Kelly, Gene

The Cheyenne Social Club / Firecreek

The teaming of James Stewart and Henry Fonda was a natural: not only were the two men veteran stars of their generation, but they'd actually been friends and even roommates since early in their careers. These two Westerns offer the stars in their relaxed end-of-career mode, with Stewart in the hero roles and Fonda as either villain or burr-under-the-saddle sidekick.

Firecreek is a grim 1968 Western that carries a strong residual aroma of High Noon. Stewart plays a farmer who happens to be the nominal (but rarely needed) sheriff of Firecreek, which means he must go into service when Fonda and his scurvy bunch of desperados (among them Gary Lockwood and Jack Elam) come to town looking for trouble. This slow, stripped-down picture has a philosophical undertone, with Fonda's weary, wounded outlaw trading bitter wisdom with local girl Inger Stevens. It goes on too long and Stewart is in the phase of coasting on his familiar persona, but overall it's a decent little Western fable.

The Cheyenne Social Club, from 1970, gets off to a marvelous start, with a sequence of saddle tramps Stewart and Fonda riding across half the West as Fonda maintains a fractured monologue throughout. Screenwriter James Lee Barrett was a veteran who worked frequently with Stewart (Shenandoah) and John Wayne, and some of the Western flavor is fine, but... things turn crass as soon as the pals realize Stewart has inherited a bordello in Cheyenne, Wyoming. Everybody except Fonda overacts mercilessly, and director Gene Kelly--yes, that Gene Kelly--indulges a leering style that undercuts some of the authentic laughs. Shirley Jones is around to provide comfort at the club; some predictable gunplay is mixed in with the jokes. However middling these two films might be in the filmographies of their formidable stars, it must be said that the widescreen transfer of both films to DVD is very good. --Robert Horton

They can be tough as leather. Or as down-home as any pair of good ol' boys. Either way there's a sense of warm respect between the two stars. The off-camera friendship of James Stewart and Henry Fonda goes back to their days as struggling actors and roommates. The Cheyenne Social Club [Side A] casts them as saddle-weary Texans who surprised to find they've inherited a Wyoming bawdy house feel honor-bound to defend it against a gun-wielding gang. Gene Kelly produces and directs this mix of fun and Western action. Next comes a firestorm of character-driven excitement in Firecreek [Side B]. Fonda plays an outlaw preying on small towns and Stewart is the jittery $2-a-month part-time lawman who must find the courage to stop him. This will be some showdown!Running Time: 228 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569816121 Manufacturer No: 81612

A Guide for the Married Man

Directed with a lascivious eye by Gene Kelly, A Guide for the Married Man has the illicit kick of finding a vintage copy of Playboy in your dad's sock drawer. With its zoom shots of ample cleavage and jiggling bottoms, this sophisticated sex farce is Naughty with a capital N. Walter Matthau stars as a desperate husband with a roving eye who is "ready to take the plunge." Robert Morse costars as his philandering best friend who becomes his "coach." Morse's "pointers" are acted out by a stellar cast of comic actors. Scoring highest are Carl Reiner as a vainglorious movie star arranging a cross-global tryst; Joey Bishop as a husband who steadfastly denies, denies, denies even after he is caught in the act by his wife, and Terry Thomas as a man driven to an early grave after his paramour (Jayne Mansfield) loses her bra in his home. The film's bevy of beauties includes ravishing Inger Stevens as Matthau's unsuspecting wife and Sue Ann Langdon as the neighborhood tease. Just to make the film even more '60s, The Turtles perform the title song. A Guide for the Married Man is so wrong, so dated, and so sexist. It's a wonder it hasn't been remade! --Donald Liebenson

Director Gene Kelly demonstrates wonderful style and sophistication in this adult farce that stars Walter Matthau and Robert Morse as two husbands with one thing on their minds. Matthau is Paul Manning, a happily married "typical suburban male." Wanting other women but having no idea how to go about it, he turns to his friend, Ed (Morse), for a few tips on infidelity. And Ed willingly dishes up some of the funniest advice and anecdotes ever seen-brought to life by a top cast that includes Lucille Ball, Jack Benny, Joey Bishop, Sid Caesar, Art Carney, Phil Silvers and Jayne Mansfield. Despite its delicate subject matter, this wild, wicked comedy is executed with such charm and affection that it won strong critical praise and was one of the top moneymakers of its year.

On the Town

New York, New York--it's a helluva town; the Bronx is up and the Battery's down; the people ride in a hole in the ground.... Well, you get the idea. Those lyrics (by Betty Comden and Adolph Green), set to Leonard Bernstein's music, have made On the Town a permanent part of the psychological landscape of New York City. The story (inspired by Jerome Robbins's ballet Fancy Free) is pretty slight: Gene Kelly, Frank Sinatra, and Jules Munshin play sailors with 24 hours' leave to take their bite out of the Big Apple. When they meet, and then lose, this month's Miss Turnstiles (Vera-Ellen), they scour the town in search of her, bumping into a lady anthropologist (Ann Miller) along the way. Shot mostly in the studio, but with location exteriors all over town, from Coney Island to the Statue of Liberty to Central Park, this 1949 gem was the first of three great musicals codirected by Kelly and Stanley Donen, followed by Singin' in the Rain (1952) and the underrated It's Always Fair Weather (1955). --Jim Emerson

Singin' in the Rain [Region 2]

No one even bothers to argue about it any more--by any standard and international consensus, this is the best movie musical of them all. Its arcane, unlikely milieu is Hollywood during the transition in the late 1920s from silent to sound motion pictures. Its reason for being was producer Arthur Freed's desire to use the catalog of songs he had written with Nacio Herb Brown in the '20s and '30s for various shows and movies. But, ironically, it's now the soundtrack that seems cobbled together from disparate sources, while the movie itself remains seamless. That's thanks to a literate screenplay by Adolph Green and Betty Comden and ebulliant acting and dancing by the young Gene Kelly, Donald O'Connor, and Debbie Reynolds. Jean Hagen is especially brilliant as the silent-screen star whose speaking voice is so screechy she has to be dubbed for talkies. Kelly codirected with Stanley Donen, and both can take credit for a masterpiece. Musical standouts are "You Were Meant for Me," "Good Morning" and "All I Do Is Dream of You." Visually, the indelible image will always be Kelly sloshing around in puddles while singin' in the rain. That said, this coupling of video with a definitive version of the soundtrack benefits from Rhino's meticulous reconstruction of the material and extensive annotations, which only enhance our grasp of this film and musical legend's gestation. ---Robert Windeler

Singin' in the Rain [Region 2]

No one even bothers to argue about it any more--by any standard and international consensus, this is the best movie musical of them all. Its arcane, unlikely milieu is Hollywood during the transition in the late 1920s from silent to sound motion pictures. Its reason for being was producer Arthur Freed's desire to use the catalog of songs he had written with Nacio Herb Brown in the '20s and '30s for various shows and movies. But, ironically, it's now the soundtrack that seems cobbled together from disparate sources, while the movie itself remains seamless. That's thanks to a literate screenplay by Adolph Green and Betty Comden and ebulliant acting and dancing by the young Gene Kelly, Donald O'Connor, and Debbie Reynolds. Jean Hagen is especially brilliant as the silent-screen star whose speaking voice is so screechy she has to be dubbed for talkies. Kelly codirected with Stanley Donen, and both can take credit for a masterpiece. Musical standouts are "You Were Meant for Me," "Good Morning" and "All I Do Is Dream of You." Visually, the indelible image will always be Kelly sloshing around in puddles while singin' in the rain. That said, this coupling of video with a definitive version of the soundtrack benefits from Rhino's meticulous reconstruction of the material and extensive annotations, which only enhance our grasp of this film and musical legend's gestation. ---Robert Windeler

Singin' in the Rain [Region 2]

No one even bothers to argue about it any more--by any standard and international consensus, this is the best movie musical of them all. Its arcane, unlikely milieu is Hollywood during the transition in the late 1920s from silent to sound motion pictures. Its reason for being was producer Arthur Freed's desire to use the catalog of songs he had written with Nacio Herb Brown in the '20s and '30s for various shows and movies. But, ironically, it's now the soundtrack that seems cobbled together from disparate sources, while the movie itself remains seamless. That's thanks to a literate screenplay by Adolph Green and Betty Comden and ebulliant acting and dancing by the young Gene Kelly, Donald O'Connor, and Debbie Reynolds. Jean Hagen is especially brilliant as the silent-screen star whose speaking voice is so screechy she has to be dubbed for talkies. Kelly codirected with Stanley Donen, and both can take credit for a masterpiece. Musical standouts are "You Were Meant for Me," "Good Morning" and "All I Do Is Dream of You." Visually, the indelible image will always be Kelly sloshing around in puddles while singin' in the rain. That said, this coupling of video with a definitive version of the soundtrack benefits from Rhino's meticulous reconstruction of the material and extensive annotations, which only enhance our grasp of this film and musical legend's gestation. ---Robert Windeler

Hello, Dolly! [Region 2]

They just don't make musicals like this any more. There are some who would be grateful for that--the plot is but a flimsy excuse to string together song and dance numbers. Some of us, however, love big, splashy, overdone musical scenes, of which there are many. Glittering stage numbers showcase a commanding Barbra Streisand as Dolly Levy, a New York matchmaker who can find a mate for anyone. Anyone but herself, that is. Determined to marry wealthy Walter Matthau, she lures him out of Yonkers and sets about wooing him.

Don't worry about the lack of a solid story or Gene Kelly's pedestrian direction. Watch instead for the musical numbers and the lavish costumes. Listen to Jerry Herman's score, and dance around the living room when a sequined Streisand arrives in a club as Louis Armstrong strikes up the title tune for her benefit. (Just pull the shades first.) Based on Thornton Wilder's play The Matchmaker, Hello, Dolly! won Academy Awards for best sound, art direction, and musical score. --Rochelle O'Gorman

On the Town

New York, New York--it's a helluva town; the Bronx is up and the Battery's down; the people ride in a hole in the ground.... Well, you get the idea. Those lyrics (by Betty Comden and Adolph Green), set to Leonard Bernstein's music, have made On the Town a permanent part of the psychological landscape of New York City. The story (inspired by Jerome Robbins's ballet Fancy Free) is pretty slight: Gene Kelly, Frank Sinatra, and Jules Munshin play sailors with 24 hours' leave to take their bite out of the Big Apple. When they meet, and then lose, this month's Miss Turnstiles (Vera-Ellen), they scour the town in search of her, bumping into a lady anthropologist (Ann Miller) along the way. Shot mostly in the studio, but with location exteriors all over town, from Coney Island to the Statue of Liberty to Central Park, this 1949 gem was the first of three great musicals codirected by Kelly and Stanley Donen, followed by Singin' in the Rain (1952) and the underrated It's Always Fair Weather (1955). --Jim Emerson

Singin' in the Rain [Region 2]