Heyy Babyy DVD (2007)

I guess I just can't go a week without a Bollywood fix. This time out, it's HEYY BABYY, which is India cinema's 2007 adaptation of Three Men and a Cradle. If you've already seen THREE MEN AND A CRADLE (or its American remake Three Men and a Baby), then this one doesn't really have much to offer, unless you're a fan of any of the three male leads. And the baby is cute, so there's that. But, then again, this film is 2 hours and 24 minutes long. There's that, too.

Three funloving Indians living abroad, in Australia. There's Tanmay, who dons a Teddy Bear costume in his theme park job. There's Ali, who is lazy and likes to gamble. Arush is manager of Sydney's most happening nightclub. All three are hardliving, irresponsible womanizers. They happen to share a comfy bachelor pad. And life is an ongoing party. Then a baby girl enters their lives, abandoned on their doorstop and with a brief note: "Take care of your daughter." Party's over.

Although HEYY BABYY co-stars Fardeen Khan and Ritesh Deshmukh, the big star here is Akshay Kumar, who was on some kind of a roll in 2007. Along with HEYY BABYY, Akshay made Namastey London DVD (wonderful!), BHOOL BHULAYAA, and WELCOME, all of which were box office hits. Of the four, though, HEYY BABYY may be the film I like least. Bollywood just can't stay away from the extremes. The first half of the film runs like an unpolished, runaway version of THREE MEN AND A BABY, replete with airborne poop-drenched diapers and the three guys flinging baby food at each other. This is also where the three main characters are at their most unlikable and immature. They gripe and moan and despair over the baby's incessant needs,and the audience is soon treated to three grown-up men admonishing kids to shut up and that they hate them. They get so fed up with their infant charge that they actually do something truly reprehensible. And I guess we're supposed to still like these blokes because they later repent and turn into good, responsible dads, right? But, just as life is good for the three dads and the baby, the mother enters into the picture. She wants her baby back, and before the film's intermission.

Minor SPOILERS coming up in the next paragraph.

The film's second half moves the spotlight away from the baby a bit, to focus more on Akshay Kumar's romance with Vidya Balan, who stiffly plays the baby's mother, Isha. You see, a year ago, Arush (Akshay) and Isha had a thing, before Isha caught him with another woman. Thing over. Today, Isha's still got her mad on and doesn't want Arush to have anything to do with the baby (by the way, it wasn't Isha who left the infant at his doorstep). But Arush and his roommates have discovered the joys of fatherhood and mean to have their child back. Plus, Arush is in love with Isha. In desperation, Arush strikes a contract with her. If Isha manages to find a fit husband in seven days, she keeps the baby. If not, then Arush takes the baby away.

But, worry not, Arush has concocted a plan, and it's a goofy one, too. He'll need the help of his friends and that of Isha's father, who's all guilt-ridden. This gives the film license to come up with even more slapstick as Arush, Tanmay, and Ali resort to disguises and crazy antics. One wonders though how Arush, in particular, was able to get away with his flimsy disguises without Isha recognizing her erstwhile lover. And since we're mentioning flaws, coincidence kicks the audience hard in the pants as both parents end up independently naming the baby "Angel." What are the odds?

SPOILERS end.

The three male leads, perhaps fearing being upstaged by a baby, mug their way thru scene after scene. They cry a lot, too, and frolic in a shower (and how weird was that?). Each tender, emotional scene is overwrung with corny over-acting, which ruins the moment. Not only is the story a bit too pat and predictable, it tends to devolve into a Three Stooges type of zaniness (plenty of slaps to the face for everyone). In his film commentary, Director Sajid Khan states that he intended this film to be enjoyed by kids, and I guess that would explain the crass and silly attempts at humor.

The film does have some stuff going for it, enough for me to give it two and a half stars. I've been dumping on the cast quite a bit, but they are occasionally pretty decent and funny. Akshay once again displays how capable he is at drawing out chuckles. And some of the aforementioned silly attempts at humor actually works. My favorite scene is probably when Fardeen Khan was driving the car ever so slowly, to the chagrin of his passengers, even as joggers, a somersaulter, and a guy on a wheelchair breezily pass the car. Then there's that late cameo by the biggest superstar in Bollywood. However, ultimately, I don't believe these positives are enough to redeem the movie.

Since this is Bollywood, there are musical numbers. But the songs end up being lackluster, although the closing credits do showcase some film bloopers and Akshay, Fardeen, and Ritesh doing a bit of the full monty. So there's that.

Lastly, this film demonstrates once again that poop in the face just never gets old. And, if the poop is disturbingly yellow, well, so much the better.

Before I bought this I couldnt work out from the other reviews what the balance of the movie was like. Was it one of the silly Bollywoods where the guys are just jerks or was it more the 'redeemed men' theme such as in the enjoyable 'Bachna Ae Hasseno'?

Well the guys arent quite as inept as I expected and they didnt dwell on their initial silliness or annoyance with the baby's intrusion in their lives too much at the beginning. Yes it was a bit of the silliness but it was tamed down a bit compared to other Bollywoods I've seen. The relationship between the lads is fairly convincing and warm.

For me Akshay Kumar can go either way. I enjoyed him in 'Namastay London' and 'Singh is Kingg' but really didn't like him in 'Garam Masala' for one. He is Ok in this and the other two men balanced a roughness he seemes to have at times.

The overwhelming bulk of the movie is their affection for the kid and how they felt changed and had bonded closely with it.

Then the movie took off in a romance direction of whether one of them could retrieve his relationship with the mother of the child and finally form a family.

Then there was the cameo by Shahrukh Khan. He looked like he'd wandered onto the set to visit a friend and someone threw him a suitable coat and said 'hey what about joining in a moment'. Naturally his presence added to the dance scene he'd wandered into.

The song he danced to is one of the main reasons I decided to buy the movie as I hadnt been sure of whether it was for me. The song 'Mast Kalander' is a very catchy song and I had high hopes for the music. Actually this was the best song in the movie for me. One or two other songs had a little something but a few of the others needed a bit of zip in them (including the opening theme song).

This movie isn't just a remake of 'Three Men and a Baby' and actually I think I like this one better.

Overall not to bad and I will hold onto it (this is often a test for me am I likely to revisit it sometime in the futureYes worth holding onto...)

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I really enjoy watching this movie. This movie is all about being a father and loving your children. This movie was very funny but also has some very serious matters in it. This Movie taught those three men to stop fooling around and stop hurting women. They learn to respect women and learn about being a father. Its a movie for all those dead beat dads that dont care about their children and treat women badly. I also enjoy watching akshay the best. He's hot.

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Watch the wedding scene very closely, and you will see a couple of 20 something western extras milling around in the background at various times. They are my son and a friend who were having a beer in Mumbai one night when a guy approached them and asked them if they were interested in being extras in a Bollywod movie. He gave them a card and told them where to show up at 8 the next morning. They thought it was some kind of scam, but they checked it out and it turned out to be true, so they went. That scene took a full day and they were paid $20 each.

They were great extras. They did mention that the female lead was a real b*tch and that the director was a tyrant. As for the rest of the film, I can't say!

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Akshay kumar is so funny not only in this film, but in so many others. Boman Irani brings out his comical side as well as his soft side. This is a heart welding movie based on family values, love, respect and keeping a family together. There are some scenes where everyone quarrels with one another, but at the end Vidyas character knows what's right and follows her heart and keeps her promises to bring back her family!!! It's auwsume!! A must see film.

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An American in Paris (2009)

Warner Brothers' proprietary Ultra-Resolution process has brought new life to such classics as "The Wizard of Oz," "Gone With the Wind," Errol Flynn's "Robin Hood," and "Singin' in the Rain." By going back to the original three-strip technicolor negatives and realigning them digitally, the color and detail blows away anything that customers have seen in the past with home video. "An American In Paris" has now undergone the same process. For those that have a blu-ray player, be sure to order this version, An American in Paris [Blu-ray]. Here is a list of extras that are the same on both versions:

Disc 1:

1.33:1 Full Screen with Original Mono audio * Tech Specs for Blu-ray version: Video is 1080P 1.33:1 * Audio is English, French, Spanish (Both Castilian and Latin), German and Italian DD1.0 * Subtitles (Main Feature): English, French, Spanish, Danish, Dutch, Finnish, German, Italian, Japanese, Norwegian, Portuguese, Swedish * Subtitles (on Select Bonus Material): English, French, Spanish, Dutch, Italian, Japanese, Portuguese

1938 MGM short: Paris on Parade

1951 MGM cartoon: Symphony in Slang

Theatrical trailer

Disc 2:

2002 American Masters Documentary: Gene Kelly: Anatomy of a Dancer (Gene Kelly Anatomy of a Dancer)

`S Wonderful: The Making of An American in Paris, an all new documentary, produced especially for this release. A dynamic history of the making of the film, which reveals how George and Ira Gershwin's classic songs, the dazzling art of the French impressionists and the ultimate teamwork of MGM's legendary "Freed Unit" came together to create a musical masterpiece. Featuring ten new interviews, including co-stars Leslie Caron, Nina Foch, and Kelly's widow. A very enlightening piece; Caron's memories are probably the most interesting, with Foch running a close 2nd. Caron's comments about co-star Georges Guétary being handsome but not too bright seem to be echoed by Kelly's widow, who says Gene spent more time trying to teach him how to gracefully walk down a set of steps than on anything else in the film. It is unfortunate that Maurice Chevalier could not have taken that role as originally intended. You also realize just how revolutionary this movie was (artistically), especially because of the 17-minute ballet tacked on at the end of the movie. Even Irving Berlin disapproved during an on-set visit, which didn't help the confidence of Vincente Minnelli at all.

Outtakes:

Georges Guetary performing Love Walked In (not missed in the movie at all!)

Audio Outtakes: Alternate Main Title, But Not for Me (Guetary), But Not for Me (Levant Piano Solo), Gershwin Prelude #3, I've Got a Crush on You, Nice Work if You Can Get It, 'S Wonderful

Radio Interviews: Johnny Green, Gene Kelly, Gene Kelly & Leslie Caron;

Gene Kelly and Leslie Caron promotional radio interview with Dick Simmons

Not all of the original musical recording stems have survived over the years, preventing a true stereo/5.1 restoration of the soundtrack; instead, a restored mono version is being made available.

Most are familiar with the movie; storywise, it is a little creaky and hasn't necessarily survived well over the years: Kelly is an American artist living in Paris. He falls in love with a young girl (Leslie Caron) who is in a loveless relationship with one of his best friends (Guétary). Kelly is also in somewhat of a loveless relationship with his financial sponsor (Nina Foch). You can probably guess the rest.

The glowing color, fantastic music by Gershwin (arrangements by the talented Conrad Salinger), and the amazing choreography of Gene Kelly will keep this one a classic for years to come despite a predictable plot. Just the ending ballet alone is a masterpiece; the art of Toulouse Lautrec and Utrillo comes to life with Gene Kelly & Leslie Caron dancing their hearts out to some of the most imaginative choreography (Kelly's) in years. The Freed Unit at MGM was at their peak when this movie was made, and this is one of the last great ones that it created.

It is a real shame that with how fantastic the picture is (the colors literally leap off the screen, and it really adds to the appreciation of what an artistically beautiful visual feast this movie is) that the sound cannot match. Although it is clear and free of problems, the Gershwin music just begs for a 5.1 or 7.1 surround track; unfortunately, due to the age and availability of the original elements, this is not possible.

A glorious movie that showcases Gene Kelly's breathtaking talent. Forget the silly story and just watch him dance and dance and dance. He does more with a turn of a shoulder than most dancers can do with their whole body. This movie also introduced the lithe and lovely Leslie Caron as the object of Kelly's affection. The film builds to its dramatic hallucinatory conclusion as Kelly dances his way across a Paris dreamscape, that brings all the elements of modern dance together in a tour-de-force that was unprecedented in musicals of that time. You can't help getting swept away in the feel-good spirit of this movie. It was another time and place.

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(2008 HOLIDAY TEAM)The dazzling seventeen-minute dance sequence of George Gershwin's 1928 orchestral piece, "An American in Paris", is an indisputable masterwork. Choreographed with precision and unparalleled flair by Gene Kelly, the vibrant combination of color, music and dance is still eye-poppingly startling as the piece is broken down into scenes inspired by selected master artists Dufy in the opening Place de la Concorde piece, Manet in the flower market, Utrillo in a Paris street, Rousseau at the fair, Vincent Van Gogh in the spectacular Place de l'Opera piece, and Toulouse-Lautrec for the Moulin Rouge where Kelly wears his famous white bodysuit. The 97 minutes that precede this finale are not as exciting, not by a long shot, but there are certain charms to be had in viewing the entire 1951 Oscar-winning musical.

Director Vincente Minnelli and screenwriter Alan Jay Lerner have fashioned a surprisingly sophisticated if rather slight romantic story focused on Jerry Mulligan, a former G.I. who has remained in Paris after the end of WWII trying to make a living as a painter. With his braggadocio manner and athletic dancing style, Gene Kelly can be concurrently ingratiating and irritating as a screen personality, but he seems to find his oeuvre as the carefree Jerry. The love-triangle plot is focused on Jerry's involvement with Milo Roberts, a self-proclaimed art patron but a sexual predator when it comes to young artists. On their first date in a crowded Montmartre nightclub, Jerry unapologetically falls for Lise, a young woman who turns out to be the fiancee of Henri, a professional entertainer and friend of Jerry's pal, Adam, an out-of-work concert pianist. Romantic complications ensue until the inevitable ending but not before several classic Gershwin songs are performed.

The best of these is the most imitated a swooningly romantic song and dance to "Our Love Is Here to Stay" along a faux-Seine River in a blue hazy mist with yellow fog lights. The way Kelly and Leslie Caron circle each other is transcendent as they approach each other tentatively at first and then synchronize beautifully to the music leading to the final clinch. Few films have so elegantly and succinctly shown two people falling in love. "I Got Rhythm" and "S'Wonderful" spotlight Kelly's nimble tap-dancing and agreeable singing, while "Embraceable You" is danced impressively by Caron in a five-scene montage of Henri's all-over-the-map description of Lise to Adam. Designed to show off Caron's dancing versatility, the sequence is similar to the one in "On the Town" where Vera-Ellen showed off her considerable dancing skills when Kelly's sailor character described his multi-faceted vision of Miss Turnstiles.

As Lise, the nineteen year-old Caron (in her first film) dances superbly throughout and handles her role with unformed charm with her acting talent not to bloom for several years. Looking quite glamorous, Nina Foch plays older as the manipulative Milo and manages to be likeable enough for us to care about her fate, while Oscar Levant is just his sardonic self as Adam. Performing an elegant "I'll Build a Stairway to Paradise", George Guetary plays Henri so agreeably that you feel bad that he does lose the girl at the end. This is not the best all-around MGM musical, but there is certainly enough movie magic to make this quite worthwhile. The 2000 DVD contains a fairly pristine print but little else in terms of extras.

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With all due respect to devotees of "Singin' in the Rain", I think "An American in Paris" is the best musical ever made. Stanley Donen was an innovative director, but Vincente Minnelli was a genius in his field, and "An American in Paris" was his masterpiece. I choose "An American in Paris" over the others for various reasons. (One example: "Meet Me in St Louis" is charming Americana, but it's spoiled by that melodramatic episode in the middle with Tootie's cut lip and the Boy Next Door being blamed; it's so contrived it might have dropped out of another picture.) "An American in Paris' is a completely successful musical with Gershwin songs culled from their stage shows of a previous generation (for instance, "S Wonderful" is from the 1927 "Funny Face" and "I Got Rhythm" is from 1930's "Girl Crazy"), a trim script by Alan Jay Lerner, and perfect casting. Gene Kelly at 38 was in his prime. And here let me say that Jerry Mulligan, Kelly's character in the film, is the brash, can-do kind of guy who was vastly admired in America by both men and women in the years following World War II. His aggressive attitude towards life represented qualities that had won the war. If today he seems a little chauvinistic (in every sense of the word) ... well, times change. The fact remains that Jerry is an ex-G.I. who has mastered the French language and venerates French culture. Hardly the Ugly American. On the flip side is his New World naïveté. In one scene he and his French girl friend Lise (Leslie Caron) meet shyly outside a sidewalk café and take a table. But Lise immediately becomes aware that an old roué nearby is checking her out (assuming she's just been picked up). Embarrassed, Lise asks to leave the café. But Jerry? The poor dope has no idea what's happened. Similarly, the whole movie has a sharp edge unusual for light entertainment. It's evident in the rich American Milo Roberts (Nina Foch) with her soignée chilliness and her somewhat S & M relationship with Jerry. And it's evident in the curmudgeon wit of Adam Cook (Oscar Levant), "the world's oldest child prodigy". His fantasy of playing Gershwin's Concerto for Piano and Orchestra single-handed is every musician's dream/nightmare. The Old World is represented by Henri Baurel, a music hall star, performed by Georges Guetary, who was (I suspect) basically playing himself. (His rendition of "I'll Build a Stairway to Paradise" is the film's only traditional cabaret number.) Throughout the story, his boulevardier suavity,not to mention the savoir faire of the minor characters, indicates the Gallic easygoing attitude towards sex, which was about 20 years ahead of the U.S.'s. (Incidently, look close in the Beaux Arts ball sequence and you'll spot a young gay couple passing Kelly on the staircase.) Despite its glossiness, the picture has a refreshing spontaneity. Notice in the "By Strauss" number that Kelly's cap gets knocked off his head by the florist's skirt. At first he grabs for it, but then it's like "Ah, t' hell with it" and he keeps on going. Appropriately, all the acting is natural and subdued. But not the climatic ballet! It has to be the most lavish experience in all of film entertainment, before or since. It's been said that this ballet is "too much", but i think mehitabel in paris would have said theres no such thing as too toujours gai. With its 3-strip Technicolor, its numerous sets, its hundreds of costumes, Kelly's superb choreography, and of course gorgeous Gershwin, the "An American in Paris" ballet is, like the movie itself, le spectacle ne plus ultra. Savourez!

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1951 was a tense year in America. Julius and Ethel Rosenberg were convicted of selling U.S. nuclear secrets to the Soviet Union. In North Korea, truce negotiations failed. McCarthyism reigned and Hollywood suffered as many of its key players were blacklisted. It is no wonder, then, that the movie-going public sought lighter fare. With its simple script, lush color, and innovative choreography, An American in Paris was just the ticket.

An American in Paris is the story of boy meets girl, boy gets girl-with not much in between. Gene Kelly plays Jerry, an ex-GI trying to make a go of it as an artist in the city of artist's garrets and cheap cheese. When he spots Lise (Leslie Caron) he knows instantly that she's the gal for him, and he sets about wooing and winning her, ignorant of the fact that she's dating Henri (Georges Guetary). Complicating things (but not much) is his wealthy patroness Milo (Nina Fochs). Another ex-patriot, Adam (Oscar Levant), plays the fifth wheel, adding comic relief to a script that doesn't need it. But people don't really watch this movie for the script, they watch it for the beautiful cinematography and the singing and dancing.

The set design is gorgeously colorful, making Paris dangerously magnetic to anyone who might be making travel plans. This is the Paris of sweet children seeking bubble-gum, kind elderly Parisian ladies who break into dance in cafes, a happy nightclub scene on clean stone streets, and of course lavish flowers, safe riverbanks, and Parisian churches. It's a perfect setting for the score, which includes such songs as "Our Love is Here to Stay," "I Got Rhythm" (sung by Kelly with a team of little urchins), and "'S Wonderful". And the dancing is. Quite wonderful, culminating in a 17-minute ballet (choreographed by Kelly) at the climax. That things resolve just a little too quickly and easily thereafter will bother no dance fan-and all the moviewatchers who have a low tolerance for song-and-dance will have been flushed out of the room long before then.

An American in Paris was Leslie Caron's first American film, shot when she was a just-turned 18. Her inexperience with movie making shows on the screen as kind of a gamine innocence and plays well with Kelly's confident American mien. The chemistry of all cast members (or should I say "the troupe") coalesces to make this musical a don't-miss. 4 stars for the average movie watcher; 5 if you're a big fan of dance.

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Gentlemen Prefer Blondes (1953)

While it will never compete with the likes of SINGIN' IN THE RAIN, GIGI, or MEET ME IN ST. LOUIS, this 1953 confection is nonetheless a real charmer. Based on a popular Broadway show which was itself based on the famous novel by Anita Loos, GENTLEMEN PREFER BLONDES tells the story of two cabaret performers--blonde bombshell Loreli Lee, who is determined to marry for money, and brunette beauty Dorothy Shaw, who prefers to marry for love. When Loreli's engagement to a millionaire's son goes awry, the two set sail for Europe, and comic complications ensue. The story is traditional fluff, pure and simple, and there is nothing in the least innovative or unexpected about the film as a whole--but it is all extremely, extremely well done.

The score is bright, including such tunes as the famous "Diamonds Are A Girl's Best Friend"--and all the musical numbers are cleverly staged and filmed. The overall look of the film is also eye popping: the ladies are dressed to perfection and the color cinematography is truly joyous. The script is full of comfortable wit, director Hawks keeps it moving at a nice clip, and the cast includes such enjoyable performers as Charles Coburn, Tommy Noonan, Norma Varden, and George Winslow. But what really makes the film memorable are Marilyn Monroe and Jane Russell, who simply sparkle with star quality and play their with roles in a twinkle-in-the-eye style.

Monroe and Russell have remarkable chemistry on screen, and although neither were really singers they each had enjoyable and very distinctive singing voices; their performances are so pleasantly amusing that you can't help but smile. Both also had a way with comedy, with Monroe offering her quintessential 'not so dumb blonde' and Russell matching her all the way as the wise-to-you brunette determined to keep Monroe out of trouble. And so well do they work together it is hard to pick a favorite between the two. Call it fluff, froth, foolish--but even jeweler Harry Winston couldn't refuse this good time, even at the risk of a diamond or two. Thoroughly enjoyable for any one still capable of a smile.

Arguably, along with the 'Seven Year Itch', this lighthearted 50's musical comedy is the most definitive 'Marilyn' film. In particular for her memorable 'Diamonds are a Girls Best Friend' number, so adorable in its (and her)innocent mocking self parody and brought to life again several decades later in Madonna's, 80's' Material Girl' Video.

This pairing of 'Monroe' and 'Russell' as two voluptuous show girls from 'Little Rock'" in search of fun and a man or two on their way to Paris aboard a cruise ship, is pure Hollywood sugar coated entertainment and escapism.

Marilyne is just so funny and cute as the wide eyed, but gold digging, 'Lorelei', the supposed 'Dumb Blonde' who knows what she wants however, and why. In suitable contrast Jane Russell plays 'Dorothy' the more serious, switched on and streetwise Brunette. Who on the other hand, lets her heart(rather than her bank acccount)rule her head when it comes to men and plays a kind of big sister role to her more naive, but materialistic focused compatriot.

Though it may be said that for the most part 'Russell' is somewhat eclipsed by the 'platinum' ultra luminous presence of the 'eternal woman-child' Ms Monroe. She undoubtedly brings a lot of energy to the role, and the camaraderie and chemistry they deliver as a pair contribute much to the films charm and success.

There are several very entertaining 'showgirl' type musical numbers throughout. But I confess I enjoy Marilyn's ditzy remarks, balanced by a her cunningly disguised 'knowingness' the most. Sooo cute when she refers to the ship's portals as 'round windows' and innocently tries on a diamond tiara around her neck. Then, at the end justifies and explains her money driven ways to her finance's contemtuous Father,in the most surprisingly clever way. Pure 'Marilyn' in all her pure, unique celluloid magic!

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A kiss on the hand

May be quite continental,

But diamonds are a girl's best friend.

A kiss may be grand

But it won't pay the rental

On your humble flat

Or help you at the automat.

Men grow cold

As girls grow old,

And we all lose our charms in the end.

But square-cut or pear-shaped,

These rocks don't loose their shape.

Diamonds are a girl's best friend.

Tiffany's!

Cartier!

Black Starr!

Frost Gorham!

Talk to me Harry Winston.

Tell me all about it!

There may come a time

When a lass needs a lawyer,

But diamonds are a girl's best friend.

There may come a time

When a hard-boiled employer

Thinks you're awful nice,

But get that ice or else no dice.

He's your guy

When stocks are high,

But beware when they start to descend.

It's then that those louses

Go back to their spouses.

Diamonds are a girl's best friend.

Gentlemen Prefer Blondes gave Marilyn Monroe and Jane Russell the perfect opportunity to showcase their numerous talents. They sing beautiful numbers including "(We're Just) Two Little Girls From Little Rock;" "Bye Bye Baby;" "Ain't There Anyone Here For Love" and "Diamonds Are A Girl's Best Friend." When Marilyn and Jane dance to some of these numbers their beauty and talent strike the viewer as incredible. Tommy Noonan turns in a strong and convincing performance as Gus Esmond, the American man who wants to marry Lorelei, who is played by Marilyn Monroe. Charles Coburn and Norma Varden perform as Sir Francis 'Piggy' Beekman and Lady Beekman, super rich people who got their wealth from diamond mining in South Africa. The crisp, clear color reflects the hard work to restore this movie and the sound is excellent, too! Jule Styne and Leo Robin provide wonderful music and lyrics for the classic songs in this picture.

The film starts as Lorelei and her girlfriend Dorothy Shaw embark on a ship for France. Although Dorothy plans to chaperone Lorelei, Lorelei has different plans and soon Dorothy's quest for a man distracts her from overseeing Lorelei anyway. The ship carries a male Olympic relay team and they certainly attract Dorothy's attention. A cast of characters are also on board, the most notable of which are Sir Beekman, who longs for an affair with a younger woman. His wife, Lady Beekman, travels with him. These characters all together on the same ship prove to be the ultimate formula for high jinks on both the high seas and overseas! Lorelei and Dorothy proceed to sink their claws into rich men for their money. However, unbeknownst to Lorelei, her fiancé's father, Mr. Esmond, Sr., employs a detective onboard. The detective, Ernie Malone, must follow Lorelei and find evidence that she will be unfaithful to her fiancé Gus Esmond. Mr. Esmond, Sr. can then destroy all plans for the wedding of Lorelei and Gus. Gus's father believes that such a marriage would be unsuitable for his son.

The scenes in Paris offer stunning backdrops and a wonderful idea of what Paris looked like in the early 1950s. After a few ups and downs Lorelei and Dorothy unexpectedly appear to be in a lot of financial trouble and they get jobs in a show to make money. Lorelei performs the unforgettable song and dance number "Diamond's Are A Girl's Best Friend" with male back up dancers. However, things become even more complicated when Lorelei stands accused of stealing a tiara that belonged to Lady Beekman. Actually, Sir Beekman gave the tiara to Lorelei in a weak moment because he found her to be beautiful--too bad he never told Lady Beekman! Lorelei and Dorothy sing the beautiful number "When Love Goes Wrong (Nothing Goes Right)." The cops begin to nip at their heels and Lorelei--or someone quite like her--appears in court because Lady Beekman wants her tiara returned to her. The ensuing court scene boasts a comedic, campy quality to it. Awesome!

Do things work themselves out at the end of this picture? Well, folks, there are no spoilers here--watch this movie and see for yourselves!

Marilyn Monroe fans will thrill to this great picture and Jane Russell fans will enjoy it just as much. People who enjoy musical comedies will also like this picture.

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This is probably one of my very favorite Marilyn Monroe movies; just the perfect mix of comedy, dance, music, and eye-popping Technicolor. The Blu-ray looks amazing; clear crisp picture with just the right amount of film grain to look natural. The details are fantastic, too; you can even see Marilyn's jewelry with great clarity. The sound works just fine for a movie of its age; it does appear that some separation was done with some of the sound effects (noticed during the ringing of the bell for "Bye Bye Baby" where it came from a rear speaker, but nothing that is going to blow you away. Just clear sound that highlights the vocals of Marilyn and Jane Russell perfectly. The one drawback are the extras; very few to speak of. A few Marilyn trailers (which promote other Fox Blu-ray releases) and a short Fox Movietone Newsreel showing Marilyn & Jane Russell putting their handprints in the cement at Grauman's Chinese Theater. No restoration comparison, no interviews, no deleted scenes, and no commentary. Pretty disappointing when considering what an icon Marilyn is, even today. The one other oddity is that on the back of the case, the photo of "Marilyn" from "Diamonds Are A Girl's Best Friend" doesn't even look like Marilyn; either it's another model or she is so heavily photoshopped that it just doesn't look like her. A minor quibble. At least Fox seemed to put their best foot forward on the quality of the picture and sound, which truly is the bottom line for this release. If you're not familiar with the story, here it is in a nutshell. Jane Russell (playing Dorothy) & Marilyn (as Lorelei) are two showgirls looking for love. Dorothy is single, and Lorelei is tied to a nerdy man (played perfectly by Tommy Noonan) worth millions. Unfortunately, her boyfriend's dad doesn't approve of the relationship. In order to make his heart grow fonder, Lorelei separates herself from her honey by taking a cruise with Dorothy. Unbeknownst to the girls, the dad has the two followed by a detective. Dorothy falls for the detective which throws a wrench into the whole proceedings.

A number of memorable musical numbers by Russell ("Anyone Here For Love?") and Monroe ("Diamonds"). These two make a great combo, as you can really feel a genuine friendship with their on-screen chemistry. Highly recommended as one of Marilyn's most entertaining movies!

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World weary after watching Ted Koppel's reading of the names of all the U. S. soldiers who have died in Iraq-at least those we have the names of-I needed a little Christmas in May and found it by watching again this little cotton candy movie. Based on the work by Anita Loos, directed by Howard Hawks and starring Mariyn Monroe and Jane Russell, GENTLEMAN PREFER BLONDES was just what the doctor ordered. With great musical numbers, hooty costumes-particularly those of Ms. Russell-and a plot as silly and inane as is humanly possible-can anyone be so dumb as to think that a diamond tiara goes around her neck-the film will convince you, if only temporarily, that the world is not going to hell tomorrow in a wheelbarrow. It's interesting to see how much movies got away with in the oppressive 50's as evidenced in the quite sexy number with Ms. Russell and the scantily clad males from the U. S. Olympic Team, her fellow travelers on the boat trip to Paris.

Ms. Russell is no slouch as a comedic actress and gets off some good one-liners here. And Ms. Monroe, though often imitated, will never be equalled for what she was, the epitome of the blonde bombshell. This movie is now over 50 years old and will remain a classic.

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Do-Deca-Pentathlon (2012)

Two brothers, each pushing middle age, and each with their own set of baggage, breathe new life into an old and unfinished piece of business at a gathering at Mom's house (the old family home) for a family birthday party. The Do-Deca-Pentathlon is an epic battle of strength and mettle, and is comprised of a series of 25 quasi-sports events (ping-pong, skeeball, arm-wrestling, air hockey, breath-holding, push-ups, laser tag, go-kart racing, etc.). The game ends after 13 of the 25 games are won, and the prize is the the coveted "Best Brother" title. And so it goes.

I loved this independent film: it was not unnecessarily complicated (a breath of fresh air), the characters and the situations were wholly relatable, and for the most part, everybody was nice to each other, even when they didn't want to be. At just over an hour long, the story never lagged. I am very happy I took a chance on this quirky film I'd never heard of...and so will you, I'd wager.

The acting was great and the editing was fantastic. it's a story about sibling rivalry and life expectation gone wrong. sometimes the only way to tell someone you love them is to have a not so friendly competition to find out who is the best at life.

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This is a very entertaining film which I enjoyed thoroughly. It is smart in an unobtrusive way and funny, too. But mostly, The Do-Deca-Pentathlon is a poignant drama which explores the estrangement of filial love gone terribly wrong. The immediate theme which is developed with great humor and insight is competition and who's better. The struggle (which takes place over 25 grueling tests of physical exertion) is one of honor as much as of prowess. The mystery of what's ultimately at stake propels the narrative forward. The Do-Deca-Pentathlon is a very male film. The woman characters are depicted as wretched and helpless in the face of hormone-driven adolescence run amok in middle aged men. This is a deftly constructed film from the Duplass brothers whose always interesting work seems to be maturing quickly.

Read Best Reviews of Do-Deca-Pentathlon (2012) Here

Movie: Funny, Awesome new contests you can do against family, and of course the heart felt moment. 4.5 out of 5. Just wish it was a little bit longer but for this type of movie, very good.

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Talk about sibling rivalry to the max! This was a funny movie that lets you see that sibling rivalry does not always fade with time and age. Through a series of events, these two brothers battle it out to see who can win. While much of the movie is tongue-in-cheek, you can also see that the brothers do learn a few things along the way as well. While I did not know whether I would like this movie at first, I found the movie to be downright funny and the acting to be of high quality. If you are looking for a fun evening that you will not soon forget, this is definitely the movie for you!

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Zindagi Na Milegi Dobara (Bollywood Blu Ray With English Subtitles) (2011)

"Zindagi Na Milegi Dobara" (ZNMD) is a complex, honest, and thoroughly refreshing story about friendship, about love, about choices, about ... well ... the journey of Life (lit. 'zindagi'). Writer-Director Zoya Akhtar takes three characters we might think we've seen before ... but deftly makes them original, fresh, and unexpectedly engaging. Her intelligent script perfectly balances the very real, even painful, personal transformation of each character with moments of joy, wit, charm, and humour.

No one's Life Journey is ever quite what one plans!

Our protagonists? Three best friends since childhood: Arjun (Hrithik Roshan), now an investment broker in London; Imraan (Farhan Akhtar), an advertising copywriter in Delhi; and Kabir (Abhay Deol), a construction architect in Mumbai. Ten years after college Kabir's imminent wedding impels 'The Three Musketeers -all for one, and one for all!' -to finally embark on the many-times-deferred adventure challenge they'd always planned.

ZNMD explores whether three grown men can survive a 3-week road trip together *and* still remain friends *and* still be the same people.

Think you've heard similar, before? Guess again! Ms Akhtar elevates the basic 'road movie' premise into something rare and sublime: brilliant character-driven comedy never cheap but often laugh-out-loud funny, and so true to life and people each of us actually know that it genuinely moves the heart as well as the mind and funny-bone. As each ZNMD character in turn challenges his own fear, whatever personal demon that has been holding back his life, it becomes our victory, too.

See ZNMD and discover: *your* life may change, too!

Such strong story and plot would be lost, without great acting.

Farhan Akhtar (the writer-director's twin brother) just gets better and better, as an actor, every time out of the gate. Already one of India's best young directors, his deceptively brash but sensitive and layered acting in ZNMD is quiet excellence ... and deliciously funny.

Abhay Deol I confess I had not seen before. Not exciting, but I like his potential. A good foil for the other two.

However the real revelation in ZNMD is, most surprisingly, he whom we might have *thought* most familiar. Hrithik Roshan we see so often in heavy dramatic and/or demanding multi-part roles -because, let's face it, he's that rare actor who CAN do them, and do them brilliantly well -that it's easy to forget just how plain damn funny and versatile he can be. Casting one of the world's more notorious compulsive workaholics as, well, a compulsive workaholic? Absolute genius!

On the distaff side ... Katrina Kaif. Wow! Where did this performance come from? She's always been beautiful, of course, but in ZNMD for the first time she shows subtlety and depth as an actress. Easily, her very best work to date.

Cannot finish without special mention of the fantastic music by Shankar Ehsaan Loy (long my favourite Hindi film composers). Their ZNMD soundtrack perfectly backdrops the film's emotional journey. Irresistibly hummable music spans the full range of moods and emotions, much like our three main characters: everything from amusingly lighthearted ('Senorita', sung by Mssrs Roshan, Akhtar, & Deol) to cool and modern ('Ik Junoon -Paint It Red') to reflective ('Der Lagi Lakin') and even unabashedly romantic ('Khaabon Ke Parinday').

But the rocking 'Dil Dhadakne Do' seems to capture the very Joy of Living ... and that is the ultimate spirit of Zoya Akhtar's ZMND.

Perfect summer movie! 10/10

Best film I've seen yet from anywhere in the world, thus far in 2011.

If you liked Dil Chahta Hai, you will like Zindagi Na Milegi Dobara. I'm not going to tell you the summary of it because you can read it yourselves. I'm going to tell you the thinks I liked about this movie:

1. The actors. Each of the three main actors did a great job. Hrithik was the work-a-holic, which is something he has never played before so it was nice to see him play something different. He did a great job. Farhaanthe jokester of the group. His one line jokes had us laughing throughout the whole movie. This is also a new role for him because in his other movies he has played someone serious. He also has a serious role in this movies but you don't see it until the end. AbhayI don't usually like him in movies but I think he did a very good job playing the guy getting married. He also had his own one line jokes, but not as much as Farhaan.

2. The storyThere is something about three guys coming together on a trip and finding themselves and dealing with issues. Each of the guys have to deal with something in their lives and you learn that their issues aren't known to each other until the end of the movie. This movie is a lot like Dil Chahta Hai because both movies are about three friends going on a trip to find themselves.

3. The settingmost of the movie takes place in Spain, where they decide to go on their trip. The scenery was beautiful and a great place to film, since there are no Bollywood movies made in Spain (that I know of). Also the setting is important for the trip because each guy picks a sport to do that the other two do not know about it so the sports takes place in Spain.

4. The Musicthe music was amazing. I bought the soundtrack before I saw the movie and I loved it. Hearing the songs made me want to see the movie even more. My favorite song (which is hard to pick, since the album is great) is Senorita. In the movie, all three actors do their own singing for the song. The music video for the song in the movie is great as well.

I recommend this movie for anyone. Even some of my friends who have never seen bollywood films loved this movie.

Buy Zindagi Na Milegi Dobara (Bollywood Blu Ray With English Subtitles) (2011) Now

Embarking on a road trip before entering a important phase in life has been done dealt with in movies in the past. ZNMD is about such a raod trip as three friends travel across the country in Spain, changing their lives forever.

The director's brother Farhan Akhtar had made a film on his debut which was about friendship but this sophomoric debut by his sister Zoya is completely different from the Dil Chahta Hain.

Abhay Deol is plannig to get married to Kalki Koechlin but before he does, he wants to have a road trip in Spain with his childhood buddiesFarhaan Akhtar and Hrithik Each of them will choose an adventure sport and will participate in it, whether they like it or not. It is during the road trip that they meet women, resolve issues in their life and live lie to the fullest.

This is a fantastc film in all respects, I had loved 'Luck by chance' and this one furthers the evidence that Zoya Akhtar is one of the most underappreaciated but one of the greatest directors that we have on the scene today.

Hrithik Roshan is great throughout the film and so are Farhan Akhtar and Abhay Deol. Karina Kaif looks pretty after a long time and Kalki Koechlin plays the part of the possesive girlfriend ably.

Shankar . Ehsaan and Loy have gven us a decent soundtrack. Especially 'Senorita'

Carlos Catalan's cinematography transforms the film and the locations are superb.

I thought these scenes were the best:

Kalki's expression when she watches the friends walk in the lobby, while Ajay is cradling Katrina in his arms.

The song Senorita

The tomatino festival in Spain

The Sky diving scene

The events that led to the engagement of Kalki and Ajay

Farhaans meeting his father for the first time and his conversation with his mom.

The song in the climax.

ZNMD is one of the better films of the year and Zoya Akhtar has created an anticipation for her next work. See this now. 8/23/2011 4 stars

Read Best Reviews of Zindagi Na Milegi Dobara (Bollywood Blu Ray With English Subtitles) (2011) Here

"Zindagi Na Milegi Dobara" (ZNMD) is a complex, honest, and thoroughly refreshing story about friendship, about love, about choices, about ... well ... the journey of Life (lit. 'zindagi'). Writer-Director Zoya Akhtar takes three characters we might think we've seen before ... but deftly makes them original, fresh, and unexpectedly engaging. Her intelligent script perfectly balances the very real, even painful, personal transformation of each character with moments of joy, wit, charm, and humour.

No one's Life Journey is ever quite what one plans!

Our protagonists? Three best friends since childhood: Arjun (Hrithik Roshan), now an investment broker in London; Imraan (Farhan Akhtar), an advertising copywriter in Delhi; and Kabir (Abhay Deol), a construction architect in Mumbai. Ten years after college Kabir's imminent wedding impels 'The Three Musketeers -all for one, and one for all!' -to finally embark on the many-times-deferred adventure challenge they'd always planned.

ZNMD explores whether three grown men can survive a 3-week road trip together *and* still remain friends *and* still be the same people.

Think you've heard similar, before? Guess again! Ms Akhtar elevates the basic 'road movie' premise into something rare and sublime: brilliant character-driven comedy never cheap but often laugh-out-loud funny, and so true to life and people each of us actually know that it genuinely moves the heart as well as the mind and funny-bone. As each ZNMD character in turn challenges his own fear, whatever personal demon that has been holding back his life, it becomes our victory, too.

See ZNMD and discover: *your* life may change, too!

Such strong story and plot would be lost, without great acting.

Farhan Akhtar (the writer-director's twin brother) just gets better and better, as an actor, every time out of the gate. Already one of India's best young directors, his deceptively brash but sensitive and layered acting in ZNMD is quiet excellence ... and deliciously funny.

Abhay Deol is not exciting, but I like his potential. A good foil for the other two.

However the real revelation in ZNMD is, most surprisingly, he whom we might have *thought* most familiar. Hrithik Roshan we see so often in heavy dramatic and/or demanding multi-part roles -because, let's face it, he's that rare actor who CAN do them, and do them brilliantly well -that it's easy to forget just how plain damn funny and versatile he can be. Casting one of the world's more notorious compulsive workaholics as, well, a compulsive workaholic? Absolute genius!

On the distaff side ... Katrina Kaif. Wow! Where did this performance come from? She's always been beautiful, of course, but in ZNMD for the first time she shows subtlety and depth as an actress. Easily, her very best work to date.

Cannot finish without special mention of the fantastic music by Shankar Ehsaan Loy, long my favourite Hindi film composers. Their ZNMD soundtrack perfectly backdrops the film's emotional journey. Irresistibly hummable music spans the full range of moods and emotions, much like our three main characters: everything from amusingly lighthearted ('Senorita', sung by Mssrs Roshan, Akhtar, & Deol) to cool and modern ('Ik Junoon -Paint It Red') to reflective ('Der Lagi Lakin') and even unabashedly romantic ('Khaabon Ke Parinday').

But the rocking 'Dil Dhadakne Do' seems to capture the very Joy of Living ... and that is the ultimate spirit of Zoya Akhtar's ZMND.

Perfect summer movie! 10/10

Best film I've seen yet from anywhere in the world, thus far in 2011.

Am definitely holding out for the complete 2-DVD version (and/or Blu-Ray) on this title.

Want Zindagi Na Milegi Dobara (Bollywood Blu Ray With English Subtitles) (2011) Discount?

Three best friends embarked on a three-week road trip across Spain. Three musketeers, one for all and all for one:

Artemis Kabir (Deol)

Arthos Arjun (Roshan)

Porthos Imran (Akhtar)

Kabir as the reliable, responsible, most grounded of the three .. or so I thought.

Hrithik Roshan completely shreaded his usual heartrob, devastated handsome image. At the beginning of the movie, he was the self centered, competitive, career focused guy who has been dumped by not once, not twice but thrice by 3 different women. Yeap, Hrithik being dumped by women is a sight to behold.

Imran as the devil may care, spontaneous charmer, I like his character the most! so carefree and full of surprises.

Love the scenes, love the interior decoration settings, love the musics, love those underwater shots, strongly recommend this movie for those who love roadtrips as I!!

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National Lampoon's Van Wilder (Unrated) (2007)

National Lampoon brought the raunchy and raucous college world to the mainstream kids back in the 1970's with Animal House, which would go on to virtually springboard the careers of several of its stars, including John Belushi and Tim Matheson.

But for those of us who may have been born after the original release of AH and raised on films like the American Pie trilogy get a new version of Animal House for the new generation with Van Wilder.

Van (Ryan Reynolds) is the virtual definition of a slacker in the college world, having spent seven years attending Coolidge College. He is pretty much the life of the party and he revels in it greatly. It's only until his dad (Matheson) finds out that Van is still in school and places a halt to Van's tuition payment that he realizes that it's time to get his head in the game and find a way to graduate and pay tuition.

A story printed by the school's star reporter Gwen (Tara Reid) causes Van to become a party planner and raise the money for his tuition, along with the help of his closest friend (Teck Holmes of "Real World" fame) and his personal assistant (Kal Penn). When a relationship develops between Van and Gwen, Gwen's pretentious boyfriend Richard tries to put a wedge between them. When Van learns of this, he gets a little revenge in one of the most ingenious and disgusting ways ever devised (trust me, this has the humping a pie thing beaten hands down, no pun intended...)

Van Wilder is pretty hilarious in spots and somewhat disgusting in others, particularly the classic payback Van pulls on Richard and later on when Gwen also gets a little revenge on Richard when she learns a little something that Richard did behind Gwen's back. Also, Penn and Holmes have some gut-busting moments in support and is it nice to see Matheson deciding to continue his association with National Lampoon by bridging the gap between Animal House and Van Wilder.

A word of advice, though: if you have a weak stomach, this is not the movie for you. But if have that type of sense of humor that thinks that letting one rip loudly in public causes you to double over with laughter, then definitely check out Van Wilder.

I'll begin with a confession: I was reluctant to watch this film. It was snobbish on my part. A recent interview with Tara Reid in MAXIM portrayed the actress as a shallow ditz, and I doubted that the voluntary suspension of disbelief would succeed in allowing me to see her as serious college student Gwen Pearson. This was the crux of my objection to NATIONAL LAMPOON'S VAN WILDER. My husband cleverly defeated my opposition with the "Yes, but she's a really hot chick" argument, and we bought the DVD. To my surprise, Reid pulls off the act, dropping words like "pander" and phrases like "benevolent agenda" as if they had belonged in her personal vocabulary bank all along.

The writing goes far beyond clever. It's down right poetic, with lines dance on the ear like a butterfly on a buttercup. Take, for example, "That's no bong! That's for my shlong!" Watch out Shakespeare.

Best of all, the movie answers the age-old question: What was Ferris Bueller like in college? Van Wilder (Ryan Reynonds) fits the mold rather closely. He's a philanthropist who knows how to have a good time. He's funny, good looking, and popular with just about everyone. Brilliant ideas like topless tutors and the naked mile run are a-dime-a-dozen with this guy. Most importantly, he gets away with everything. I'm glad I didn't get away with turning my nose up at this delightfully amusing film. So even if you're skeptical, give it a try, and don't neglect to consider that Tara Reid's a really hot chick.

Buy National Lampoon's Van Wilder (Unrated) (2007) Now

This movie is spectacular if crude humor is your thing. Ryan Reynolds must have studied Chevy Chase's character from the National Lampoon's Vacation movies for hours on end. His joke delivery and expressions fit Chase perfectly. If your not into drug and sex jokes, you may not like it. If you are, you'll laugh for an hour and half.

Read Best Reviews of National Lampoon's Van Wilder (Unrated) (2007) Here

This was avery funny movie that I enjoyed thoroughly from start to finish.Some of my favorite moments in this film included the eclair-stuffing scene involving the dog and the Phi Delta Kappa Fraternity,the hockey showdown,and when Gwen mixed up the "bloating formula".

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I know you have heard about the dog scene, and probably will see the movie or avoid it because of that, but forget about it, that was one scene in the movie. The movie in a whole is hillarious and has characters that you either hate or love.

This has to be one of the best college movie in years and the best National Lampoons has done in a long time. They created an interesting and very charasmatic character called Van Wilder. A man who has been in college for most of a decade achieving legendary status, but no degree. He handles school like a politician, active in most facets, sports, art, social events, and renowned for his parties. But for some reason is afraid to graduate.

His character is what really drived the movie. He is funny without being mean, intruguing without being far fetched, and interesting to watch. The humor is all over the place, puns, word plays, situational, crude, as well as deadpan. But most importantly it creates a character that you not only laugh at and with, but actually care about. I wish he had gone to the colleges I have been to.

so as stated before, forget about the dog scene, and just watch the movie, you won't regret it.

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Roadie (2011)

Jimmy was a roadie for Blue Oyster Cult all his adult life who has painfully and wrongfully according to him been fired by the band and left by them somewhere in the wilds of Michigan. With nowhere else to go, he makes his way back home to Queens where he has not been since his father's death many, many years before. He has barely spoken with his mother in the interim and now he overstates his role with the band to her manager, writer, producer, etc. He tries to collect himself to deal with this massive setback, but he is not making the situation any better with angry calls to the band's actual manager.

I think that roadie is one of the coolest jobs in the world next to rock star and Jimmy does as well. I, too, would have major problems dealing with his rude awakening after so many years and the loss of his livelihood and dream.

Out for some butter for his Mom's famous tuna melts, Jimmy runs into a high school classmate who is and was quite a butthead who is now married to Jimmy's first love, Nikki. Jimmy and Nikki wind up back in his boyhood room which is untouched by time and looks like a "rock and roll museum" according to Nikki.

Out of his vinyl record collection, Nikki pulls out Ratcity In Blue by, local 70s favorites, the Good Rats and they listen to a couple of tracks. This brings back memories of seeing the band every Saturday night with their friend Steph who passed away unbeknownst to Jimmy.

This movie is about real people, with lots of issues, who love music and are dealing with some very real problems. If you enjoy music, have been on the road with a band or thought about doing so (one of my life's regrets is turning down an offer to be a roadie) you will really like this movie.

Full disclosure I also own this "original" album with the cool pizza sleeve art, am a huge Good Rats fan and may have seen Steph, Nikki and Jimmy at one of those Saturday night shows back in the day. My heartfelt thanks go to Gerald and Michael Cuesta for a wonderful film and soundtrack including these New York music legends and a great version of Jackson Browne's Stay by Adam Duritz of the Counting Crows. Did they misspell "Peppi" Marchello in the closing thanks to him?

By Jim Clark, publisher Lee County Courier, Tupelo, MS

Jimmy Testagross (Ron Eldard) has been living his dream for over 20 years. He has been a roadie for Blue Oyster Cult. The key words are "has been." Blue Oyster Cult has quit filling large arenas and have cut back on equipment and personnel. Jimmy is a victim of that downsizing.

Since Jimmy doesn't have any other skill sets he limps back home to his mother.

He hasn't seen her or talked to her since his father died. She is developing Dementia. The band continues to tour in South America but Jimmy's repeated calls go unanswered.

After seeing what has happened to his mom he makes up a more successful Jimmy. He says he's become the band's manager, even produced and written some songs for them and is simply visiting before he must get on the road again because, "they are lost without him."

Downtrodden he walks into town to get a drink. There he becomes reacquainted with his longtime nemesis Randy Stevens (Bobby Cannavale) who has inherited his dad's car lot and married the girl, Nikki (Jill Hennessy) who Jimmy uses to pine for. I should say still pines for.

The problem is Jimmy never grew up. He still harbours the regrets and frustrations that he's carried with him. The road was the only thing that gave him a feeling of normal ... his only true home. Now he's forced to make a life changing decision either step up, tell the truth and take on the responsibility of his ailing mother or continue to live a lie.

This is a neat little drama filled with great music.

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I'll admit a bias here: I'm a small-town guy who headed to Hollywood to pursue my musical dreams. As it turns out, this movie had little to do with music and musicians--it had a lot to do with a man returning home to the neighborhood of his youth, lost, and in that it succeeded wonderfully.

It's no surprise some have labeled Roadie "slow" or "boring"--character studies eschew the busy-ness of plot-driven movies for the subtle, the understatement. There were many moments in the film where I expected it to decay into melodrama or the big message, and above all I applaud the writer(s) and director for avoiding that. This is Death of a Salesman type fare, a story about a man who thought he knew what his life was about suddenly faced with a new, harsh reality. For some, life plays out in big dramatic moments--cancer, heart attack, accident--but for many more it plays out in small pieces of entropy, and that's the case here.

Certainly my small town background and four musicians in a Ford Econline musical career played into my appreciation of Roadie. I realized many of my dreams on a small scale, and I appreciate that every day, but there is a bittersweet quality to what was left on the table, so to speak. I belief this movie can speak to anyone who's returned to the place of their childhood to find so many of the same dynamics are still in play. The same thing goes for anyone who set out believing they knew where they were going, only to find out one day the detours are too many to count, the triumphs counterweighted by lost opportunities, whether willingly set aside or forced to the side by "reality"--job, money, marriage, kids or even lack of skill/talent.

If you need the big message or the hopeful ending you will be disappointed. If you want grand language or symbolism, look elsewhere. In fact if you want that stuff go watch Crazy Heart, a film that had all the potential of Roadie and threw it away for fairy-tale land. The success of this film is it's simple honesty, one of the hardest things to pull off.

Finally, the music director nailed it--the soundtrack was eerily spot on, songs chosen not only for atmosphere but for message. I would have like the Jackson Browne version of The Load-Out, but Adam Duritz does all right.

Read Best Reviews of Roadie (2011) Here

Is this movie a musical tribute to roadies who vicariously act out their rock-n-roll fantasies through the live performances of their employers or is it a musical rebuke of all forms of career mediocrity that settle for a greasy hamburger without even looking at the gourmet steak menu? For me, it was both.

Many scenes had the realistic look and feel of a low-budget documentary that exposes the dreary monotony of people talking a lot but saying very little. But other scenes played out more like attention-captivating music videos where the classic-rock song playing in the background was perfectly synchronized with the fleeting frames of film it was linked to in such a way as to reveal more in a few musical measures than even the most eloquently constructed lines of dialog could ever hope to express using the medium of the written-to-spoken word.

Thematic elements of Roadie dealt with connecting to people and places from one's past but despite being portrayed under the center-stage spotlight of honesty, these themes are never totally submerged in a bottomless pool of pessimism where hopelessness and despair become deadly poisons to those who dare to dream and dream to dare. Instead, I found a few rays of sunny optimism shining through the dark clouds of experiential adversity and disappointment as though to subtly suggest that just as wisdom is gained from taking an honest look at the many seeds of mistakes (erroneous judgment) sown in the gardens of the past so can wisdom be applied to improving the blossoming realization of the future by making better (wiser) choices in the decision-sprouting reality of the present moment!

Led Zeppelin said it better than I ever could in a line from the lyrics from their 1971 hit, Stairway to Heaven:

"There's still time to change the road you're on."

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Not exactly an uplifting movie, though there are a few great musical moments in Robin Trower and Blue Oyster Cult songs. This movie plays out the nightmarish scenario dreaded by all near-do-wells, coming home a failure. Other subject lines within the film include unrealized dreams, excessive drug usage and aging.

But actor ( ) cast as Jimmy Testagross delivers as the one-time roadie who's lost his job.

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Whip It / Juno (Double Feature) (2012)

Ellen Page in her best performance yet.The cast of caracters in over the top and the story line well done.Both movies are put together in a fashion you will want to watch over and over!!

You only get Disc 1 for Whip It, so you won't get the featurettes that were on the original release.

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