This 1933 film is the best known of the Warner Brothers Depression-era musicals, though it doesn't compare in dash and extravagance to later entries in the cycle.
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John Huston is listed as director of this elephantine Ray Stark production, based on the Broadway musical (which was based, in turn, on Harold Gray's Little Orphan Annie comic strip), but this is the kind of overproduced monolith in which even better directors can easily lose their way.
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Director Leo McCarey, whose obsessive Catholicism in the midst of anarchic humor sometimes made him the Fritz Lang of comedy, seems slightly ill at ease when faced with the unbounded libido of Mae West in this 1934 production.
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Chaplin's last silent has the high refinement and simplicity of a final statement—a sense of farewell that marked many American films in the watershed year of 1928.
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It takes longer than usual to dispense with the plot (something about a public decency campaign waged against a Broadway show) and get down to the three Busby Berkeley numbers that are every Warner musical's raison d'etre.
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This delightful 1989 pop-fantasy musical about Valley girls and extraterrestrials gives the talented English director Julien Temple an opportunity to show his stuff in an all-American context.
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A factory owner is found dead, and the finger of guilt passes from one occupant of his glamorous home to another: his coolly fashionable wife (Catherine Deneuve), his willful daughters (Virginie Ledoyen and Ludivine Sagnier), his morally loose sister (Fanny Ardant), his miserly mother-in-law (Danielle Darrieux), his neurotic sister-in-law (Isabelle Huppert), and the home's two domestics (Firmine Richard and Emmanuelle Beart).
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Writer Leonard Gershe, director Stanley Donen, and producer Roger Edens take on French existentialism in this colorful and sumptuous 1957 musical, set largely in Paris and starring Fred Astaire and Audrey Hepburn, with a dreamy Gershwin score.
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Lerner and Loewe turned Colette's novel into the archetypal "Gallic romp," but while their score often falters, Vincente Minnelli's mise-en-scene does not (1958).
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