Damboise, Jacques

Seven Brides for Seven Brothers

Well, bless my beautiful hide! Director Stanley Donen invests this rollicking musical with a hearty exuberance. Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride (plucky songbird soprano Jane Powell) to his six slovenly brothers. Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own. But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd. Big brother chimes in with his own brand of advice--an old-fashioned kidnapping! Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty (Russ) Tamblyn (pre-West Side Story). This modest production became a huge hit and remains one of MGM's best-loved musical comedies, an energetic, high-kicking classic. --Sean Axmaker

Howard Keel and Jane Powell are rapturous newlyweds who tame his six rowdy bachelor brothers in the wild Oregon backwoods in this Best Score Academy Award(R)-winning song-and-dance-filled comedy.

Seven Brides for Seven Brothers (Two-Disc Special Edition)

Well, bless my beautiful hide! Director Stanley Donen invests this rollicking musical with a hearty exuberance. Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride (plucky songbird soprano Jane Powell) to his six slovenly brothers. Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own. But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd. Big brother chimes in with his own brand of advice--an old-fashioned kidnapping! Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty (Russ) Tamblyn (pre-West Side Story). This modest production became a huge hit and remains one of MGM's best-loved musical comedies, an energetic, high-kicking classic. --Sean Axmaker

That's Dancing!

A compilation of movie musical highlights.Running Time: 104 min.Format: DVD MOVIE Genre: MUSICALS/MUSICALS UPC: 012569795310 Manufacturer No: 79531

Carousel (50th Anniversary Edition)

Gordon MacRae is Billy Bigelow a smooth-talking carny barker who falls in love with a millworker (Shirley Jones) on the colorful coast of Maine. Filmed on location with a beautiful seaside setting as a backdrop and a thrilling score for accompaniment their romance unfolds. But right before the birth of his daughter Billy is killed while committing a robbery. Now in heaven years later he returns to earth for one day to attend his daughter's high school graduation and teach her one very important lesson.Episodes-Bonus Features:Disc 1:Widescreen FeatureCommentary by Shirley Jones & Nick RedmondIsolated ScoreSing-A-Long SubtitlesDisc 2:LILIOM (1934 Feature) P/STurns On The CarouselVintage Stage Excerpt"You're A Queer One Julie Jordan" & "If I Loved You" Performed by Jan Clayton & John RaittAdditional Songs"You're A Queer One Julie Jordan" performed by Barbara Ruick & Shirley Jones"Blow High BlowLow" performed by Cameron Michael & ChorusMovietone News: "Carousel Opens at NY and Hollywood in Cinemascope 55"Theatrical TrailerStill GalleriesSystem Requirements:Running Time 128 Mins.Format: DVD MOVIE Genre: MUSICALS/MUSICALS Rating: PG UPC: 024543381471 Manufacturer No: 2238147

Like its immediate predecessor, Oklahoma!, this 1956 screen musical boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with onscreen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment. Why? Hindsight argues that '50s moviegoers may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.

Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers' most affecting, from the glorious instrumental "Carousel Waltz" to a succession of exquisite love songs ("If I Loved You"), a heart-rending secular hymn ("You'll Never Walk Alone"), and the expectant father's poignant reverie, "Soliloquy." Top-lined stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!, with MacRae in particular attaining a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It's Billy's impatience to support his new family that drives him to an ill-fated decision that transforms the fable into a ghost story. Adding to the luster are the coastal Maine locations where 20th Century Fox filmed principal photography. --Sam Sutherland

Carousel

Like its immediate predecessor, Oklahoma!, this 1956 screen musical boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with onscreen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment. Why? Hindsight argues that '50s moviegoers may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.

Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers' most affecting, from the glorious instrumental "Carousel Waltz" to a succession of exquisite love songs ("If I Loved You"), a heart-rending secular hymn ("You'll Never Walk Alone"), and the expectant father's poignant reverie, "Soliloquy." Top-lined stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!, with MacRae in particular attaining a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It's Billy's impatience to support his new family that drives him to an ill-fated decision that transforms the fable into a ghost story.

Adding to the luster are the coastal Maine locations where 20th Century Fox filmed principal photography. Newly remastered by THX, Carousel looks and sounds better than ever. --Sam Sutherland

Seven Brides for Seven Brothers

Well, bless my beautiful hide! Director Stanley Donen invests this rollicking musical with a hearty exuberance. Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride (plucky songbird soprano Jane Powell) to his six slovenly brothers. Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own. But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd. Big brother chimes in with his own brand of advice--an old-fashioned kidnapping! Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty (Russ) Tamblyn (pre-West Side Story). This modest production became a huge hit and remains one of MGM's best-loved musical comedies, an energetic, high-kicking classic. --Sean Axmaker

Who's Dancin' Now?

The children featured in the 1983 documentary He Makes Me Feel Like Dancin' have grown up in this 1999 follow-up, but Jacques d'Amboise's dance program is still going strong in New York City schools and beyond. In a time when many arts programs are being dropped from school curriculums for lack of money, d'Amboise maintains that the arts are an integral part of education and that studying the arts can lead to success later in life. D'Amboise sets out to prove his hypothesis by interviewing a host of children who participated in the National Dance Institute program in 1983. Former participants have gone on to professions as disparate as kindergarten teacher, stockbroker, entrepreneur, talent agent, and scientific writer. Yet, two common learning experiences from the past surface as catalysts for personal and professional accomplishment: taking chances that may lead to mistakes is an integral part of learning, and doing one's best ensures success. This 85-minute video delves extensively into the professions of former program participants and offers a glance into an expanded, modern-day National Dance Institute program that includes classes at a New Mexico Indian reservation and its school for the deaf. This comprehensive companion to He Makes Me Feel Like Dancin' demonstrates how vital studying the arts is to a well-rounded education. -- Tami Horiuchi

Off Beat [Region 2]

Seven Brides for Seven Brothers [Region 2]

Well, bless my beautiful hide! Director Stanley Donen invests this rollicking musical with a hearty exuberance. Howard Keel, with his big-as-all-outdoors baritone, stars as a bold "mountain man" living in the Oregon woods who brings home a bride (plucky songbird soprano Jane Powell) to his six slovenly brothers. Taming the rambunctious brood, Jane proceeds to make gentlemen of them so they can woo sweethearts of their own. But old habits die hard: their flirting gives way to fighting in the film's celebrated barn-raising scene, a lively acrobatic dance number exuberantly choreographed by Michael Kidd. Big brother chimes in with his own brand of advice--an old-fashioned kidnapping! Donen manages to get away with such a politically incorrect plot by investing the boys with a innocent sweetness, most notably the youngest brother played with genial earnestness by Rusty (Russ) Tamblyn (pre-West Side Story). This modest production became a huge hit and remains one of MGM's best-loved musical comedies, an energetic, high-kicking classic. --Sean Axmaker

Suzanne Farrell - Elusive Muse

Romantic triangles. Unconsummated passion. Jealousy. Revenge. Just another day offstage at the New York City Ballet for ballerina Suzanne Farrell and her mentor, legendary choreographer George Balanchine. Elusive Muse traces the development of Farrell into an extraordinary performer while trying to define her passionate professional and personal relationship with "Mr. B." (Farrell says dancing with Balanchine was "more passionate, more loving" than a sexual relationship would have been.) Relying heavily on interviews with Farrell and her longtime dance partner, Jacques d'Amboise (who calls her a "goddess" and the "last, great muse for Balanchine"), the film follows her evolution from awestruck student to inspiration--Balanchine created some of his most breathtaking ballets for her, and lengthy footage of them, including "Diamonds" and "Mozartiana," is shown. The story is as tortured as ballet's best: Marriage to another dancer causes their banishment from the company and she's forced to dance in Europe to keep her career alive, but she triumphantly reunites (professionally) with her mentor. While performance footage documents her artistry, interviews with other dancers and choreographers testify to her growing talent and help explain how Mr. B worked. "God sent her to me," he is quoted as saying. Here, the rest of us get to glory in his handiwork. --Valerie J. Nelson