Easter Parade Movie Streaming
Vendredi, août 13th, 2010 |
Easter Parade Movie Streaming.
Movie Title: Easter Parade Easter Parade is available for streaming or downloading. |
I really like “Easter Parade” and was eagerly anticipating how beautiful it would look as a result of Warner’s Ultra Resolution process. This is a method that electronically aligns the elements of the famous 3-strip Technicolor process to deliver greater sharpness and even details that weren’t visible when the film was brand new. Unfortunately, this film doesn’t look nearly as good as the other films that previously underwent this process: “Singin’ in the Rain,” “The Adventures of Robin Hood,” “Meet Me in St. Louis,” and “Gone With the Wind.” Even “The Harvey Girls” and “Annie Get Your Gun,” which were restored without the Ultra Resolution process, look much better than “Easter Parade.”
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All of these films, although not perfect, look almost like they were filmed yesterday with wonderful sharpness and contrast range, an almost three-dimensional clarity, and beautiful, sparkling colors–rather like a Kodachrome slide. “Easter Parade,” on the other hand, looks like a very old movie that’s had it colors artificially pumped up–like an old tart that thinks a lot of warpaint will make her look young, but fools no one. This transfer HAS to be several generations removed from the negative. It has a thick, flat, dull look: very little contrast or modeling, flesh tones the color of red clay mud, and colors that look as if they were applied to the film with a spatula–no light or life can get through! When there is some contrast and a bit of brightness, the effect is very garish and detail is washed out. Warner Brothers either shortchanged this film financially in its restoration or it was working with elements that were far removed from the original negative or color separations. Yes, this is the best this film has looked on home video. Yes, it often has decent detail, but it looks everybit like a film from 1948–or even older–rather than the almost brand new look we have come to expect from Warner’s other major restoration efforts.
“The Band Wagon,” another classic musical that was released in conjunction with “Easter Parade,” is better, but still has that rather dull, flat, copy-of-a-copy-of-a-copy look, and reddish brown fleshtones. Compare it with “Singin’ In the Rain,” released just a year before: the difference is like night and day! We have come to expect better than this from a company that has given classic film fans the best DVD transfers of any company. I am more than disappointed; I am shocked! What happened, Warner Brothers?
Originally intended as a re-teaming of Judy Garland and Gene Kelly, EASTER PARADE ran into trouble when Garland’s doctors advised against her working under the direction of her husband, director Vincent Minnelli–and no sooner did director Charles Walters take the helm than Gene Kelly broke his leg. Out of such confusion are movie musical miracles born: although a bit old to act as Garland’s leading man, Fred Astaire was coaxed out of retirement. He and Garland had tremendous chemistry, EASTER PARADE was a box office smash, and Astaire unexpectedly found himself reborn as an MGM star.
Set in 1900s New York, the film’s story line is flimsy but enjoyable. After long-time dance partner Ann Miller abandons the act, Astaire hires chorus girl Garland and attempts to recast her in his former partner’s mold–a situation which offers Astaire and Garland considerable comedy and gives Astaire the chance to parody several of his own famous dance of the 1930s. Garland eventually convinces Astaire that she needs to be herself, and once the act is revamped they become a hot ticket–and, once their several romantic complications are resolved, romantic partners as well.
Astaire is every bit as charming here as he was in his Ginger Roger days, and his choreography retains his signature sharpness, wit, and elegance. Although Garland isn’t really a dancer, she holds her own with Astaire and she tears strips off a brillant score of Irving Berlin favorites. Both are well supported by Anne Miller, who gives a brilliant turn with ‘Shakin’ the Blues Away,’ and Peter Lawford, who is quite charming as one of Garland’s admirers. Although this really isn’t as inspired as the truly great MGM musicals of the late 1940s, director Walters keeps it going at a smart pace, and the star power, clever script, memorable score, and those legendary MGM production values elevate it well above the pack. Musical fans will be in for a treat! Recommended.
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