Home theater: Escape into the joyous world of musicals
If a consistent supply of joy is what you seek, no other movie genre surpasses the movie musical. Yes, I know, there are dark musicals, great ones even 鈥� like 鈥淐abaret鈥� and 鈥淧ennies From Heaven.鈥� And, yes, even the frothiest musicals sometimes have sorrowful scenes. But it鈥檚 no accident that historically audiences have turned to musicals when times were especially tough. The early films of Fred Astaire and Ginger Rogers, for example, are synonymous with Depression-era escapism. Who would not want to step into such an elating realm?
The good news, of course, is that we still can. The backlog of joyous movie musicals is so vast and accessible that a single column cannot begin to suggest the riches that await you.聽Keep an eye on this column for more recommendations.聽
Editor鈥檚 note: As a public service,聽all our coronavirus coverage聽is free. No paywall.
Why We Wrote This
Audiences have often turned to musicals when times are especially tough. The early films of Fred Astaire and Ginger Rogers, for example, are synonymous with Depression-era escapism, notes film critic Peter Rainer. As he sees it, 鈥淲ho would not want to step into such an elating realm?鈥�
鈥淢eet Me in St. Louis鈥�
Shot in eye-popping Technicolor, Vincente Minnelli鈥檚 1944 masterpiece 鈥淢eet Me in St. Louis,鈥� released in the midst of World War II and starring Judy Garland, is simply one of the finest and most beloved musicals ever made. It even outgrossed 鈥淭he Wizard of Oz.鈥�
Derived from Sally Benson鈥檚 bestseller, the story is situated in St. Louis over the course of a year and is divided into four vignettes starting in the summer of 1903 and concluding in the spring of 1904. The centerpiece is the well-to-do Smith family. On the surface they appear to enjoy all the comforts of an idealized rural Americana as only Hollywood can depict. Alonzo (Leon Ames), the patriarch, has a dutiful wife, Anna (Mary Astor), a son, and four daughters, including Esther (Garland), the second oldest, and 6-year-old Tootie (the amazing Margaret O鈥橞rien), the youngest. Esther is in love with literally the boy next door, John (Tom Drake), who is too clueless to comprehend her coy ardor. He compliments her choice of perfume, saying it鈥檚 the same his grandmother uses. Shaking hands goodnight, he says she鈥檚 鈥済ot a mighty strong grip for a girl.鈥�
The film鈥檚 central antagonist is not a person but a city 鈥� New York, where Alonzo鈥檚 banking business is being transferred, causing much consternation and heartbreak among his brood.
O鈥橞rien gives what may be the best performance by a child actor in Hollywood history. She鈥檚 preternaturally good, so much so that she even steals her scenes with Garland. No small feat, since Garland is close to her best here.
Especially later in her career, Garland often carried an edge of hysteria even in roles where it wasn鈥檛 required. But in this film, she鈥檚 unabashedly normal. She鈥檚 also in beautiful voice. Her rendition of the Hugh Martin-Ralph Blane 鈥淗ave Yourself a Merry Little Christmas,鈥� sung to a bereft Tootie, is one of her most soulful moments, and the songwriting team鈥檚 鈥淭he Trolley Song鈥� 鈥� 鈥淶ing zing zing went my heartstrings!鈥� 鈥� is among her most jubilant. I once guest-hosted a movie evening at a senior citizen鈥檚 home and when this scene came on, people who I was told rarely spoke anymore suddenly broke into song. This was incredibly moving to witness 鈥� a testament to the power of movies to uplift. (Unrated)
鈥淭op Hat鈥�
Of all the Astaire-Rogers movies, 鈥淭op Hat鈥� (1935), with songs by Irving Berlin, is my favorite. (鈥淪wing Time鈥� is a close second.) The plot is one of those mistaken identity concoctions that never made much sense and doesn鈥檛 have to. Who needs a pretext to watch Fred and Ginger? Their number, 鈥淚sn鈥檛 This a Lovely Day,鈥� danced in a deserted bandstand in London during a thunderstorm, is matched later on by the ineffable 鈥淐heek to Cheek,鈥� set in an Art Deco Venice. Fred tap-tap-tapping during 鈥淭op Hat, White Tie and Tails鈥� is an artful explosion of the highest order. (Unrated)
鈥淥濒颈惫别谤!鈥�
鈥淥濒颈惫别谤!鈥� (1968) won a well-deserved Oscar for best picture and still holds up remarkably well. Director Carol Reed, best known for the Graham Greene scripted noir thriller 鈥淭he Third Man,鈥� had a true artist鈥檚 affinity for childhood revels and terrors, and his work with the cast, including Mark Lester as Oliver and Ron Moody as Fagin, is exemplary. Derived from the Lionel Bart stage production, it鈥檚 not just a great movie musical, it鈥檚 also one of the greatest of all Charles Dickens adaptations. (Rated G)聽 聽 聽 聽聽
These films聽are available to rent on Amazon鈥檚 Prime Video, YouTube, Google Play, and iTunes.
