🎦 Easter Parade full movie HD download (Charles Walters) - Romance, Musical. 🎬
Easter Parade
Romance, Musical
IMDB rating:
Charles Walters
Richard Beavers as Singer ("The Girl on the Magazine Cover")
Peter Lawford as Jonathan Harrow III
Clinton Sundberg as Mike the Bartender
Fred Astaire as Don Hewes
Ann Miller as Nadine Hale
Judy Garland as Hannah Brown
Storyline: Don Hewes and Nadine Hale are a dancing team, but she decides to start a career on her own. So he takes the next dancer he meets, Hannah Brown, as a new partner. After a while this new team is so successful, that Florence Ziegfeld is interested in them, but due to the fact, that Nadine Hale dances also in the Ziegfeld Follies Don says no. Inspite of the fact, that he is in love with Hannah, he keeps the relation to her strictly business. So Hannah is of the opinion, that he is still in love with Nadine, and her suspicion grows, when he dances with Nadine in a Night ClubFloor Show.
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I'm Drum Crazy!!!
This is one of those movies to watch when you're having a lousy day. From the opening notes, you get a big grin on your face. By the time you get to the 2nd number "Drum Crazy", you're positively smiling ear-to-ear (if not banging on the furniture yourself, like I was. Sorry, mom).

Being a (failed) drummer myself, I absolutely loved this piece. A few weeks ago I saw "Daddy Long Legs" in which Fred also does a drum solo & dance. Folks, this cat really knows how to bang the tom toms. Rhythm is the foundation of dance, and Fred really shows his mastery of it, alongside his comedic antics.

Everything is colourful. Everything is graceful (camera work included). The sets (recreating 1912) are faithfully and magnificently done, particularly the scenes of New York City with horses, buggies, old storefronts and hundreds of extras dressed impeccably in Victorian attire. This movie will truly sweep you off your feet.

I can't wait to have another lousy day so that I can pop this bad boy in the DVD player.
Steppin' Out with Fred Astaire, Judy Garland, and Ann Miller
Fred Astaire has an argument with his dancing partner and girlfriend, Ann Miller. Mr. Astaire believes he's the whole act, and Ms. Miller can be easily replaced. Astaire randomly picks Judy Garland to replace Miller. Peter Lawford is around to make the threesome a foursome, when necessary. Believe it or not, Ms. Garland turns out to be a great star, and becomes romantically interested in her mentor...

This is really a collection of instant classics, strung together in a silly story. However, the performances are so indispensable, the story hardly matters. Among the terrific: "Drum Crazy", "Shakin' the Blues Away", "Steppin' Out with My Baby", "A Couple of Swells", and "Easter Parade".

That's entertainment.

********* Easter Parade (1948) Charles Walters ~ Fred Astaire, Judy Garland, Ann Miller, Peter Lawford
A legendary cast at the top of their game!
Easter Parade may not have conquered new territory in the land of Hollywood musicals but it certainly struck gold the good old fashioned way. This movie could have been titled Broadway Melody of 1948, since the plot is basically traditional behind the scenes drama between multiple musical numbers. However, Easter Parade represents the very best achievements of all elements blending to make wonderfully

lighthearted entertainment. The screenplay seamlessly weaves the plot and many, many musical numbers in perfect balance. There may be nothing new here, but it's expertly tailored and twisted to seem as fresh as a spring bouquet. One would not have expected Judy Garland and Fred Astaire to make a compelling couple on film, but their chemistry is just as exciting as hers with Mickey Rooney and his with Ginger Rogers. Just as exciting but also very different. Garland displays her tremendous flair for comedy and one must wish that we had more musical comedic performances of hers to treasure. Ann Miller finally reached her overdue lead stature with material worthy of her glorious talent in Easter Parade.
A girl dancer has to be exotic; she has to be - a peach.
I realize that many may love this film for the impressive sounds that both Fred Astaire and Judy Garland create together. I must admit, there was quite a bit of singing and dancing to demonstrate this karmic connection that these two had together. Honestly, I would like to admit that there was just a bit too much singing and dancing in this film. Easter Parade was nothing except a showcase that allowed Astaire to prove himself to audiences again and again, while Garland attempt to counter her Wizard of Oz persona that followed her until her bittersweet end. Musicals are a tough genre to create. You, as a director, need to have a concrete balance between the song/dance routines and the physical plot, which keeps the audience watching until the very end. I have seen musicals fail and succeed because the director had that bond secured. Sadly, Easter Parade's director, Charles Walters, did not have a strong enough grip on the two. Instead of a good story, with emotional characters, and a sincere plot, we are forced to watch Garland and Astaire seemingly attempt to continually outdo themselves on screen. There was no chemistry between the two, there was no logical plot to this story, and finally, there was no emotion. I cared nothing for anyone in these performances because I was bombasted time and time again with dance, song, and meaningless clichés, which seemed to be the overall theme of this film.

Judy Garland and Fred Astaire fans out there are not going to enjoy what I am about to say. This being my first Fred Astaire picture watched, I must admit I was not impressed. Astaire did nothing to develop his character throughout the film. While I do agree that it is the job of the director to create these lines, Astaire should have done something instead of prance around hoping to carry this film on just the weight of his tappy feet. As I watched Easter Parade, I couldn't help but think of Astaire as this manipulator towards his own common good. I saw him as this evil man who wanted nothing more than to be successfully, but was not willing to do it on his own. From the opening scenes in this film, where it is obvious that he loves the camera on him, to the moments where he is on stage proving that he is the top dog in dance and song. Perhaps I misread this film, but I saw Astaire as this guy who had relationship issues. He wasn't interested in actually falling in love, but didn't want to loose his partner again. His character Don was determined to be the best in the business, and he didn't care whom he was partnered with which allowed him to reach that goal. You could see that when he showed minimal emotion towards Nadine when they parted, and how unemotional he because during all of his scenes with Garland. There was absolutely no chemistry between these two actors. I believe the age difference to be the biggest hurdle, but the fact that when they gazed into each other's eyes nothing pulled me, demonstrated how poorly the director chose on this film. You could tell that Walters wanted two big names to anchor this film because he didn't have the glue to keep it together himself. Coupled with the fact that Johnny was the most random character witnessed in cinematic history also hurt the overall emotional effect of the film. What was Johnny's relationship with Nadine? It felt like whatever was available, these two men ran towards, without any emotion or sympathy for anything. It was disastrous.

Not only was the acting enough to be scoffed at, but the plot … well … was completely missing. There were minor threads of plot dangling throughout the film like the dysfunctional wardrobe that Garland wore during one of the dance sequences. That dress completely represented the direction of this film. The dress itself was the actual plot, while the falling pieces of fabric represented the audience being tossed about and thrown on the floor in hopes to reconnect with the dress again sometime during the performance. Alas, we never did. Due to the plot, we jumped, literally, from emotion to emotion, never quite sealing a secure moment throughout. One scene we are trying to connect with Johnny and Hannah, the next with Hannah and Don, then there is Nadine and Hannah, or was it Johnny, and what about Don and Nadine? Jump. Jump. Jump. It became obviously clear that Walters knew that this was a flimsy plot and instead of fixing it, pushed more song and dance into the film to attempt to cover the soiled sections. It did not work. Our flimsy characters, no matter how well their singing, could not conceal this broken direction that Walters obviously lost control of.

Finally, there were the songs. Decent numbers, but just too many. What was the infamous "Easter Parade"? You would think that a film that chose to have this as their title would explain the ritual a bit further. Sure, there was a song, but I kept watching Astaire jump around so often that the dizziness caused me to miss the lyrics of the songs. Walter's needed to take a page from a true musical like Singing in the Rain to show him how to correctly combine a great plot with some great songs!

Overall, I didn't like this film. I needed better characters, stronger stories, and the director to just tighten down on this runaway balloon. I think if you saw Astaire at a bar today, looking like he did in Easter Parade, the first words out of your mouth would be "Glen Quagmire". He looked like an utter sleaze that preyed on young women, but maybe it was Astaire just trying to stay with his character!

Grade: * out of *****
Drum Crazy!
By far the best bit of this movie is early on in the running time, when the wonderful Fred Astaire has a routine in a toy shop, to the Berlin number ‘Drum Crazy'. He's there to get an Easter present for his dancing partner (played with energy by Ann Miller), but she has a bombshell to drop: she's leaving him to join a bigger name stage show, and he's left high and dry without an act.

Step forward Judy Garland, as a waitress who Fred thinks might be able to sing and dance. At first she's reluctant, and hopeless, but of course, this being MGM mush she falls for Fred and suddenly finds her talent. At this sort of thing Garland had no peer.

Also in the cast are Peter Lawford, as a rich no-hoper with a heart who first pursues Garland, and then steps aside for Fred (heading for Miller on the rebound). He sings A Fella With An Umbrella – not very well – but is certainly easier on the eye than Astaire. A tiny but scene-stealing role is given to Jules Munshin, who would be seen the following year in ‘On The Town', as a waiter describing just how the green onion salad listed on the menu is prepared.

The lead was not originally planned for Fred, but for the younger and more athletic dancer Gene Kelly, but when Kelly injured his leg the way was clear for Astaire to be coaxed out of retirement. He continued to appear in musicals for another twenty years.

The songs in ‘Easter Parade' are a bit of a rag-bag – classics such as Easter Parade, Steppin' Out With My Baby, Shakin' The Blues Away etc. jostle with old vaudeville numbers like When The Midnight Choo-Choo Leaves For Alabam'. The result is a bit of a mish-mash. Perhaps the best song shot for the movie was the one omitted before release – Mr Monotony, performed by Garland in her trademark costume of the top half of a tux and tights (two years before ‘Summer Stock' and the Get Happy number). This number can be seen in That's Entertainment III, released in 1994.

‘Easter Parade' is good, but unbelievable. I never could understand the appeal of Fred Astaire beyond his dancing, and the supposition that a character of Garland's age would be interested in him is stretching things a bit. That aside, it has excellent Technicolor and moves along at a steady pace.
Since some old films have begun to be broadcast on HD channels I feel I have been spoilt. It's true that some look no better but others, particularly old Technicolor films look terrific. I started to watch this on TV and very nearly switched off because it wasn't on an HD channel. I was disappointed by the quality of the print. However, the sheer joy of seeing Fred Astaire move kept me viewing. As another reviewer has noted - just to see the way he walks is a lesson in elegance.

I was also struck watching this by how good Judy Garland is as an actress. We all know about her difficulties off screen but when she commits to her scenes she is always impossible to take you eyes off.

It's true that he story is slight and the whole things is held together by string and sealing wax but who cares with singing and dancing of this calibre? I still look forward to seeing an even better print though.

By the way did anyone else see a foreshadowing of James Stewart and Kim Novak in Vertigo in the early part of the film or is just me?
Good, not great! Tuneful & Funny at its best. Tired/Boring at its worst.
This is NOT the best Irving Berlin movie. Nor the best of Astaire. Nor of Garland. It has some good melodies and great dancing, but some very tiring, or trite, or banal material as well. Highlight of the movie? Astaire and Garland doing a formal dance with Garland in pink plumes, but the plumes molt on stage (recall in Strictly Ballroom how Australian kids find similarly molted feathers). Low point? The hat shop, where that tired "Happy Easter" tune plays over and over and over (recall the opening of State Fair for something similar).

This is another of those interesting films set c.1912--watch for the wide-hipped, hoble-skirted fashions (cf Titanic and My Fair Lady, among so many others), which are the hallmark of the period's "Botticelli" look.
Tidbit info.. in case you didn't know
This is the only movie Astaire and Garland ever starred in together. I enjoyed the romantic comedy it presented, but also the problems presented in the story line. It was good in that it started out with him as an almost bad guy, but turned better as Garland got better in her dancing. I loved, but haven't watched it in a while. I need to find a rental store...
Astaire, Judy, Anne, Berlin, and Technicolor make for one of the most memorable musicals ever.
Probably the most remembered of the many films scored by Irving Berlin from the late '30s to the mid'50s, chocked full of singing and dancing, along with the usual romantic complications and, unlike some of the earlier ones, filmed in vibrant Technicolor. Dominated by the dancing, singing and acting of Fred Astaire, in probably his best all around film. He finally got to do a Berlin-scored extravaganza, without playing second fiddle to Bing Crosby(in "Holiday Inn" and "Blue Skies"). He has two top multitalented stars in Judy and Anne Miller to interact with in alternative scenes, as well as some excellent incognito singers and dancers. Judy and Anne also get to do some solo numbers. Directed by the relatively unknown Charles Walters, after deciding that another Vincent Minnelli-Judy combination(after "The Pirate") was not a good idea, given Judy's recent emotional problems.

The basic plot rather resembles that in the later "My Fair Lady" in that , like Rex Harrison's character, Astaire's character(Don) tries to make good his boast that he could make a silk purse out of a sow's ear: in Astaire's case, make a dancing talent the equal of Anne Miller's character(Nadine)out of a random brainless chorus girl(Judy, as Hannah), after Nadine left Don's act for a more lucrative contract as a solo. Despite being about 23 years older than both his female costars, and never having worked with either, Astaire had excellent performance chemistry with both. His character is rather lacking in romantic interest in them until the finale, despite some pronouncements to the contrary. Some reviewers are put off by the age differences, but I'm not, being 21 years older than my wife of 25 years. Peter Lawford serves as the suave, non-musical, pretty boy, romantic alternative for both Judy and Anne. Actually, Lawford had just starred in the musical "Good News" and would again play second fiddle to Astaire in the musical "Royal Wedding". But, he hated being required to sing and dance. As demonstrated in his "A Fella with an Umbrella", his singing voice was little better than Berlin's notoriously weak voice(check out "This is the Army"). The shifting romantic quadrangle is basically a repetition of that in the Berlin-scored "Holiday Inn", also costarring Astaire. In "Royal Wedding", Lawford finally ends up with the lead female(Jane Powell), who was 30 years Astaire's junior and cast as his sister! For the present film, I would have opted for the equally popular, but multitalented, Van Johnson in Lawford's place.

The title song was hardly a new composition. First sung on stage in 1933, it was sung a decade earlier in "Alexander's Ragtime Band", as well as by Bing Crosby in "Holiday Inn". According to a Wikipedia site, the songs were about equally divided between new and old. "I Want to Go back to Michigan": Judy's first solo, I well remember being sung by a group of inmates in the 1931 Laurel and Hardy "Pardon Us". "When the Midnight Choo Choo Leaves for Alabam", which provides a vigorous dance routine for Astaire and Judy, had been sung by Alice Faye, in "Alexander's Ragtime Band" and would later be redone as a dance routine in "There's No Business like show Business".

The well remembered musical comedy routine "A Couple of Swells", with Astaire and Judy in hobo outfits, was sort of the equivalent of the "Be a Clown" number Judy did with Kelly in the less popular "The Pirate", filmed earlier that year.

Anne Miller, who replaced the favored, but injured, Cyd Charisse, actually had to deal with a recent back injury, was in constant pain, although it didn't show, and sometimes had to wear a back brace during filming. Despite a film career as long as Judy's and obvious talent in acting, singing and comedy, as well as dancing, was always cast by MGM as either a dancing specialist or second lead: 'the other woman' as well as dancer in the present film. Here, she is cast as significantly older than Judy, although they were about the same age. Given her talent and looks, she was certainty under-appreciated by Hollywood. She would find more happiness in her subsequent stage career. But,like Judy, her several marriages were ultimately all flops. She claimed her soul was once in the person of ancient Egyptian Queen Hatshepsut, who dominated the child pharaoh, suggesting a competitive or combative personality the reason for her man troubles(as suggested by her character in this film!).

Although Astaire's and Judy's characters eventually become a successful song and dance team, Anne's character takes great pleasure in demonstrating that she is still clearly the superior dancing talent to Judy's character, thus disproving Astaire's boast, and causing audiences to hate her(I think she even received death threats!). This almost causes the breakup of the nascent Astaire-Judy romance, but Astaire manages to convince Judy that she is the more lovable person, if not quite the dancing talent of Anne.

Jules Munshin makes his film debut as an entertaining waiter. He would be paired with Anne Miller, as one of the 3 ad hoc couples for a day, in the megahit musical of the following year: "On the Town", where, together with Anne Miller, they are the stars of the memorable 'prehistoric man' man scene.

I can understand that some reviewers don't connect well with Astaire's looks, age and sometimes rather stiff song delivery style, and with Judy's standard periodic bouts of jealousy, depression and crying. But, these are minor faults in the overall film. I give it 20 out of 10, along with "Holiday Inn".
Flowery And Frilly
Sporting lush costumes and tons of flowers, and as a throwback to early twentieth century living, this film gushes frilly, Victorian styles and traditions including, of course, the Easter parade down Manhattan's Fifth Avenue. In 1912 this was the time and place for women to show off their ornate, frilly hats, displayed here in probably the widest variety, in any movie ever.

Though Easter finery bookends the film's plot, very little of the story has to do with Easter. We get something of a romance-career mix, led by Don (Fred Astaire) as a professional dancer, and Hannah (Judy Garland), a two-bit chorus girl that Don tries to fashion into a replacement for stylish Nadine (Ann Miller) who dumps Don for a lucrative solo dancing career. But the plot, such as it is, is not well written, and the main characters are not entirely sympathetic.

There is at least some humor, especially when Hannah, as Juanita, tries too hard to be sophisticated when she "dances" on-stage with Don, in a gown that sheds feathers. Playing it straight, long-legged dancer Ann Miller dazzles in a couple of numbers.

The thin, choppy plot is one problem, but so too are the plethora of mediocre songs that intrude into the plot. And though the song "Easter Parade" is quite melodic, the film doesn't do much with it at the end, which seemed blatantly curt. In other musicals, the entire film builds up to some grand finale musical number, but not here. And that was a disappointment.

Stylish for its era and supremely colorful, "Easter Parade" revs up the nostalgia for a bygone era, but in so doing comes across as quaint and dated to a modern audience. Still, it's worth at least a one-time viewing as an example of a lush MGM movie musical.
📹 Easter Parade full movie HD download 1948 - Richard Beavers, Peter Lawford, Clinton Sundberg, Fred Astaire, Ann Miller, Judy Garland, Jules Munshin - USA. 📀