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It was a long time ago that I last saw this film. It did not make it onto my list of favourite musicals at the time but, given that it has been restored recently, maybe it was time to re-assess it. The first thing to say is that it looks stunning – the colours are fresh, vibrant and saturated. When people talk about this film, they invariably mention the Impressionists. Perhaps this is just laziness on their part, or maybe the colours had faded on the prints they saw, but to my eyes, the colours recall the Fauvists – Derain, Matisse etc – in their brightness.

However, if anything, my impression of the film has gone downhill. The coy, whimsical script seems very dated – I doubt that Alan Jay Lerner would be very happy to see it on his list of credits. Why did they call the main character Jerry Mulligan? I suppose we should just be glad that all the very culturally aware people associated with this film did not call him Lewis Armstrong or Charley Parker or Miles Davies.

There were so many facets of this film that I really did not take to that it is better for me not to write much more about it. About the only saving grace was that, in the night-club sequence, in the background you can see Benny Carter and hear him playing “Our Love is Here to Stay” and “‘S Wonderful” in his uniquely suave and imperious way.  Oh, and Oscar Levant was a good grouch – which is probably a truism

If people insist, I might describe my opinions of the film in comments. Otherwise, it is best to draw a veil over a tatty and costly wreck of a film.

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