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39 of 40 people found the following review helpful:
5.0 out of 5 stars
Get this edition of Volume 2 if you already own Volume 1,
By Robert Moore (Chicago, IL USA) - See all my reviews (HALL OF FAME REVIEWER) (VINE VOICE) (TOP 100 REVIEWER) (REAL NAME)
This review is from: Amazon.com Exclusive Astaire & Rogers Partial Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Carefree / The Story of Vernon and Irene Castle) (DVD)
If you own the older version of Volume One of the complete Astaire-Rogers, then this is the version of the complete set that you ought to get. It will give you the extra disc that the updates provide and also provides you with empty thinpak cases into which you can place your older discs. While I regret that they chose to do these in such confusing fashion, I'm delighted that they are at least giving us the opportunity to upgrade. Also, I'm a huge fan of the thinpak cases. If you haven't bought any of the Astaire-Rogers discs, I strongly recommend getting the complete 11-DVD single volume edition.
Fred Astaire and Ginger Rogers are not merely the greatest dance team in the history of film but one of the greatest pairings as well, regardless of genre. Although both of them achieved considerable success apart from the other, there was just something incredibly magical about the times they would perform together. For anyone who loves film, this set is going to be about as essential as any that exists. There can be only one possible complaint with this second volume in the release of all of the Astaire-Rogers films: it is not chronological. The reason for this is obvious; if they had released the sets with the films in chronological order, the first volume would have been vastly superior to the second. While Volume Two would have contained SWINGTIME, one of their greatest films, Volume One would have contained TOP HAT, THE GAY DIVORCEE, and FOLLOW THE FLEET. As it is, they have tried to balance the films somewhat by putting the utterly essential THE GAY DIVORCEE in Volume 2. Even so, this is a weaker set of movies than the first volume. FLYING DOWN TO RIO To be honest, this is not a great movie, though it is for several reasons highly entertaining. The musical numbers performed on airplanes at the end have to be seen to be believed and even then will not be believed. The film was not intended to be an Astaire-Rogers film. It was primarily viewed as a vehicle for the amazingly beautiful Dolores Del Rio. Fred and Ginger were actually fifth and fourth billed, respectively, behind Del Rio, Gene Raymond, and Raul Roulien. RKO was a late entry into the musical genre, lagging well behind Warner Brothers, Paramount, and MGM. They quickly tried to catch up by signing a number of performers. They had purchased the contract of Ginger Rogers from Warner Brothers. She had had some success in Busby Berkeley musicals there and was familiar to film goers from some prominent numbers she performed in vehicles such as 42ND STREET and GOLD DIGGERS OF 1933. Fred had been, of course, a member of one of the greatest vaudeville and Broadway dance teams, Adele and Fred Astaire. The focus of that act had been Fred's talented sister Adele. Interestingly, they were famed as a comic dance team, but tragically only about five seconds of film footage--taken from a bad angle--exists, so we no longer have an idea of what they were like. We do know that Adele was considered to be the heart of the act. She left the act to marry a titled Englishman and Fred was left to fend for himself. Amazingly, his first venture on his own was THE GAY DIVORCE, a huge hit on Broadway that led to his being beckoned by Hollywood shortly thereafter. The last thing in the world that Fred wanted, after a long pairing with his sister, was a new permanent partner. But when RKO was throwing together FLYING TO RIO, it threw together its newly acquired musical talent, and somewhat randomly Fred was teamed with Ginger. Today this film is remembered exclusively for its pairing of the two future legends. Although they weren't actually yet a team, every scene they have together show a natural chemistry. THE GAY DIVORCEE Filming Fred's huge Broadway hit THE GAY DIVORCE was an obvious next step in RKO's attempt to produce its own string of musicals. Because of the success of their pairing in FLYING TO RIO, putting Ginger Rogers into the film was a no brainer. A new set of songs was produced, though the big hit from the stage play, "Night and Day," was kept. Otherwise the script followed the stage play almost entirely and one of the most popular actors from the play, Erik Rhodes, who was hysterical as paid correspondent Rodolfo Tonetti, reprised his role in the film. An absolutely perfect group of character actors was added to the mix. This film became the blueprint for all of the best Astaire-Rogers films. In a wonderful example of the weird logic of the censors, they were forced to change the title of the film. Divorces, they were moralistically told, could never be gay, though divorcees could be. Thus, THE GAY DIVORCE became THE GAY DIVORCEE. The film is remarkable on a number of levels. No film previously made featured so much extraordinary dancing. Most film dancing had focused on spectacular, heavily choreographed spectaculars, such as the productions we associate with Busby Berkeley. But Astaire insisted that his numbers be filmed with the camera only slightly above the angle of his and/or his partner's body and that his feet be visible at all times. This gives his numbers an intimacy that had never previously been seen in the film musical. The film also features many interior design innovations that would become even more famous in TOP HAT (e.g., Venetian blinds are so called not because they have any connection with Venice, but because they were used in the clean, new, and white Venice of TOP HAT). The dance numbers are all great, but none more so than "Night and Day." It was the first great Astaire seduction dance. In most of their films he has trouble interesting the somewhat aloof Ginger until he gets her to dance with him. Here he forces her to dance with him and at first she resists, making attempts to leave. But eventually she completely succumbs to his overtures and compliantly follows his every move. One of the secrets to Fred and Ginger's success was the way that you could follow the progress of the dance in Ginger's face. He was by far the greater dancer, but she was by far the greater actor and her face provided a perfect window into all that is happening. If there had been any doubt that what we were watching in their dance was lovemaking, all doubt is removed as the number ends with Fred gently guiding Ginger to a divan and then as she sits there utterly transfixed, gazing up at his face, he shifts his weight back, reaches into his jacket, and after pulling out a silver case, offers Ginger a cigarette. I remember reading a number of years back a film critic who wrote that the entire prior history of film would have been justified by their performance of "Night and Day." I don't disagree. ROBERTA Many are perplexed that in the follow up to THE GAY DIVORCEE Fred and Ginger take second billing to Irene Dunne. Surely they proved in that film that they were the stars of any film that they appeared in. The mystery is resolved when one realizes that work on ROBERTA began before the release of THE GAY DIVORCEE. Unfortunately, Irene Dunne and Astaire-Rogers were not a great match. Dunne's singing style was quite mannered and didn't mesh with the remarkably natural style that both Fred and Ginger employed (it isn't often noted that they didn't sing at all like the vast majority of thirties vocalists--their singing voices were a complete extension of their talking voices, while most vocalists of the period had much more mannered styles). Still, it is a pretty good film with a lot of good moments. There is one great tragedy: Fred and Ginger do not dance to "Smoke Gets in Your Eyes," the best song in the film. They would later try to correct this in THE BARKLEYS OF BROADWAY, but by then the time had passed. This is far from one of my favorites of their films, but I do enjoy rewatching it from time to time. CAREFREE This is not a great musical though it is a very good comedy. It is a commonplace that this is the film that Ginger completely stole from Fred. I think that is true. It also foreshadows her subsequent career, in which she would establish herself as a truly great comic actress. The musical numbers aren't up to the level of their other films, but the film is a complete delight simply because of Ginger's great comic performance. I really like the novelty number that Fred has in which he drives one golf ball after another. No one was better at incorporating props into dance numbers than Fred. Interestingly, apart from a rather comic kiss in front of Ginger's husband in THE GAY DIVORCEE, Fred and Ginger had never had a romantic kiss in any of their films. So, the idea was to have a dance number that would culminate in kiss. The number was shot in slow motion and when they finally kissed they held it for a normal length of time for a kiss. But slowed down they appeared to be locked in a kiss that would never end. They had to reshoot with a mere peck of a kiss that looked just right when slowed down. THE STORY OF VERNON AND IRENE CASTLE It is pretty much a toss up between this film and THE BARKLEYS OF BROADWAY for the dubious distinction of being the weakest Astaire-Rogers film. Today it is fairly baffling why there would have been a demand for them to portray another dance team and largely just recreate their dances. Today the Castles are remembered almost exclusively for having been portrayed by Fred and Ginger. It is a film worth seeing at least once (I've seen it three times, so I've tested this theory; once truly would have been enough). For a long while, it appeared that this was going to be Fred and Ginger's last film together and it was their last at RKO. But ten years later Judy Garland had to pull out of THE BARKLEY'S OF BROADWAY, and Ginger stepped in to take her place. Ironically, the film was to be a follow... Read more ›
19 of 20 people found the following review helpful:
5.0 out of 5 stars
Fred & Ginger in the 21st Century with Tremendous Extras,
By
This review is from: Amazon.com Exclusive Astaire & Rogers Partial Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Carefree / The Story of Vernon and Irene Castle) (DVD)
The box set is made up of clear plastic thin cases and measures 3 7/8" wide x 7 7/8" high x 5˝" deep, which is a real space saver for 12 discs (10 movie DVDs, 1 bonus DVD, and 1 audio CD). (If you purchase Volume I and the Partial Ultimate Collector's Edition separately, you transfer the five discs from the old DVD cases to the new thin ones. The wider ones do not fit.) Among the five DVDs, each comes with the feature film, a comedy/musical/vintage short, and a classic cartoon. Two have a radio promo; three have a theatrical trailer. The Gay Divorcee DVD comes with two vintage shorts, so you get six shorts on five discs. Unlike the first volume, there are no featurettes. Below are brief review/descriptions of the five feature films, vintage shorts, radio promos, classic cartoons, bonus material, and run times for each.
FEATURE FILMS Their first film together, FLYING DOWN TO RIO is the only Fred and Ginger (F&G) movie where they play supporting roles. The studio executives and the public did not yet know this couple's dance potential and powerhouse future. They only dance together once 43 minutes into the film (The Carioca). The movie is filled with several post-card quality shots of Rio de Janeiro and has more choreographed group dance routines and vocalists than you can shake a stick at. My favorite is all those girls dancing on biplanes while in flight, which is very creative. The romantic plot of the main characters, Belhina De Rezende (Dolores del Rio) and Roger Bond (Gene Raymond) and the subplot of the Greek investors are a little light but still held my interest. F&G's second film and their first as leading characters together, THE GAY DIVORCEE is the initial series of boy-chases-girl movies with comic misunderstandings, misgivings, and mistaken identity. F&G do the dancing, but Rodolfo Tonetti (Erik Rhodes) with his accent has the best one liners and password mispronunciations. The forgetful Hortense Ditherwell (Alice Brady) is a hoot. The musical number "Let's K-nock K-nees" is very fun and playful, even though it does not have F&G in it. Its tune is repeated in whistling near the beginning by a bellhop and near the end by canaries. In their previous movie "Rio" the dance craze was the Carioca; in "Divorcee" it's the Continental, which has a spectacular song, F&G dance, dance ensemble, and finale. If you want to see Paris fashions in 1935, F&G's third film, ROBERTA, is the place to see it. Among all F&G movies, the plot is more sophisticated and dramatic and less comedic. Ginger plays an act within her role: not just the sassy American blonde but also the sophisticated Russian Comtess. She even sings "I'll Be Hard to Handle" with a Russian accent. In that same number, F&G communicate with each other not with words but by taps on their feet. Almost every speaking actor/actress has a three-dimensional personality especially Roberta/Aunt Minnie (Helen Westley) and Johnny (Candy) Candido with his voice performances. However, Stephanie (Irene Dunn) has an excellent singing voice but is overrated and should not have been top billed. As a side note, if you pay attention, look for Lucille Ball as one of the fashion models (uncredited). In this eighth installment of F&G films, CAREFREE, Ginger displays her talents not only as a dancer but also as an actress and a singer. She performs all three simultaneously in The Yam. She causes mischief while under the hypnotic influence of Tony Flagg (Fred Astaire), throwing sticks and dinner rolls, breaking glass, driving erratically, and shooting skeet. The psychiatry is definitely unconventional, but it is a comedy after all. The slow motion dancing in the dream sequence is very smooth and kind of cool. A running joke where Aunt Cora (Luella Gear) keeps telling Judge Joe Travers (Clarence Kolb) to sit down adds a couple of more laughs. Typecasting prevails here; look for Hattie McDaniel (Gone with the Wind) playing a maid here, too. Their ninth film together and the last for RKO, F&G play real life characters VERNON AND IRENE CASTLE. Since the story is set in the 1910s, which is comparably a more "innocent" era, the dancing is not as sophisticated but just as elegant, because it's F&G. A typical biographical account, it takes you through various trials and conflicts throughout their lives. The movie has more comedy in the beginning but becomes more serious at the end, especially when Vernon joins the Royal Air Corps during World War I. All the characters are lovable, and you wish you could be there. It's also the only F&G movie where the principles are concerned about having enough money to make ends meet. VINTAGE SHORTS Even without F&G, these film shorts are consistent with the genre and were made close to the times of the feature films they accompany. "Beer and Pretzels" is a very early three stooges short with Ted Healy still with the comedy team. The slapping-of-the-face sound effects have not yet even entered the soundtrack. Just like F&G in Rio, Moe, Larry and Curly are in supporting roles. The four men cause havoc as waiters in a high class restaurant. Most of this short consists of song and dance routines of people I have never heard of. (1933, B&W, Run time 20:33) In "Show Kids" the proprietor of a dying vaudeville theater turns it over to his 12-year-old son, who invites a children's dance company to perform. It has some really cute dance numbers, and some of these kids have real talent and acrobatic skills. The picture has excellent Technicolor for its time except for a red shadow that appears in all the song and dance numbers. (1934, Color, Run Time 19:59) "Star Night at the Cocoanut Grove" takes place where the title says. A narrator takes you through celebrity introductions and various performances including a fashion show of different time periods, Rumba dance, hula dance, song by Bing Crosby, two big bands. Candy Candido's musical voice impersonations are very impressive. (1934, Color, Run Time 19:33) In "Starlit Days at the Lido" guests enjoy outdoor entertainment. Reginald Denny takes you through celebrity introductions and various performances, including one neat trick where a girl keeps pulling cigarettes from nowhere. (1935, Color, Run Time 19:16) In "Public Jitterbug No. 1" a group of "Feds" is out to catch Jitterbug Dancer #1. The tap dancing is superb. The cigarette and match-eating routine is a neat trick. (1939, B&W, Run Time 19:01) In "Happily Buried" two presidents of competing waffle iron companies want to marry each other but cannot agree on the shape of the iron in the merged company. As a publicity stunt, John Hubbard (Richard Wright) buries himself on display. Look for Tommy Bond, who played Butch in the Little Rascals. (1939, B&W, Run time 20:01) HOLLYWOOD ON THE AIR RADIO PROMOS The "Hollywood on the Air Radio Promo" is just what it says. It is just like a theatrical trailer for a movie except it is audio only, complete with crackles, pops, and varying playing speeds. A narrator pitches the movie and introduces you to excerpts directly from it. The Gay Divorcee includes "Looking for a Needle in a Haystack," "Let's K-nock K-nees," "Night and Day," and "The Continental." (Mono, Run Time 13:43) Roberta includes "Smoke Gets in Your Eyes," "I'll Be Hard to Handle," "Lovely to Look At," and "I Won't Dance." (Mono, Run Time 11:55) CLASSIC CARTOONS In "I Like Mountain Music" the characters in a department store come to life and perform. Most of them jump out from magazine and book covers and are caricatures of personalities popular at the time. (1933 B&W Run time 6:59) In "Shake Your Powder Puff" the animals of a farm put on a vaudeville show in the barn. A drunken dog causes mischief and is repeatedly thrown out. (1934, B&W, Run Time 5:59) In "The Calico Dragon" a little girl reads a fairy tale about a dragon, then falls asleep. She dreams that three of her dolls, a boy, a horse, and a terrier, enter the land of calico to slay a three-headed calico dragon. Good use of that pattern. (1935, Color, Run Time 7:57) In "September in the Rain" the labels of packaged goods in a general store come to life and perform. (1937 Color, Run Time 4:39) In "Puss Gets the Boot" a cat and mouse fight for household domination. It is a Tom & Jerry predecessor before they were called Tom & Jerry. (1940, Color, Run time 9:11) "September in the Rain" and "Puss Gets the Boot" both have a written preface commenting on how racist those cartoons are. However, the stereotyping did not bother me, and I would not have even noticed if they did not point it out. Nevertheless, I am glad they were sensitive about it. THEATRICAL TRAILER RUN TIMES Flying Down to Rio 1:29 The Gay Divorcee 1:18 Roberta 2:56 For whatever reason, the Carefree and The Story of Vernon and Irene Castle DVDs do not include a theatrical trailer. BONUS MATERIAL Bonus DVD (Astaire and Rogers Partners in Rhythm) "Featuring clips from all 10 films Fred Astaire and Ginger Rogers made together ... this glorious salute captures the sweat, determination, inspiration, talent, and scintillating chemistry that made the team an icon of elegance in motion. Candid photos, behind-the-scene tidbits and sidelights about such famed Astaire-Rogers collaborators such as Irving Berlin, Jerome Kern, George Gershwin, Hermes Pan, and George Stevens add to the fun ..." -excerpt from back cover. Most notable are interview snippets with Ginger from 1972 and 1987. Run Time 76:18 Bonus audio CD (Timeless Songs from the Original Soundtrack) As the title describes, tracks are taken directly from dance numbers in the movies... Read more ›
22 of 26 people found the following review helpful:
5.0 out of 5 stars
Thank you, Warner Home Video,
This review is from: Amazon.com Exclusive Astaire & Rogers Partial Ultimate Collector's Edition (Flying Down to Rio / The Gay Divorcee / Roberta / Carefree / The Story of Vernon and Irene Castle) (DVD)
Just wanted to thank Warner for providing this upgrade route for all of us who purchased Volume 1 last year. Of course, if they had issued the 11 disc Ultimate Collector's Edition first... But still, sincere thanks.
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