cum moll Tallulah, was a veteran performer and gives the first rate professional performance you would expect. But to the credit of the cast and director Parker, none of the kids put a foot wrong and are never upstaged by the more experienced star.
There really is nothing else like Bugsy Malone in cinema history. As artful as it is entertaining and equally enjoyable for children and grownups; a unique, unadulterated pleasure from beginning to end!
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Bugsy Malone! Link below.
CAREFREE (Dir: Mark Sandrich, 1938).
A frothy RKO romance; the 8th pairing of the incomparable Fred Astaire and Ginger Rogers.
This one has Fred as a psychiatrist and Ginger as his patient and fiancee of his best pal (Ralph Bellamy). Things get complicated when she falls for him and he hypnotizes her to remain faithful to the groom. The movie's outcome is clearly signposted from early on, but there is considerable fun to be had on the journey, nonetheless.
With only four full-blown song and dance numbers Carefree is less a musical than a screwball comedy with the occasional break for a song. The Irving Berlin score is pleasant enough, but by the composer’s own high standards is not especially memorable. 'Change Partners' and 'I Used to Be Color Blind' are the possible exceptions; both are considerably enhanced by Ginger and Fred's fabulous footwork. The highlight is undoubtedly Astaire's solo 'Since They Turned Loch Lomand into Swing' in which he ditches Rogers to partner a golf-club, proving as adept on the fairway as he is the dance-floor.
Allan Scott and Ernest Pagnos screenplay, while implausible, does include a fair amount of humorous moments. While director Mark Sandrich, by now a veteran of the Astaire-Rogers movies, handles the comedy and the dance numbers with equal aplomb. It is all a lot of nonsense, but all is forgiven when Fred and Ginger take the dance floor. There was never a classier screen couple than Mr Astaire and Ms Rogers and support is offered by a particularly distinguished cast, notably Ralph Bellamy and Jack Carson. Unbilled and underused in one of her many domestic help roles is the great Hattie McDaniel.
As its title suggests, Carefree is lighthearted, featherweight stuff. Often regarded as the weakest of the Astaire-Rogers partnership, it does pale in comparison to classics such as Top Hat (Mark Sandrich, 1935) and Shall We Dance (Mark Sandrich, 1937). Still, at a little over 80 minutes, it doesn't outstay its welcome. The old adage "they don't make 'em like that anymore" certainly applies here; fluff it may be, but it is consummately produced fluff, expertly performed by its legendary cast.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
LET’S DO IT AGAIN (Dir: Alexander Hall, 1953).
Big screen adaptation of Arthur Richman's 1923 play The Awful Truth.
Stage star Constance Stuart (Jane Wyman) concocts an affair with a friend (Tom Helmore) in an attempt to make her philandering songwriter husband Gary (Ray Milland) jealous. However, her plan works a little too well when it ends in divorce. Desperate to win his wife back he has a rival in uranium millionaire Frank McGraw (Aldo Ray). Despite Frank's attentions and a proposal in marriage Constance still holds a candle for Gary.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
TOP HAT (Dir: Mark Sandrich, 1935).
From RKO Radio Pictures, Top Hat was the 4th of 10 pairings of the inimitable Fred Astaire and Ginger Rogers.
Where to begin? The screwball plot is some trifle about mistaken identity (isn’t it always?), as Ginger, believing Fred is the philandering husband of a friend, rebukes his advances and marries her dress designer instead (or does she?). Topnotch support comes from familiar faces Edward Everett Horton and Helen Broderick are the real husband and wife, Erik Rhodes the cuckolded couturier and Eric Blore as an asinine but resourceful manservant. As convoluted as it sounds the whole thing works beautifully. But who in the audience is really here for the plot? What we are here for is Astaire and Rogers at their artistic peak dancing up a storm to one of Irving Berlin's greatest musical scores and happily that is what we get.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
i was talking to my friend about the most recent West Side Story movie and she was like "i dont like that they added in a trans guy just to be woke." like girl lmao that character was in the original too sdkfjghkldfh