Archive for the ‘Movie reviews’ Category

Review: Some Like It Hot

March 24, 2012

This month we’ll look at one of the best comedy films of all time. “Some Like it Hot” was released in 1959. The screenplay is by Billy Wilder and I.A.L. Diamond, based on the French film “Fanfare d’Amour.” It’s set in 1929, the age of prohibition and pre-Depression millionaires.

Tony Curtis and Jack Lemmon play two jazz musicians with almost supernaturally bad luck. They start the film working in a speakeasy run by the infamous gangster Spats Columbo. The speakeasy is raided, and they finally get another job 100 miles away. When they go to borrow a car, there’s Spats Columbo again, gunning down a rival gang in Valentine’s Day massacre style. They flee to the same seaside resort in Florida where you guessed it, Spats Columbo is headed for an annual gangsters convention.

Of course the movie isn’t really about gangsters, it’s about gender and roleplaying and romance. There are three distinct parts to the film, the Chicago segment, the train, and the Florida segment. While the Chicago scenes have a lot of action and funny lines, they basically exist to set up the rest of the movie, where Jerry and Joe are forced to disguise themselves as women and leave town with an all-girl band. The scenes in the train are probably the funniest in the film, where our friends attempt to blend in with the girls, and both are sorely tempted by Sugar Cane, the band’s vocalist.

So much has been made of Marilyn Monroe’s temperament and unprofessionalism during the filming, but it’s usually not mentioned that she was pregnant at the time. Reportedly, she needed 47 takes to get one of her lines right. The line was, “It’s me, Sugar.” Supposedly Tony Curtis joked with the crew that kissing Marilyn “was like kissing Hitler,” a joke that spread like wildfire. Curtis denied ever saying it, but admits in his biography that he did. Either way, Marilyn’s behavior led to a lot of tension on the set. Still, I think her screen performance is great. Her sleeper car scene with Lemmon is wonderful, and doesn’t rely on a lot of close ups to cover for flubbed lines.

Casting Marilyn for this role was brilliant. In many ways, Sugar is Marilyn, from her sneak drinking to her many failed relationships. The scene where she talks about her fear of being thrown off the train if she’s caught drinking again has such a ring of truth to it. It’s said Marilyn was not invited to the wrap party at the end of filming.

Tony Curtis had many of his lines dubbed because he had trouble keeping his voice at a believable pitch while playing “Josephine.” His Cary Grant impersonation is good, but I never really understood the point of it. But, Joe is not really a very likable character. He steals Beinstock’s eyeglasses and suitcase, steals Osgood’s flowers, threatens a little kid on the beach, and impersonates a millionaire so he can get a hot date with Sugar. He supposedly redeems himself in the end by giving Sugar a diamond bracelet, as long as you are willing to forget that he swiped the bracelet too. However, he does have one of the greatest lines of the film: “It’s not how long you wait, it’s who you’re waiting for.”

The third segment of the film, set in Florida resort, are where the romances and comedy really start cooking. Joe and Jerry often appear in a combination of genders, for example the scene with Joe in a bathtub wearing a wig and pretending to be Josephine, while fully dressed as a man under the soap suds. Or Jerry “forgetting” to remove his high heels while impersonating a bellhop. Joe E. Brown appears as a Osgood Fielding III, a lovable millionaire smitten by Jerry, and their courtship leads to some really funny and touching scenes. The closing line “Nobody’s perfect,” spoken by Osgood, is simultaneously hilarious and very romantic.

An unforgettable line, but there are so many other great scenes in this part of the film. There’s George Raft, sending up old gangster cliches like flipping a coin repeatedly, or picking up a grapefruit half as if to squash it in the face of one of his henchmen. There’s Jerry playing on the beach in a girl’s swimsuit. There’s the horny little bellhop who promises Joe, “Never mind leaving your door open, I’ve got a pass key!” There’s Joe and Jerry climbing down the side of the hotel in drag, carrying the bass. There’s the totally over-the-top scene with a hitman with a tommygun popping out of a birthday cake to wipe out the South Side gangsters. There’s the tango with Osgood and Jerry. There’s Joe kissing Sugar while he’s dressed in drag. Marilyn’s facial expression changes so many times in that sequence, as she puts together the pieces of the puzzle.

My favorite lines:

Waiter: Sorry sir we only serve coffee.
Mulligan: Coffee?
Waiter: Scotch coffee, Canadian coffee, sourmash coffee.
Mulligan: Scotch! Make it a demitasse, soda on the side.

Joe: Jerry boy, why do you have to paint everything so black? Suppose you got hit by a truck? Suppose the stock market crashes? Suppose Mary Pickford divorces Douglas Fairbanks? Suppose the Dodgers leave Brooklyn?

Jerry: I feel like everybody’s staring at me!
Joe: With those legs? Are you crazy?

Sugar: I come from this musical family. My mother is a piano teacher, my father was a conductor.
Joe: Where did he conduct?
Sugar: On the Baltimore-and-Ohio.

Osgood: Which of these instruments do you play?
Jerry: Bull fiddle!
Osgood: Fascinating! Do you use a bow or just pluck it?
Jerry: Most of the time, I slap it.
Osgood: You must be quite a girl.
Jerry: Want to bet?

Sweet Sue: Every girl in my band is a virtuoso, and I intend to keep it that way.

Sugar: What a beautiful fish!
Joe: I caught him off Cape Hatteras.
Sugar: What is it?
Joe: It’s … a member of the herring family.
Sugar: A herring? Isn’t it amazing how they get those big fish into those little glass jars?
Joe: They shrink when they’re marinated.

Joe: What happened?
Jerry: I’m engaged!
Joe: Congratulations, who’s the lucky girl?
Jerry: I am.



October 18, 2011

Okay, one more of these, a funny little tune which has nothing to do with the rest of the musical. The Princess Jeanette’s icy “Thank you,” cracks me up every time I watch this. (It’s true, Maurice Chevalier’s character’s name is “Maurice” and Jeanette MacDonald plays “Jeanette.” Now that’s good casting.)

Isn’t It Romantic?

October 17, 2011

(continued from yesterday’s post)

The theme of music being a bit like a living creature is repeated in a later part of Love Me Tonight, when Maurice sings a liitle tune that quickly spreads all over Paris and throughout the countryside. Watch for the songwriter in the middle, he truly believes he has “written” it! There are some brilliant rhymes in here, like energetic/poetic, custom/trust him … and Maurice’s idea of a romantic scene is hilariously chauvinistic. The song culminates in the first appearance of the leading lady, the operatic Jeanette MacDonald.

The tailor in this film is sort of an inspiration for my character Gaston at LiL. I can see Gaston watching this musical over and over, thinking that he’s quite a bit like Maurice.

Love Me Tonight

October 16, 2011

The opening sequence to one of my favorite (and the most underrated) film musical of the 1930’s. Love Me Tonight starts out with a brilliant opening sequence of Paris awakening, and it just keeps getting better from there, with music from the incomparable Richard Rogers and lyrics from the ingenious Lorenz Hart, wonderful performances from Maurice Chevallier and Jeanette MacDonald and funny quips from the great Myrna Loy and Charles Ruggles.

The opening sequence finds music in the simple noises of everyday city life. Enjoy!

Movie review: Tinker Bell

February 17, 2009


It has been 104 years since Sir J.M. Barrie wrote the play “Peter Pan, or The Boy Who Wouldn’t Grow Up,” and 55 years since the Disney film adaptation of Peter Pan. Who would have guessed that Peter’s plucky fairy pal Tinker Bell would have become such a beloved character in the intervening decades? In the 60s she became synonymous with Walt Disney, darting in with her magic wand to sprinkle fairy dust on the TV titles for The Wonderful World of Color every Sunday night. Given her popularity, it was inevitable that a whole Disney franchise would spring up around Tink, including two novels by “Ella Enchanted” author Gail Carson Levine, a Pixie Hollow meet-and-greet area in Disneyland, the new Tinker Bell magazine, the social networking website, tons of merchandise, and now a new direct-to-DVD animated movie entitled “Tinker Bell.”

While the movie cannot hope to reach the heights of Barrie’s original masterpiece, it’s definitely worth seeing, whether you are a rabid Tinker Bell fanatic or simply curious about fairies and how they get their work done. Yes, while “Peter Pan” was all about play — about escaping the humdrum responsibilities of family and work and getting lost with the lost boys and Indians and pirates and mermaids of Neverland — “Tinker Bell” is all about working: who ought to do what job, whether natural talent is a blessing or curse, and why a string of spectacular failures might be your best path to success.


From the moment Tinker Bell is called into life by the laugh of a newborn baby, she is expected to discover her talent and get right to work. This is not a refutation of Barrie’s original concept for the character — a “tink” is slang for a tinker or silversmith. Peter says that Tink was “a quite common fairy … She is called Tinker Bell because she mends the pots and kettles.”


Sir Barrie saw Tink as a bit of a drudge … but how do you make an interesting story about a magical drudge?

Perhaps it’s not that odd today, in a world where parents push their children to achieve, excel and succeed in every activity they try. Maybe a kid’s movie about work is more in step with the times, rather than Barrie’s old vision of a boy who wouldn’t grow up. Or perhaps it’s an old world/new world thing. Now that Tink is finally speaking, her voice is unquestionably American, without a trace of an English accent. Interestingly, the other tinker fairies have Irish, Scottish or working-class British accents — and are mostly content with their lot in life.


Pixie Hollow has a simple system of discovering a fairy’s talent, and once her talent is known, she’s expected to labor away in her speciality for the rest of her born days. This system works fine for most of the fairies, but for Tink it’s awful. She dreams of visiting the “Mainland,” the mysterious source of the shiny “lost things” she finds so fascinating. Tinker fairies, however, are not needed on the Mainland. Tinkers support the other kinds of fairies, who travel to the Mainland periodically to do the important work that comes with the changing of the seasons. As a tinker, Tink is expected to build everyday fairy items, like hundreds of identical acorn kettles. She tries to transcend her job description by inventing some clever labor saving devices, but her inventions backfire and she’s soon back on kettle duty again.


Undeterred by her failure, Tink turns to her new friends in the ethnically-diverse Disney Fairies franchise: Fawn the animal fairy, Iridessa the light fairy, Rosetta the garden fairy (voiced by Kristin Chenoweth), and Silvermist the water fairy (voiced by the omnipresent Lucy Liu). Each of these fairies takes her turn at teaching Tink her particular talent. I think the scene with Iridessa would have amused Sir Barrie greatly, since he dreamt up the business of Peter Pan losing his shadow, and Tink was originally portrayed onstage as a beam of light directed by a hand mirror.


Predictably, Tink makes a total mess of things as a nature fairy, and Rosetta backs out of trying to teach her to be a garden fairy. With no one else to turn to, she seeks out Vidia, the fast-flying bad-girl of Pixie Hollow, who convinces her to try and corral the sprinting thistles. A funny western-style roundup scene follows, where Tink chases the thistles on the back of a mouse. But she is undermined by Vidia and the resulting thistle stampede destroys all the fairies’ preparations for Spring. Will Spring be cancelled?


In the face of a crisis, the limitations of the whole fairy system of specialization becomes obvious … how can a bunch of specialists work together as a team? What’s needed is someone who’s familiar with everyone’s job, and is smart enough to figure out a way to do that job more quickly in order to meet the deadline. Luckily there is one fairy who fits the bill, she just happens to be the star of the show, and she gets to save the day. My favorite of Tink’s inventions is a nut-gathering machine made from a glove, a harmonica and the bulb from a perfume bottle.


There’s a beautiful little scene earlier on where Tink rebuilds a toy music box from lost things she’s found washed up on the shore, and now her job description transforms once again, from inventor to finder-of-lost-things. Queen Clarion (voiced by Anjelica Huston) decrees that Tink and her fellow tinker fairies should go to the Mainland to return the music box to its proper owner.

The ending scene has the most beautifully lyrical animation of the movie (indeed, some of the prettiest 3D animation I’ve seen in any movie), as doves and fairies fly to the Mainland to spread Spring upon a wintry London scene, and then Tink returns the music box to a certain little girl we may remember from a story told long ago.

Loreena McKennitt, whose ethereal voice has given more goosebumps than there are stars in the sky, sings the lovely “To The Fairies They Draw Near,” and narrates a few lines of verse at the opening and closing of the film. There’s also some very nice celtic instrumental music throughout the movie, which unfortunately does not seem to be included on the soundtrack CD. There are also one or two forgettable Disney-style songs.

While the movie has no great characters like the hilariously foppish Captain Hook, no brilliant metaphors like the crocodile with the clock in its belly, and no heartfelt pleas to believe in order to cure Tink of a deadly dose of poison, “Tinker Bell” definitely has its moments. And while the quality of the character animation is unspectacular, and the dialog doesn’t sparkle much and most of the jokes are rather familiar, the movie does dare to cover new ground with its surprising multifaceted theme of finding meaningful and satisfying work. If that’s too intellectual for you, you can probably still enjoy the scenes of Tink tinkering with the lost music box, and showing off her inventions. And if that’s not enough for you, the Loreena McKennitt song is still worthy of your attention.

Now in stores

December 9, 2008

The Dark Knight DVD is on sale in stores today, so here’s a pic of the Joker dressed as a candy striper:


Or a nurse or whatever he’s supposed to be. Great movie, with some great performances and a well-written screenplay. But it’s violent and if you don’t want to see some violence to rottweilers in two scenes, either skip those two scenes or the entire movie. The candy striper bit only lasts for about a minute of screen time, so don’t buy the movie expecting it to be something major. Best scene is how the whole “social experiment” with the ferry boats is resolved.

The world is a lesser place without Heath Ledger. May he rest in peace.

Les Ballets Trockadero

June 18, 2007

I saw another great ballet company on DVD yesterday, but this one was something special. Les Ballets Trockadero is a New York-based ballet troupe with no female dancers. They do dance many of the classical ballets, however, they just put their male dancers in tutus.


Like most drag shows, Les Ballets Trockadero performs with a satiric tongue-in-cheek style. Unlike most drag shows, these are highly talented dancers, a fact you immediately recognize when these men go up on pointe.


In an odd way, this ballet company reminds me of the Harlem Globetrotters. The Globetrotters were primarily about getting laughs from the fans, but they also showed spectacular skills. Meadowlark Lemon routinely scored hook shots from halfcourt. The Trocks do some hilarious clowning around, but it takes real skills to do a lift like this:


Or this:


Male ballerinas may not be as pretty to look at, but they can leap higher.


I bet you’ve never even seen a ballerina do a cartwheel.


Another fascinating thing about the Trocks: they can put their hijinks aside for a bit, and eventually you can forget that this is an all male company.


I’m not exactly sure how they pull this feat off. Dance is so much about costume and about gesture and the way you carry yourself. There are hundreds of little cues that keep telling us about gender in dance. Without those cues, the people in the upper balconies would have no end of trouble sorting out what’s what, or who’s who. Just the simple joining of hands, as shown above, suggests a group of females. Some of the biggest laughs come from the moments when the dancers step “out of character” and make more identifiably “male” gestures.


Anna Pavlova was famous for her dance where she skillfully danced the death throws of a swan. “The Dying Swan” is parodied brilliantly by a Trock in a tutu that continually leaks feathers.



The Trocks have two DVD’s available. Like most ballet DVD’s they are way overpriced, but you can rent them at Netflix. You’ll laugh a lot, but you’ll say “Wow” a lot too.


The Notorious Bettie Page

April 17, 2007

fetish foxxx

The other day I got to see the very enjoyable “The Notorious Bettie Page.” Actress Gretchen Mol looks stunningly like Bettie. The film accurately reproduces many of her famous pinup scenes, and does a good job of presenting the many contradictions in the life of this fascinating character.


Betty was raised as a conservative Christian girl in Tennessee. After marrying the wrong guy, she moved to New York to pursue an acting career. A black police officer convinces her to try her hand at modeling for glamor photos, and she quickly becomes a popular girlie model.


If you’ve ever seen a photo of the real Bettie Page, you were probably struck by her sunny smile and her complete and utter lack of self-consciousness, even while in the goofiest of poses.


Bettie meets Irving and Paula Klaw, who convince her to step into the world of fetish modelling. In the 1950s, most people were not aware of sex fetishes like bondage, leather, shoes, corsets, etc., etc. The attitude of the Klaws toward the fetishists who buy their photos is summed up in a comment by one of their models: “They’re not normal, but they’re very nice people.”


The actual niceness of their customers remains in question, but the Klaws themselves are a friendly bunch, and Bettie enjoys working with them.


The film is not a comedy, but there are some really hilarious moments, like the re-enactment of one of the Klaws’ motion pictures, entitled “Bettie’s Clown Dance.”



There’s a wonderful family picnic atmosphere when the Klaws go on a field trip to shoot their latest bondage movie.


When the Klaws run into some legal trouble with the U.S. Postal Service, Bettie vacations in Miami and poses with leopards for Bunny Yeager.


Throughout her many adventures, Bettie remains a Christian. There’s a great scene where Betty explains her religious beliefs to bondage photographer John Willie.


Unfortunately, the Klaws are driven out of business after an investigation by the U.S. Senate, and Bettie has a few unpleasant encounters with her sleazy fans. Her friend Maxie was right about one thing … they’re not normal.

screenshot_113.jpgBetty leaves the world of fetish modelling and becomes an active envangelist. While this new chapter of her life could have been easily played for laughs, the director Mary Harron chose wisely to treat the church scene with respect. Bettie emerges as a very innocent but strong character, who managed to walk through some very sleazy situations without being corrupted.

Sadler’s Wells Cinderella

February 12, 2007

Sunday I had the chance to watch a wonderful ballet from 1957 – the Sadler’s Wells Ballet production of Cinderella.


This made-for-television production was made back in the days when television broadcasts were not considered any more permanent than anything done on stage. A copy was made of the broadcast, but it wasn’t a very good copy and it wasn’t treated with the sort of archival care that we all wish it had received. Almost 50 years later, the print is hard to look at, and if it weren’t for the wonderful performances of Dame Margot Fonteyn and the Royal Ballet, the flickering, washed-out images would have been too annoying to sit through. After awhile, you can force yourself to ignore the print and watch the ballet, as if watching it through the frame of an impressionist painting. But I wouldn’t recommend watching it on a widescreen tv. A small laptop would be a better choice.

Margot Fonteyn was 38 when this broadcast aired, but she still conveys the childlike grace, energy and wonder of a young girl. There is no evil stepmother in this production, making the story less sinister and more comic. The stepsisters are vain and mean to each other, but they’re so hilariously clumsy you can’t imagine them being too much of a threat to Cinderella.
The creator of the Cinderella ballet, Sir Frederick Ashton, plays one of the stepsisters. What some men are willing to suffer for their art! (rolls eyes)

That’s Sir Frederick with the bride of Frankstein hair. The sister with the Princess Leia hair is Kenneth MacMillan.


The stepsisters prepare for the ball.



Cinderella has fun trying on her big sister’s wrap, and one of their wigs.



Cinderella’s fairy godmother first appears as a lame beggar, but soon reveals her true form. This fairy godmother has four helpers, named Spring, Summer, Autumn and Winter.


Dame Merle Park’s dance is one of the hardest parts of the ballet to see. ChromaKey was really primitive in those days. Spring’s gift to Cinderella is a beautiful tiara.



Summer’s gift to Cinderella is a robe to wear over her dress.


I couldn’t get a good screenshot of Autumn, but she does a memorable dance where she leaps out of a pile of fallen leaves and gives Cinderella a pair of glass slippers.


Fairy Godmother summons Winter.


I love the icicles on Winter’s costume. Winter gives Cinderella a beautiful diamond necklace.



This coach was originally a pumpkin. Now that’s magic!


The “theatrical” special effects like this hanging clockpiece, tend to work so much better than the “video” special effects like ChromaKey. Maybe because this particular effect is so integral to the storyline – the ominous warning of the limitations of magic.


The ballroom scene is so delightfully different from any ballroom scene I can remember. The stepsisters and their screwball slapstick are front and center.





The prince is usually upstaged by other characters in the story, but since when was the prince upstaged by a court jester?



Cinderella arrives with a full entourage.


In the most magical part of the ballet, Cinderella enters the ballroom and glides en pointe to center stage.

The four seasons seem to have received invitations as well.





What makes this ballet fun is when the romantic and the comic elements juxtapose, like this wonderful moment of raw jealousy.


Fonteyn is more than a remarkable dancer. She also has a beautifully expressive face.



Cinderella gives one of her sisters an enormous apple, which her other sister quickly snatches away.




What’s that sound? Is it Y2K already?


Worse! It’s midnight!



The prince is not too good with faces, but he’d remember her feet anywhere …65swc.jpg

Act Three opens with some lighthearted play between the sisters.


It’s interesting to notice how many admiring glances the “ugly” sisters receive from the ladies in the company.


After the usual slapstick with the slipper, the prince discovers his princess, to the stepsisters’ dismay.


The fairy godmother serves as minister for the wedding.

And they lived happily every after.

To my amazement, the “DVD extras” have nothing to do with Sadler’s Wells or Sir Ashton’s choreography or Fonteyn’s career, but the commercials that originally aired with the broadcast.


I’m hesitant to tell you to run out and buy this DVD. Prolonged watching could be bad for your eyesight. But definitely rent it if you can, if you want to see Margot Fonteyn’s astonishing grace and Frederick Ashton’s comical take of this classic fairy tale.

Marie Antoinette

January 26, 2007

Last night I got to see the great 1938 version of Marie Antoinette. This is a truly sumptuous film – Norma Shearer flounces across the screen in more gorgeous gowns than you can count. I started doing a few screenshots and ended up with a ton of them. Feast your eyes!


They promoted her as Madame Devil-May-Care in the trailer, but this version of Marie Antoinette is almost saintly, initially in her wide-eyed innocence and her sincere desire to please her painfully shy and simple hubby, Prince Louis. Later, she becomes the doting and protective mother. There is a tiny bit of naughtiness somewhere in the middle there, the kind of stuff that any modern teenager might try in the course of finding herself. As for her indifference to the plight of the common folk, MGM decided to sidestep this particular aspect of her personality.


But this is not the History channel. This is an elaborate costume melodrama, a gem of the genre.


Anita Louise, who was Marie Antoinette four years earlier in the film Madame duBarry, plays the role of the Princesse de Lamballe. Here she gets scolded for daydreaming on Marie’s wedding day.


The Princesse eventually becomes Marie’s only friend in the backbiting court of Louis XV.


You’d think some of these fatheads would want to kiss up to the future King and Queen of France. That’s politics for you.


Gladys George plays Marie’s foe, Mme. du Barry, wife of King Louis. Her most memorable line: “I was never a laundress! I was a milliner!”



In the 17th century, ostrich plumes were used extensively for dusting hard to reach ceiling fixtures in Versailles.


In these kinds of movies it gets harder and harder to top your last ensemble. Here our heroine wears a birdcage with a singing mechanical bird inside.


Marie goes wild. She’s wild!


At the peak of her glittery period, she meets Count Axel (Tyrone Powers). Count Axel is the love interest, since Prince Louis is such a pathetic character.



Alas, Count Axel is from Sweden and he is not amused by all this opulence and glitter.


Count Axel spurns her, and she loses her fabulous necklace in a parlor game, but Marie keeps her powder dry.



She dreads another meeting with Madame duBarry, but she should really watch out for the fop on her left.


Joseph Schildkraut plays the conniving Duke Phillipe d’Orleans, who has designs on the throne and plenty of mascara.


After a scene with Madame duBarry, King Louis wants to annul Marie’s marriage, expelling her from the royal family. When the chips are down, you find out who your real friends are, and Duke Phillipe assures Marie that he is not one of them.


Count Axel, however, approves of Marie’s misery and proclaims his love for her.


Luckily, Louis XV kicks the bucket before he annuls his son’s marriage. Prince Louis ascends, and Marie becomes Queen of France. Luckily, there are some very glamorous mourning dresses available.


Count Axel cannot deal with Marie’s turn of fortune. He loves her more than life itself, but he leaves for America anyway. Swedes are funny that way. Marie becomes a virtuous wife and loving mother, but she is accused of stealing a diamond necklace worth more than everything else on earth. French peasants are starving, and somehow the Queen is to blame for their crop failure.


Like rats deserting a sinking ship, the court of Versailles drift off in their separate directions …


Princesse de Lamballe refuses to desert her Queen. In time, no one can leave the palace. The people are revolting! (so to speak)


The general malaise and misery attracts Count Axel again. He works out a brilliant plan to rescue Marie and her family from Versailles, which she screws up royally by forgetting where she left her clothes and running around in her petticoat like a chicken with … well, that comes later.



The problem with having ten thousand gowns is you can never find the one you want.


The French revolutionaries are not portrayed in an especially sensitive manner here. They’re out for blood, and they know there’s some inside these fancy nobles. Princess L tries to impersonate the mother of these innocent tykes but her cover is blown.



I think you know the rest of the story. When they coined the phrase “heads will roll,” they were thinking about the French revolution.

In summary, you got to see this. A bunch of screenshots and my droll commentary does not do justice to this fabulous film. So get the dvd and revel in it.