🎦 Easter Parade full movie HD download (Charles Walters) - Romance, Musical. 🎬
Easter Parade
Year:
1948
Country:
USA
Genre:
Romance, Musical
IMDB rating:
7.4
Director:
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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Reviews
Decent musical from the end of the classic Hollywood musical era
The storyline is flyweight here, even by musical comedy standards. The songs vary; to tell the truth, this is not a soundtrack I would buy. Some have clever lyrics, some are pure hokum. The female chorus backing many songs is of the horrid 1940's harmonized variety, and it sounds like a soap commercial. It's a pity that so many otherwise great recordings from the era were desecrated by such syrupy over-produced warbling.

But the dancing is excellent for the most part. The sets are bright and bold and imaginative, though not awe-inspiring. It's a bit jarring to see a 49-year-old Astaire paired with a 26-year-old Garland (even if she is already starting to look a bit ravaged), and their romance is never plausible. But they both tackled their roles with a lot of gusto and appeared to be enjoying themselves.

One really dazzling moment is when Ann Miller (who was never more alluring than in this movie) puts on her big dance routine and spins around so fast, and so many times, that it strains credulity that she didn't simply topple over and pass out. Rather odd that the single most striking bit of dancing (on one of the movie's most extravagant sets) came from her rather than the leads.

The Easter "parade" at the start of the movie is a real gem, a great example of 1940's Hollywood going completely over the top. The sequel at the end of the movie is curiously pale in comparison, even if it does feature Astaire wearing a silk top hat with a lavender silk bow. (One of the unresolved issues with the screenplay is the contrast between exotic Ann Miller and "plain" Judy Garland.)

But the movie's high point for me was the number featuring Astaire and Garland dressed as tramps. The lovable tramp schtick can result in dreary, tedious cliché ala Red Skelton, but it's carried off with great verve in this case and is a real treat to watch.
2007-04-09
The other reasons to watch this
Of course, you've read about Astaire, Garland and Ann Miller, and this movie has plenty of star power. But you also get dresses, style, backdrops, delightful choreography, and songs with very clever rhymes using simple words. And Easter hats. The production effort behind this movie is unbelievable, not a second is wasted, and this is an entirely different kind of eye candy than you might see in LOTR or Iron man. This won't be repeated, the style, the glamour, the whimsical songs. No need to tell you about the plot. Who cares. If you haven't seen this before, nothing bad happens, there are some hurt feelings and a few complications, but everyone plays nice, and everything works out. Enjoy it while it lasts. 8 out of 10 ranking for me put this very near the top. What a surprise this movie, one of four in a DVD pack, turned out to be.
2010-10-29
"Oh I Could Write a Sonnet, about your Easter bonnet."
For the only teaming of Fred Astaire and Judy Garland, Gene Kelly had to break an ankle playing touch football although he told the studio it was in rehearsal. So Fred Astaire who after another Irving Berlin musical extravaganza, Blue Skies at Paramount, got pulled out of retirement for this film. It was a happy accident for film fans.

Easter Parade by this time had become the national anthem for Easter and enjoys a grand seasonal popularity as Irving Berlin's White Christmas also. It was originally written for the musical revue As Thousands Cheer in 1933 and sung as a duet by Clifton Webb and Marilyn Miller. Bing Crosby reprised it in Holiday Inn in a very nice number driving a horsedrawn sleigh from church Easter services. But usually when it is presented visually, the clip of Judy Garland singing it in the finale is the one always shown.

By the way the melody originally was for a lyric entitled Smile and Show Your Dimple which bombed for Irving Berlin. Berlin was quoted as saying that popular songs are a perfect marriage between words and music and in this case the melody got divorced and married a second lyric successfully.

Easter Parade is a good mixture of old Irving Berlin material and new songs written for this film. Fred Astaire shines with one of the new ones in Stepping Out With My Baby which is a good followup to Putting On the Ritz which Astaire sang and danced to in Blue Skies. And Judy just shines in Better Luck Next Time.

The plot is a pretty simple one and for the MGM opulence that their musicals were known for their are very few actual speaking roles in this film. It's a romantic quadrangle with Fred Astaire being dumped by his erstwhile partner Ann Miller and then taking on Judy Garland in one of those 'I'll show her' moments of bravado. Peter Lawford's around to get whoever Astaire doesn't.

The acting honors in Easter Parade go to Judy. For all that talent Judy Garland was a most insecure person in life and she drew from that in bringing Hannah Brown to the screen.

Ann Miller's big number is Shaking the Blues Away which Ruth Etting introduced in 1927. Doris Day in fact does it in Love Me or Leave Me. Still Ann makes it more of a dance number than Doris did which is what Irving Berlin originally intended it to be.

The thing about Easter Parade and so many other films like it is that all that talent was contracted to that studio. You can't make a film like Easter Parade today because you'd have to pay full market price for the talent, even as Irving Berlin's numbers slip year after year into public domain.

The Easter parade with women dressed in their finest most tasteful frock is still a New York tradition on Easter Sunday. So is this film.
2006-07-26
An Easter Emblem of Delight!
Gene Kelly broke his ankle, and was replaced by the wonderful Fred Astaire. Throw Judy Garland into the mix, and you have a simply delightful easter film. I thought Astaire had great chemistry with Ginger Rogers, but he and Garland are both brilliant here. Anybody who said Judy Garland wasn't a dancer, that is so unfair. She did very well with the dance routines, which were at such a fast pace. I know because I have 2 sisters who are dancers. The songs by Irving Berlin are among his best, and the incidental music, particularly when Don and Nadine were dancing in the restaurant, was just beautiful. How could you say, this has too many songs. For God's sake, it's a musical. The script actually wasn't as bad as anybody has said; I thought it was clever. There was also solid support from Ann Miller and Peter Lawford, and the film just looked beautiful, (Judy's costumes were to die for) the song and dance numbers beautifully staged. Astaire and Garland were especially outstanding in "Couple of Swells", see this movie. It is a true Easter treat! 10/10. Bethany Cox
2009-02-12
Bad script, good tunes
It is the actors that make this movie what it is - a classic. Always the gentleman, Fred Astaire proves once again what a fabulous dancer he is. And the beautiful Judy Garland sings some wonderful Irving Berlin tunes.

Peter Lawford and Ann Miller are also great. But my favourite in this has to be Jules Munshin, in a small but hilarious part.

Although the script isn't up to speed the rest of it certainly is: great dancing by Fred Astaire and Ann Miller, and Judy Garland ownes the scenes she's in.

7/10
2001-01-29
All About Ann
Storywise, this film doesn't have much going for it, but then, too many Hollywood musicals (in the 40s and 50s) didn't have that much going for them in the script department. This one is a typical putting-on-a-show diversion. Then again, not many people went to musicals for the story, it's more about the talent being showcased. In that respect...there is some good quality talent to be had here.

Fred Astaire is good, but a little too old, in a role that would have been better off for Gene Kelly. Too bad he hurt his leg. He and Judy Garland were so great together in "The Pirate" (which came out the same year as this). Fred's "Drum Crazy" number is a great opener, and "Stepping Out With My Baby" is also rousing. Judy is good here, but I would hardly call this one of her better roles. She has some fun numbers with Fred (like "Couple of Swells"), but nothing that memorable. Peter Lawford has one forgettable song, and Jules Munshin (though he doesn't sing) has a funny bit as a waiter.

The real star of this film, for my money, is Ann Miller. Her "Shaking the Blues Away" is fantastic! Her character is snooty and unsympathetic, but that doesn't matter for her dancing, which is electric and vibrant. This picture is worth seeing for her alone.

A good, solid musical from MGM's heydey, with some really vivid, fantastic Technicolor. Worth seeing on the big screen if you can.

2004-04-11
A Review: Easter Parade
Directed by George Stevens With Fred Astaire, Judy Garland, Peter Lawford, Ann Miller

It might not be THE happiest musical ever made but is one of the greatest. It's story is simple, maybe too simple, but overall is sweet and engaging. It has Fred Astaire as a dancer who tries to forget his ex partner, Ann Miller, and knows, by a funny thing, unexperienced but beautiful and sweet Judy, making her his dancing partner. In the middle of this are wonderful songs of the usually great Irving Berlin, candy Technicolor to spare. Peter Lawford is so gentle as the man who falls in love on Judy. A happy, beautiful movie. Only complain: What the hell get in their minds to delete that wonderful Judy number called MR MONOTONY?
2008-12-29
Something dark about these movies!
There is something dark about this movie. Despite the songs, despite the dance, despite the comedy, something about Fred Astaire movies is that 'almost lost' element to the chase: he almost didn't get the girl. The original girl of his dreams turns out to be a nightmare. His alternative is an accident of fate who almost escapes his grasp.

Fred Astaire and Judy Garland show their comedic genius here. The willingness to goof for the screen. Judy Garland pursing her lips to attract attention is comedy made simple--anything for a laugh. And that Fred Astaire doesn't realize that she is mugging, makes the comedy even more priceless. Fred Astaire as a comic genius is often lost sight of while he dances and sings.

The dance routines, the songs are truly priceless and end up being classical routines of excellence. I can't think of anything better than "Easter Parade" always a delight to hear and a delight to see on film. (And by the by, the song shows up as well in "Holiday Inn", and "Alexander's Ragtime Band." Ann Miller's routine, "Chasing the Blues Away" has justifiably become classic. And in the end, the chasing the blues away becomes a major leit-motiv of the film and of Judy Garland's life. We see these movies aware of the profound sadness in her life despite her massive talent and despite the recognition she received from her peers as a major talent. And that darkness of her life permeates the movie in an unanticipated way.

The movie is about transformation. Hanna Brown transmogrified to Juanita then transformed back to Hannah Brown when she seems to be freer as she sings "I love a Piano." In the number "A Couple of Swells" Fred Astaire is barely recognizable as the dapper, debonair dancer in tuxedo; his transmogrification transforms his identity, disguises him. Transformation becomes a controlling motif in the later "A Star is Born." In many ways transformation is the motif of every Hollywood actor; ordinary people with an extra-ordinary gift transform themselves, or are transformed by an adoring public, into 'stars.' A large part of this movie's success is that it speaks to the audience in a profundity that is barely recognizable, but there non-the-less. Beneath the song and dance is an endearing story line about transformation and transmogrification that speaks to the audience.
2010-10-14
Many good dance numbers.
I really enjoyed the many dance numbers. There are classic tap/soft shoe routines as well as some classic Fred Astaire doing "Fred Astaire". There are several duos as well as some solo and group numbers. The productions are entertaining and well executed. Vintage, Swing and Tap dancers should enjoy this movie a lot.
2003-04-30
Stars bolster vacuous plot--Miller nearly steals show.
Though quite enjoyable in an undemanding way, "Easter Parade" is an efficient rather than an artistic musical, and, as has been noted elsewhere, is hampered by an extremely trite plot line, and B movie dialogue that makes the self congratulatory tone of the DVD documentary on Sidney Sheldon's script improvements rather ludicrous. One shakes one's head in disbelief--for all the talk--you would think they were discussing Noel Coward. And Noel Coward this ain't.

Nonetheless, the union of Mr. Astaire and Misses Garland and Miller on the screen together is auspicious in and of itself, and for this reason, if no other, the film merits particular consideration.

Curiously, (especially given that Garland had just completed the artistically accomplished, "The Pirate") "Easter Parade" is shot much like a Hardy movie, with a series of flat, uninspired, head on stationary camera set ups, in a series of hotel room and restaurant settings. All very pro-forma.

Worse, apart from Miss Miller's glorious "Shakin the Blues Away," and her number with the plume, "The Girl on the Magazine Cover"--both of which feature lovely liquid boom camera work, (not to mention the scrumptious Miller)--the musical numbers are shot in much the same unimaginative way.

This is especially odd when compared with Garland's prior work in "For Me and My Gal," which is also set during the same time frame and also with a vaudeville background. Note how, in that earlier film, Busby Berkeley, (with William Daniels on camera) "opens up" the proscenium with a floating boom camera, as in "By the Sea," and "Ballin the Jack." Would that someone had done the same here in "Easter Parade" ! What was Harry Stradling thinking! Or was he just fatigued?

Film scholar Douglas McVay in his treatise on the musical film, has also remarked on the sorely missed absence of Minnelli's decorative flair in this film--particularly as it relates to his then wife, and the film's star--Miss Garland. This deficiency is most obvious during "Better Look Next Time," where Miss Garland's visual presentation of the song is compromised by indifferent lighting, (a mistake Mr. Minnelli would never make!)

Nonetheless, she manages to wear nearly a score of elaborate, (and mostly flattering)coiffures, not to mention some lovely gowns, most notably the off the shoulder green velvet during the New Amsterdam sequence.

As to the dancing, Miss Garland had already executed far more ambitious routines than she is given here, with no less than the film's director Charles Walters! Given what she had already accomplished, (with great brio and elegance too) in the finale of "Presenting Lily Mars," why did it occur to no one, (particularly since she would be dancing with no less than Fred Astaire!) to give her a similarly elegant routine here? Apart from "When the Midnight Choo Choo Leaves for Alabam" very few dancing demands are made on her. Given the charming grace of her footwork--what a missed opportunity! "Snooky Ookums," and "Ragtime Violin," look like something out of a June Haver picture--all shtick and forced grins.

Ann Miller, by contrast, after her long confinement at Columbia, really comes into her own here. No wonder many contemporary 1948 critics felt she walked off with the picture.

One minor blooper to watch for. When, late in the story, Miss Garland and Mr. Astaire argue in the corridor outside her hotel room door, the wall to the immediate right of the door, (behind Miss Garland) is bare. The next morning when Peter Lawford arrives to awaken her, a framed engraving hangs in the same spot that had been previously bare the night before. Note too, that the audience/reaction applause shot after "Couple of Swells" is lifted from "Till the Clouds Roll By" (guess even Metro had their budget conscious moments).

Despite these minor quibbles, an Arthur Freed picture from MGM in 1947 is a pretty high recommendation in and of itself. And it must be said John Green's orchestrations are superb, and the Technicolor, (some nifty mauves here)is very pretty. All in all, enjoyable but seldom brilliant. One can only wonder what Mr. Minnelli could have done for it. Sadly, we will never know.
2005-03-29
📹 Easter Parade full movie HD download 1948 - Richard Beavers, Peter Lawford, Clinton Sundberg, Fred Astaire, Ann Miller, Judy Garland, Jules Munshin - USA. 📀
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