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SAMTHEBESTEST
Not interested to become a Critic, just want to become a Smart Viewer.
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Pocket Maar (1956)
Dev Anand's instant killer dose of crime drama that could kill every criminal in society.
Pocket Maar (1956) :
Brief Review -
Dev Anand's instant killer dose of crime drama that could kill every criminal in society. The 1950s were so inspired by Hollywood that every cliche or iconic scene felt repetitive. A man is a small-time criminal, but his mother (or sometimes lover, but mostly mother) isn't aware of that. She is living under the delusion that her son is an honest citizen of society and is earning honest money for his family. The most expected thing after this is that sooner or later, the mother will know about her son's true character. Of course, it will leave her devastated. But the next thing is more important, in my opinion. Will she forgive him or abandon him? Her decision is what makes the film powerful and rightfully so, because forgiving was not a smart option-cinematically or realistically. The man needs to be published physically, mentally, or spiritually. Pocket Maar is that typical story coming from Hollywood, but it might have been new, and you need it for the people who are unaware of English movies in India. Dev Anand plays a pocket maar named Roshan. As usual, there is drama, there is a villain, and there are songs, romance, tragedy, and a social message. Now that social message part, I am not sure how many people would get it. The last scene in the film isn't fully like your "happy ending." One needs to realize that Pocket Maar is more of a negative film for happy-ending lovers, but that's what makes it a film that makes a statement for emerging criminals in society. They should know that the money they are making to make their mother happy isn't what she wants. Then what's the use of this risky business, which hasn't gotten any respect in the first place? Dev Anand's film becomes an instant killer there. Rest, it's a typical Bollywood entertainer, but slightly dark. Nadira actually played a better part than Geeta Bali, man. How?
RATING - 6.5/10*
By - #samthebestest.
Paying Guest (1957)
How Nasir Hussain wrote such a "complete film" and how Dev Anand proved that he was the most charismatic romantic hero after Raj Kapoor
Paying Guest (1957) :
Brief Review -
How Nasir Hussain wrote such a "complete film" and how Dev Anand proved that he was the most charismatic romantic hero after Raj Kapoor. Gone are those days when Bollywood used to write a complete film by missing several genres, several subcontexts, and layers. Paying Guest has romance, comedy, family drama, tragedy, murder, suspense, courtroom drama, and social reflection of two kinds of humans, etc. Can't believe that all these things fit so well together in a single narrative. Hats off to Nasir Hussain Saab. The film starts off as a rom-com, as we have a young, jobless lawyer, Ramesh, trying to find a rented house. He falls in love with Shanti and then impersonates an older man to get a place in Shanti's house. The film shows us two kinds of women in our society: one believes in money (Daulat), and the other believes in love (Mohabbat). The first one marries an older man for money, and the other one, i.e., Shanti, is in love with Ramesh and happy without money. So, we have our first villain, Shanti's brother-in-law, a drunkard, and a trickster. The second villain is the same girl, who marries an old man and also happens to be Shanti's best friend. She tries to take advantage of Ramesh by offering him a job as her husband's assistant, and that creates differences between Shanti and Ramesh. Another conspiracy follows, taking the narrative in a new direction, and then we have a couple more turnarounds of murder and courtroom drama. Don't miss the suspenseful trick Ramesh plays on the court. I saw like 3 or 4 films together in one with a fantastic chemistry between Dev Anand (what a charisma he had) and legendary Nutan, and one of the most iconic songs ever, "Chod do aanchal zamana kya kahega." I think I had too much for my stomach. Thanks to the director, Subodh Mukherjee, for cooking it well.
RATING - 7/10*
By - #samthebestest.
Fatal Attraction (1987)
Serves the man right for infidelity with severe punishments of violent feminism.
Fatal Attraction (1987) :
Brief Review -
Serves the man right for infidelity with severe punishments of violent feminism. You can remember many movies where you see one of the partners having an extramarital affair and then being forgiven by the other partner. It can be a woman or a man, but my question is: why? Saying that "we are adults" can't be an excuse to have a sexual relationship with someone. Actually, the same "we are adults" thing should be a reason not to do it. It means you are mature and responsible. Fatal Attraction betrays this basic logic of relationships to create a war-like situation that reaches the ultra-limits of violence. A married man sees a woman at a party, and in their next meeting, he finds her attractive. Since his wife is out of town for a couple of days, he thinks that it is alright to have sex with this new woman. Why, bro? Would you have been okay if your wife had sex with someone else when she was out of town? Okay, so the woman and the man have fun and bid each other good-bye amicably. Wait, but the woman is not ready to let him go and is also pregnant. She begins stalking him, harassing him, and even trying to murder his wife. That's a new height for an extramarital affair, I guess. But somewhere, I felt it was right. The woman is terribly self-aware and stubborn. She constantly tells the man that you can't just leave me now after banging me whenever you wanted. You be good to me, I'll be good to you. This spoils his relationship with his wife, and rightfully so. He deserved it. But then, as always, we have that stupid reconciliation and all-is-forgiven stuff in the climax to make it a happy ending. That's so boring. I would have loved to see the man losing something or getting a trauma of a lifetime, and it would have become a lesson for every man who ever thought of cheating his wife. Gosh, what a golden chance the film missed. Satyajit Ray made a film on infidelity, "Ghare Baire" (1985), where the woman gets a lifetime of suffering at the end for the sin she committed. Fatal Attraction couldn't see it that way. Rest, a good one-time flick.
RATING - 6/10*
By - #samthebestest.
Field of Dreams (1989)
Another gem of an intellectual drama for Kevin Costner. You don't see peaceful fantasies being so soothing anymore
Field of Dreams (1989) :
Brief Review -
Another gem of an intellectual drama for Kevin Costner. You don't see peaceful fantasies being so soothing anymore. Field of Dreams starts off as a fantasy film with ghosts on the field, but soon becomes an interesting mystery as well as a human drama. The idea of one family seeing ghosts that others can't actually puts them at the fault and center of attraction (for the wrong reasons, of course), but eventually, you see them as eccentric but true-hearted people. It goes without saying that the actual good people are a bit mad too. So, the film is about a farmer, Ray, who hears voices and then cuts his corn to make a baseball field. As expected, the ghosts of legendary players from the past come to play baseball on the ground. Field of Dreams also deals very smartly with the surroundings and expressions of the 60s and 70s. The film explains how the world changed between these decades and, moreover, how the perception of people changed. That argument scene of Annie was so sweet. So, Ray now has to find a novelist (his favorite), who once gave an interview saying that he wants to see a baseball match. Ray goes on the journey to find answers and returns to find new solutions waiting for him at his home and in the field. The film begins with Kevin's voice, and I totally loved that. It's KEVIN COSTMER voice. I mean, come on. I can recognize it without seeing his face and liisten to it all day. Such magic he has, and such a gorgeous face. Performance-wise, we all know how talented he has been. These were his peak years, you know. He gave us so many gems in that period, so you better watch out for Field of Dreams with high expectations. Amy Madigan and Gaby were both cute. Phil Alden Robinson has made a heart-touching film with intellectual thoughts. That "Ray, it was you" in the ending was a masterstroke. See it, believe it, and experience it.
RATING - 7.5/10*
By - #samthebestest.
Norma Rae (1979)
Imperfect Norma Rae's fight for the perfect "trade union" at the textile mil
Norma Rae (1979) :
Brief Review -
Imperfect Norma Rae's fight for the perfect "trade union" at the textile mill. Based on Crystal Lee Sutton's life, Norma Rae is about a windowed woman working at a textile mill. Since there is only one job in the town, all the laborers, including herself, are being overworked and underpaid. A ray of hope arrives in the town when a union organizer from New York, Reuben Warshowsky, asks them all to form a union. At first, no employees show any interest, mostly because of the fear of committee members who are running the mill, but after some days, Rae begins to get the idea. She joins the campaign with Reuben, making her newly married life troublesome. There is something wrong with this lady, I felt. She was imperfect, and she was not ashamed of it. I mean, openly speaking about her platonic relationships in front of her kids was too bold and unacceptable. She also said that she found Reuben attractive (mentally) to her husband. The screenplay is slow, but effective, I'd say. The dramatic exploration of events could have been more crisp and engaging. Let's talk about the climax, for instance. The voting scene hardly lasted for 5 minutes, which should have been one of the major highlights in the film. Norma being such a spoiled and ungrateful woman doesn't let you feel emotionally connected to her. Rather, Reuben looked more of a gentleman, despite his illicit affairs. Sally Field is seen throughout the film, and her presence is felt strongly. Be it her cute face or expressions, you gotta love her. Ron Leibman was good, and so was Beau Bridges. The supporting cast was fine too. Martin Ritt's film is cheerful but too intense as a story. A little bit of comedy or fun would have made a difference, but then we again have to think: did this really need that? Maybe No. So, no major issues, except lacking repeat value.
RATING - 6.5/10*
By - #samthebestest.
Chandu Champion (2024)
Kartik Aaryan and Kabir Khan's Honest Efforts To Bring The Champion's Story On Screen
Chandu Champion (2024) :
Movie Review -
Kartik Aaryan finally gets into character-driven zones with Kabir Khan's inspiring tale, based on the life of Padma Shri recipient Mr. Muralikant Petkar, aka Chandu Champion. What the film deminded from Kartik and Kabir was a full submission to the craft, as the writing was already good since Petkar's life was so inspiring. It usually happens that biopics are safer than fictional stories because they have more realistic sense and more inspirational stuff to offer. Chandu Champion has a champion-like story coming from Muralikant Petkar's life, well-handled by Kabir Khan as the storyteller more than a director. His direction can still be at fault for those flaws we see in the film, but as a storyteller, he completely wins.
In the early 50s, kid Muralikant is taken to a Karad station to see Khashaba Jadhav as he returns from a historic Olympic win. Little Murali, unaware of things, decides to win the Olympic Gold Medal for India and enters Kusti ka akhada. Grown-up Murali (Kartik Aaryan) is teased as "Chandu Champion" by locals and is called Kaccha Limbu by his own coach. The perception changes when he beats the opponent Pahalwan in a fight that he was supposed to lose, and then he is ran out of the village, only to find a new direction for his career-the Army. In the Army, Murali is guided by Tiger Ali (Vijay Raaj) in the boxing ring and becomes a sensation at the Olympics. With Gold being so close to him, Murali loses his concentration due to the glamour and glitter around him and loses the final. In 1965's war, he is hit by 9 bullets but still survives, only to be left with paralyzed legs. Will he be able to complete his dream of winning gold for India?
With a considerable amount of fiction and a tell-me-the-same-story kind of presentation, Chandu Champion feels inspiring but repetitive. Vijay Raaj asks Chandu, "Kabhi suni hai aise stories?" The entire fault of repetitive cinema lies here in this line. What can we do if the stories are so similar to each other? There might be hundreds of Muralikant Petkars all over the world inspiring millions to "never give up," but in our Maharashtra, we only had one Muralikant Petkar, no? What's wrong with telling his story, even if it is similar to many others? This is where every director and screenwriter should work. They can define cinema through new lenses if they can summarize the same story in a different format, in different ratios, and in different ways. The ultimate truth should remain the same.
Talking about flaws, I didn't get how a man who has run out of a village in Langot can directly go to an army camp and get admission. Don't they ask for any documents? Also, the fact that the glitter disturbs your concentration doesn't seem like a big conflict in movies anymore. Even if we think about the 1960s, Milkha Singh went through a similar conflict, so Petkar could have easily avoided that (in real life and reel life, both). Didn't his married life deserve that one chunk of screen space? Besides these, I don't think there are any major flaws in the movie. It's a very good story with a sortable screenplay (which could have been better if we look at how Bhaag Milkha Bhaag and Dangal were handled). Khan's storytelling reminds you of his own previous works, if you look carefully. In 83's last scene, you see little Sachin Tendulkar on his brother's shoulder, and here you see a little girl on her father's shoulder waving at Padma Shri winner Petkar. I must say, that flashback trick is older than Petkar's real age, so Kabir Khan really needs to improvise himself there.
Speaking of performances, Chandu Champion entirely belongs to two people: Kartik Aryan and Vijay Raaj. Kartik finally gets to play a challenging role (since it's a biopic), which demands physical and characteristic changes throughout the narrative. He does well. But how well? Compared to his own previous works, I can confidently say that Chandu Champion is Kartik Aaryan's best performance so far. Yes, in some scenes he brings that old and natural Kartik to spoil the sculptor, but nothing damageable. No more rom-com mediocrity; no more of that chocolate boy tag anymore. He has destroyed that image at once. Vijay Raaj nails the role of Tiger Ali. He is bindass; he is fearless; he is hopeful; and he is funny too. Rajpal Yadav's role seems important but it has been showcased with a lot of mediocrity. "Yayich hai" and "Apunich hai" kinds of language didn't seem appropriate for the 1960s (for any character). Yashpal Sharma and Shreyas Talpade are wasted in cringe-worthy roles, while Ganesh Yadav fits well for that small role. I am not sure whether Bhagyashri Borse's role was really necessary here. A journalist being so close to contestants during lunch and practice sessions isn't plausible at all. Yet, she looked cute, and I personally wouldn't mind having such a lovely lady nearby (but it's cinema, and I am a critic after all). Talented Sonali Kulkarni gets a small role but does fine, as did the other supporting cast members.
Chandu Champion lacks musical finesse. I don't know from where that "Satyanaas" song appeared. The lyrics and the tone did not suit the situation at all. "Sarfira" was okay, but those situations needed a much more inspirational song. The cinematography was good, the sound design was decent, and the production value was high. Kabir Khan has proved that he can't really make a "bad film" every time (except a few), and the emotional pull he has is much better than that of other directors (except Hirani). Chandu Champion isn't his best work, but it's not bad or average either. Most of the credit goes to Muralikant Perkar's life because the story he has to share with us all is just INCREDIBLE. More than Kartik and Kabir, I really want to meet this man and salute him for whatever he has achieved in his life. Kis mitti ka bana hai ye banda? I really want to find out now.
RATING - 6/10*
The Spirit of St. Louis (1957)
The Spirit of Soorarai Pottru-7 decades before. A maverick flyer's story that inspired many pilots.
The Spirit of St. Louis (1957) :
Brief Review -
The Spirit of Soorarai Pottru-7 decades before. A maverick flyer's story that inspired many pilots. Billy Wilder has another fantastic film in his filmography, and this is unlike many of his works. He had a great mix of genres, yet I always saw his films in two categories: one having all the positivity and the other having all the dirty characters and making us realize what's wrong with us humans. The Spirit of St. Louis belongs to this positive category as it fills you with the passion and spirit that you need to achieve your goals, no matter how hard the path is. Based on Charles A. Lindbergh's autobiography, the film focuses on his historic 40-hour journey from America to Paris. Back in time, airplanes were used for mail services, but they hadn't developed enough for long rides. Lindbergh decided to make a plane that would fly from America to Paris in a single trip, without any stops, without a co-pilot, and without any rest. It was difficult, but he didn't. The good part is that the film does not waste any minutes on useless things and focuses fully on its content. The main context is the spirit of the flyer, and we see it throughout the film. Several flashback sequences appear during his journey, and I personally think they were displaced. It's not that those scenes were boring or useless; it's just the situation and the moment when they appeared. Imagine Lindberg flying his plane for hours, and we are feeling his restlessness, and suddenly the narrative takes you away from the cockpit and shows something that's too joyful or happy and not intense, contradicting its own impact. The entire film is ruled by James Stewart. He has been part of many great movies and has done many great roles, but this film must be very special, for every pilot has dreamt of going beyond limits, beyond achievements. Thanks again, Master Billy Wilder.
RATING - 7/10*
By - #samthebestest.
The Karate Kid (1984)
30 minutes of good Karate, 1 and a half hours of compromised teenage drama.
The Karate Kid (1984) :
Brief Review -
30 minutes of good Karate, 1 and a half hours of compromised teenage drama. John G. Avildsen's The Karate Kid is a film everyone wants to love, but some major things in the film didn't go well with me. It's not that I didn't like the film, but these childish flaws need to be pointed out. In two hours, we have 30 minutes of karate, including training sessions that come in bits and pieces, followed by a 10-minute quick roundup of the tournament in the finale. Let me take you to the last two major scenes: the boy knew he had a broken leg and yet used that leg to kick the opponent. How freaking childish that was! As expected, the opponent hit him hard. That one-leg standing balance was much-awaited, and it appeared only for what, 5 seconds? He should have fought the whole final match with that balance thing and had his opponent laid down in an on-sided encounter. That would have been much better for the viewing experience. Remember Drunken Master (1978)? How Chan destroyed the arrogant enemy in the climax. The Karate Kid could have been like that. I understand; you can't go too hard since the main character was a teenager. Also, I'd like to ask you: didn't that boy and girl look too young for such a meaningful romance? And the entire plot has to run on that. So sad. That one and a half hours felt too slow. I wish they'd cut that drama and romantic crap by 30 minutes more and made The Karate Kid a 95- or 100-minute film. Such action (or martial arts) films have been made in the 1970s, if not earlier, so I can say that this film was late by a decade. Done with flaws, not the plus points. This is a truly inspiring teenage action flick that also has a few lines to teach you about life. This is more like a teenage version of your favorite Rocky! "A license never replaces eye, ear or brain" will stay with me.
RATING - 6.5/10*
By - #samthebestest.
State of the Union (1948)
A Frank Capra dashboard of political gutter and satire.
State Of The Union (1948) :
Brief Review -
A Frank Capra dashboard of political gutter and satire. Several political dramas and satires from the 40s and 50s always look similar, and there is a reason for that. The country's political structure was/is such that you can't really go out of the White House and delegates stuff. State Of The Union is about an honest man entering politics who once hated politicians and never wanted to run for president, despite knowing that he would make a darn good president. His campaign begins with honesty, and politicians around him start hating. After a while, he becomes dishonest, and his wife quits the campaign, leaving a negative mark on his public image. She is asked to join him for a family photo with another lady, who is rumored to be his new girlfriend. This show turns against them, and then we see a change in the scenario, making things right again. Spencer Tracy and Katharine Hepburn have had a great record in Hollywood, but in this film, they play a distant couple. There is that soapy reconciliation, of course, but those conversations between them about honesty really look great. Hepburn plays a strong lady, a good wife, and a good mother. Tracy is an honest man turned into a dishonest politician. Angela Lansbury plays the rich dame who runs the show from the top, and she did look fine there. The film is about 2 hours long and seems to have stretched for 15 minutes. They could have ended the entire affair in 90-100 minutes. Those extra 20 minutes made it a little boring since I personally believe that Capra's flicks have always been damn engaging. Frank Capra's idea of selling goodwill has always worked for me. He did sell negative characters and mindsets sometimes, which I personally hated. Thankfully, this wasn't the one. It has that negative angle coming in, but the climax pulls strings off it. As a whole, a very good and entertaining political satire.
RATING - 7/10*
By - #samthebestest.
Stand and Deliver (1988)
An inspiring tale of math genius Jaime Escalante, who changed the lives of backbenchers with "Calculus."
Stand And Deliver (1988) :
Brief Review -
An inspiring tale of math genius Jaime Escalante, who changed the lives of backbenchers with "Calculus." Set in the early 1980s, the film tells the story of a math genius, Jaime Escalante, who becomes a teacher at James A. Garfield High School in East Los Angeles. The students there haven't been toppers ever, and the school authority knows that. Soon after math, Escalante wants to teach them calculus, an even more difficult subject. The other teachers ridicule him, but he takes that as a challenge because he is thinking about the lives and future of those working class students. "I am not worried about tomorrow. Tomorrow is just another day. I am worried that you are gonna screw up the rest of your lives, he says. The Ganas philosophy sounded interesting in the beginning, but it didn't get enough explanation in the narrative later. The students did look rogue in the beginning, but then surrendered easily. I don't know why. The girl who is always with so many boyfriends tells her mom, "I am doing this because I don't want to depend on some dumb guy." That was something! And I didn't really think that she was so serious about her studies. Escalante's dialogues were full of humor: "Of my Elizabeth Taylor," "Now it's gone with the wind, and all left is the good, the bad, and the ugly." He used movie names and old Hollywood celebrity names so smoothly to create organic gags. The film slows down a bit in the middle, and the climax indicates otherwise, even though we all could predict it. That girl left the exam for a scholarship. I didn't really get that. Overall, it's an inspiring film about an inspirational character who changed the lives of so many people. I have been a smart student myself, so I have experienced what backbenchers go through from the first bench. They need such good teaching more than us. The film stands and delivers more than enough.
RATING - 7/10*
By - #samthebestest.
Kiss Me Kate (1953)
A half-on-stage and half-off-stage twist to William Shakespeare's "The Taming of the Shrew."
Kiss Me Kate (1953) :
Brief Review -
A half-on-stage and half-off-stage twist to William Shakespeare's "The Taming of the Shrew." Kiss Me Kate recreates Shakespeare's popular play with actors, who also play the real-life characters in the film. That's a good twist, I'd say, because we have been used to screen adaptations but not ideas like these. Adapting a stage play into a half-on-stage version and then creating your own off-stage drama was really something. The film tells the story of formerly married theater actors who come together for the stage adaptation of Shakespeare's tale of the Shrew and her wedding. I liked the romantic commotions and all that reconciliation stuff that fit perfectly for a rom-com. But I didn't like the way it ended. Yes, it ended with the expected reconciliation, but it looked very immature and incomplete. I would have rather seen Lilli go away and Fred get back to his world of theater. It might not have been what the typical happy ending audience would have loved to see in a colorful musical romantic comedy, but the burn would have looked more meaningful there. It wasn't like audiences hadn't seen any sad and painful endings by the 50s. Lili's return was so quick and so unnatural that it took away a big chunk of the impact of the film from my mind. Rest, it was a full-on entertaining flick. The musical numbers were grand and colorful. The romance and comedy were delightful, and the supporting characters were joyful. Some scenes were written very smartly to increase the mess between the exes, but there was nothing to cover for that. Usually, we get scenes that clear up those misunderstandings, and the characters really feel sorry for what they have done. Here, you don't have anything like that, and that's why the film loses its merits by one full grade. Despite that, you'll enjoy it with moderate expectations.
RATING - 6.5/10*
By - #samthebestest.
Pat and Mike (1952)
Hepburn & Tracy again promote superior femininity a decade after "Woman of the Year," but this time in a good light.
Pat and Mike (1952) :
Brief Review -
Hepburn & Tracy again promote superior femininity a decade after "Woman of the Year," but this time in a good light. Katharine Hepburn and Spencer Tracy's popular pair teams up for a rom-com yet again, but this one has more sports. Hepburn and Tracy's Woman of the Year had a superior female character in the main lead, which was brought down by the MAN in the end. The woman got her lesson, after all. Imagine an even more superior woman than that, with the male lead being her guide to success. She is so superior that it looks impossible to have such a woman, such an all-rounder in sports. He tried to hire her for golf, but it was just a part-time sport for her, and she was equally good at tennis, shooting, and whatnot. Maybe it was exaggerated, but that's the fun part, you see. You need some USP for your character, and Hepburn's Pat had it. Tracy, aka Mike, plays her guide, manager, and promoter, and then there is another male character who works as her only weakness. This was some fantastic stuff, I believe. I mean, in my childhood, I used to believe all those things. Now, Mike has to sort things out for her, but she is all in for five-o-five-o rather than just being an obedient pupil. That brings them to a certain point where they find a solution, and it sounds funny out there. In the last scene, you can see how desperate Pat was to kiss Mike, but he stopped and made it a business "deal." That was my callback to some old trademarks of Tracy-Hepburn cinema. Spencer Tracy has done well, but I think this film belongs to Katharine Hepburn, as her character is too superior and overly talented. This was a typical George Cukor fun ride, but the way they have promoted superior femininity from the male's hands has surely boosted this sports rom-com. It does not amount to any kind of great experience, but it is surely entertaining.
RATING - 6.5/10*
By - #samthebestest.
Munjya (2024)
My question to makers: Taras ni aaya audience par?
Munjya (2024) :
Movie Review -
The fourth film in Dinesh Vijan's so-called "horror universe" is here, only to make us believe more proudly that there is nothing called the horror universe; they are just trying to cash in on Stree's goodwill. Actually, I'd like to forget that there were any horror universe movies after Stree (2018) and would love to directly see "Stree 2" as the second film if they really care about the "standard." Roohi didn't even fit in the universe zone; Bhediya was a shocking low for Amar Kaushik after Stree and Bala; and now, Munjya shows another low for the horror universe. What is a horror comedy, by the way? For today's audience, it's about mediocrities like Bhool Bhulaiyaa 2; for a certain group, it's Stree; for a little more mature group, it's Bhool Bhulaiyaa (2007)-if they couldn't really understand that pathbreaking impact of Manichitrathazhu; for higher-level movie buffs, it's Ghostbusters; and then comes the highest gallantry group of movie geniuses who love Gene Wilder's Frankenstein spoof or Abbott and Costello's horror spoofs or early breakthroughs like "The Ghostbusters" (1940) and "The Cat and The Canary" (1939) or the grandfather of all, James Whale's cult, "The Old Dark House" (1932). Those who acknowledged and ate all those films at weekend dinners can see how low Munjya is as a horror comedy. Today, horror is comedy. That's a statement to keep in mind. Horror and comedy are two different things and should be kept like that. If I try to shake them together, you are sure to spoil the juice. Munjya does that while trying to be overly funny and overly aggressive at the same time.
According to folklore in Maharashtra's Konkan coast, Munjya (the Bramharakshas) is believed to be the ghost of unmarried boys who died within 15 days of the "Mujya" ceremony, inhabiting peepal trees. Munjyas are described as restless bachelor ghosts who roam trees at night, possessing cleverness and multilingual abilities. Our protagonist, Bittu (Abhay Verma), is living in Pune but is haunted by bad dreams of a tree and a Munjya that's bound to it. He loves Bela (Sharvari) but never dared to tell her, making the path clear for Bela's foreigner friend. During his recent visit to his native place and, by mistake, to the Chetukwadi (a place where Munjya resides), he frees Munjya from the tree. This Munjya happens to be one of his ancestors, who wanted to marry Munni but died before that. Now, he wants to marry Munni, and Bittu is forced to help him. His search for Munni ends with Bela, who happens to be Munni's blood relative. So now Bittu must save Bela from Munjya by finding a way to kill the Brahmarakshas.
Munjya's script is scattered into pieces, and it's damn boring and predictable for today's audience. If Munjya was such a powerful ghost, then how can you show humans even trying to fight him like it was a college fight and having conversation as if he were their buddy? I can imagine a 15-year-old boy being too aggressive about marrying a girl and doing all that black magic stuff, but how can someone ask me to believe it's all done by a 10- or 12-year-old boy? Muniya's basic variant looked too underage to pull off the entire idea of the film. I couldn't figure out how Bittu found that beating stick after all in the climax. Wasn't it supposed to be lost with his dead grandmother? Firstly, he was a big-time fattu, and Munhya was a big-time goon, so the face-off wasn't really convincing. We all know that stuff about finding courage, finding our own strength, and all that. Many filmmakers have done that over a hundred times, including Sarpotdar himself in his own Faster Fene (2017) and Mauli (2018). Ok, so which mom goes on a trip with his son and his friends without any reason and at that place where she never wanted to come back? Those kiddish play games by Munjya at Bittu's house were so annoying. They just killed all the chances of me fearing evil. I was rather taking it as a spoof of Munjya and the terrible voiceover and characterization they have done here. Never for a moment, I thought that Munjya was going to scare me. Not even once.
Speaking of performances, Sharvari did look promising with Bunty aur Babli 2 and The Forgotten Army, but here, she seemed to be going down. Bela's character was poorly written, and moreover, there was nothing for Sharvari to add to it. It was just like she came on sets, shot her scenes as the writer wrote them and the director directed them, went home, and slept well. No extra efforts, because there was no place for that. Abhay Verma didn't look like a protagonist at all. He was more like a scapegoat who can't do anything, yet he remains alive till the end. You know, Munjya could have killed him within 2 seconds. Character-wise, it was full, but acting-wise, it was pretty okay. Suhas Joshi still holds enough fire, and Mona Singh couldn't find her fire. Sathyaraj is made into a cartoon here, and it's highly disrespectful to his stature. I was kind of expecting a lot of Marathi actors since the film was set in Konkan and it was being directed by Aditya Sarpotdar. I was happy to see so many Marathi faces, but sadly, they all went overacting. Overall, I can say that Munjya has to be the weakest and least known casting unit in the horror universe.
The music here is terribly disappointing. I still remember those hit songs from Stree. Roohi destroyed my childhood memories of Shamur, and Bhediya went away with a pretty good album. Compared to the previous films, Munjya has the weakest music album in the horror universe. The cinematography captured some beautiful shots of the Konkan coast and that remote island of Chetukwadi. Pune is easy to catch on camera, and it looked too intentional most of the time. Munjya's background score is painfully loud. A horror film can't go wrong with its BGM, but Munjya did. That's just not done. You can't F with this department-not even by mistake. The art design and production were partially fine, and the VFX was a mix of ugliness and gorgeousness. Sarpotdar's sasta Gollum is too poor to be considered a demon in a horror flick. But what to do when you have folklore telling you so? Still, I think the visual effects could have been much better and fancier. Munjya falls flat on both story and storytelling. Had these things been better, I wouldn't have minded much about the screenplay, background score, and acting. Lastly, I only want to ask one question to the makers: Bhai, taras nahin aaya audience pe? I hope, Stree 2 gives a new life to the dead horror universe now.
RATING - 4/10*
The Ex-Mrs. Bradford (1936)
William Powell's unofficial "The Thin Man" with the ex-wife's boost
The Ex-Mrs. Bradford (1936) :
Brief Review -
William Powell's unofficial "The Thin Man" with the ex-wife's boost. The Thin Man (1934) was a known film by that time, and RKO thought the sequel, After The Thin Man, which still had a few months to be released, would be eclipsed by this, but actually, Nick Charles' story did remain superior. Powell plays a doctor here-not a detective-yet he is made a detective. Instead of Nora, he has Paula, but they are divorced. Funnily enough, Paula strikes with her first appearance as a golddigger, and she, without any shame and with a lot of cuteness, asks Mr. Bradford for alimony. Before we can start hating her, she asks him to remarry her, and we know it's all comic stuff. Bradford is trying to get rid of her, but we can see he is just pretending. More than Bradford, it's Paula who's interested in solving murder mysteries. Bradford gets into a jam by chance, and now he must find the murderer to save his own neck. Meanwhile, Paula is having fun; she is always there-sometimes before anyone else-and she is smart too. Unlike Nora, who wanted to secretly follow Nick just to see him solve the case. The case here is also a bit tricky since there are several murders and the weapon here is damn too advanced. Looking at the weapon, I realized why Mr. Bradford was shown as a doctor in the film. You'll have fun, no doubt, but it's limited. William Powell does fine, and that was nothing that you didn't expect. Jean Arthur played a typical dame-cum-wife-cum-ex-wife-cum-mystery writer that we'd expect in any rom-com. The cuteness of this couple is what keeps things light and entertaining. The film is short and sweet. The only problem is similarizing itself with the iconic franchise The Thin Man, as we start building different and higher expectations than what this new attempt deserves in the first place. Nevertheless, Stephen Roberts has done well enough, if nothing great.
RATING - 6.5/10*
By - #samthebestest.
Murder, He Says (1945)
George Marshall gives a "glowing" touch to "The Ghostbusters (1940) days, minus Bob Hope hysteria.
Murder, He Says (1945) :
Brief Review -
George Marshall gives a "glowing" touch to "The Ghostbusters" (1940) days, minus Bob Hope hysteria. Remember James Whale's classic gothic horror-comedy "Old Dark House" (1932) and Bob Hope's "The Cat and the Canary" and "The Ghostbusters"? Murder, He Says is something like that, but you have no Bab Hope going hysterical with his trademark chatter and jokes. Of course, you can't have Fred MacMurray as his replacement, but this wasn't even supposed to be one of those comparisons. Look at it as a fresh film, and you have a super entertainer in front of your eyes. Murder, He Says is a mix of murder mystery and comedy, and then you have a slight touch of horror as well. MacMurray plays a trotter poller, looking for one of his colleagues who went missing. He goes to the haunted-like house of the nutty and murderous Fleagles family and finds himself in a jam. A dying granny tells him a secret of $70, 000 of bank loot, and he can't make a head or tail out of it. Bonnie, a jailbird who has had a successful jailbreak, is after the money and arrives at the house at the right time. Wait, do we have a real Bonnie? Let's not spoil the fun. So, things get mixed up in the house, and the search for money turns the family members against each other. Meanwhile, fake Bonnie has her own agenda, and we have a scientist with a powerful glowing liquid to make things mystical and intriguing. The script, the screenplay, and the character fit well in the funny mess together, and we certainly enjoy the chaos. Seeing Fred MacMurray in such a funny role was a big surprise to me. I have always seen him in intense and classy roles. Helen Walker brought that Bonnie accent well, but the character wasn't well-written. Marjorie Main was deadly, and Jean Heather sounded cutely dumb. Marshall's trademark scenes were visible here. He actually made them look different and did quite well there. Overall, a healthy entertainer.
RATING - 7/10*
By - #samthebestest.
The Sons of Katie Elder (1965)
A typical family revenge western from the near ending golden days.
The Sons of Katie Elder (1965) :
Brief Review -
A typical family revenge western from the near ending golden days. The 60s was the last decade to have quality western dramas with all that old-school drama, which actually started this genre way back in the 1930s. The Sons of Katie Elder is a revenge drama with a typical storyline, but the characters add some depth to it. The film is about the 4 sons of a dead woman, who return to the town for her funeral and find out that their mother's land was snatched before she had to move out of her place just ahead of her death. They later find out about the cheating their father had gone through when he lost the land in a card game. While these 4 seek nothing but revenge, a neighbouring woman tells them about their mother's wishes. More killings only lead to more killings, she says, and the eldest brother has a change of heart. At the same moment, the antagonist is planning to put them in a jam to save his neck, and then it becomes a perfect conspirational drama. It's a well-written screenplay, as we see things moving forward at a good pace, and all the happenings are genuine. A slight bushing of romance was visible, but thank God, they didn't touch it and kept the narrative about the four brothers, the villains, and the sheriffs. A few scenes go wrong methodically, but nothing out of mainstream proportion. The Duke plays the eldest one here, and he has done great justice to his role. He had that charisma, that attitude, and the style needed for someone to look like a man with no competition, but at the same time, he had to be sensible, tactical, and lenient while making good decisions in tight moments. Sadly, George Kennedy's role was cut short, whereas James Gregory shined as the main antagonist. The other actors have done well, and the direction of Henry Hathaway was pretty nice. What this film lacked was one memorable sequence and a few intellectual dialogues. Nevertheless, a solid Western.
RATING - 7/10*
By - #samthebestest.
Summertime (1955)
Another version of the classic "Brief Encounter" by Master David Lean in gorgeous and romantic Venice
Summertime (1955) :
Brief Review -
Another version of the classic "Brief Encounter" by Master David Lean in gorgeous and romantic Venice. If you have seen Lean's classic tale of tragic romance, Brief Encounter, then I have a spoiler for you. Just switch the gender of the person who leaves at the end. The train is there too, but instead of a refreshment room, we have a direct goodbye by the couple, with a bleak farewell. Summertime is set in Venice and is more focused on Venice than the ultimate fact of romance. I am not saying the romance is not there; it is there, but the essential explanation and detailing are missing. In Brief Encounter, we have several moments that define the romance between the couple and the bad consequences it can have on their personal and married lives. Summertime lacks that because one character is married and one is not. That makes it difficult to stand as a sensible film. A middle-aged girl, Jane, arrives in Venice and is stunned by its beauty. Feeling lonely all the time, she sees a man staring at her. After a while, they get acquainted and begin a passionate affair. Even though Jane knows that her trip may end sooner or later, she does not hesitate to carry on with this joyful affair. However, her dreamy romance turns into a nightmare when she learns that her boyfriend, Renato, is married. That was kind of predictable, looking at his age and the fact that he was living in Venice. "In Italy, things are different," he says, and I ask myself, "How much, bro?". Having an affair with a married man (separated) can't be okay for an American girl or even an Italian girl if we are looking at it as a serious affair and not a platonic thing. Lean didn't bother about making some more sense like he did for Brief Encounter, or else even this one would have been a great film like that one. Nevertheless, more than just a watchable affair.
RATING - 6/10*
By - #samthebestest.
Designing Woman (1957)
Does not disappoint mysogynists and feminists both in a healthy after-marriage comedy.
Designing Woman (1957) :
Brief Review -
Does not disappoint mysogynists and feminists both in a healthy after-marriage comedy. We have become used to the idea of two people falling in love and getting married quickly. After marriage, they realize that their friends, jobs, and lives differ a lot. It doesn't make much difference as long as they are in love with each other. But the love is threatened when they both learn about their previous lovers. Now, that's a game, and we have seen it in many movies over the years. Let's give it to Vincente Minnelli's "Designing Woman" for cherishing the idea for us. It is such a pleasant film, even though we have something like a previous affair in it. Mike, a sports journalist, meets, falls in love with, and marries Marilla, a fashion designer. Marilla earns more and is very posh, whereas Mike's life is a bit adventurous and lacks tidiness. Nevertheless, both love each other very much. Marilla receives a wedding gift from one of our clients who wanted to marry her. This makes Mike a bit jealous. On the other hand, Marilla suspects Mike of having an affair with an actress. Taking the mess forward, the actress, the client, and Marilla are working together on a project, raising Marilla's suspicion. Will they both be able to clean this mess up? Designing Woman is a clean family entertainer with no vulgarity or double-meaning jokes involved. Gregory Peck has done a good job as a surviving husband, while Lauren Bacall looked glamorous as his wife. In a few scenes, her face looked manlike, and I was shocked by it. I noticed the same thing about Dolores Gray. Mickey Shaughnessy played the hilarious and crazy part of Maxie. This two-hour film keeps you engaged and thoroughly entertained. Vincente Minnelli has made a sweet little gem of a comedy that certainly needs a higher buzz in today's times.
RATING - 7/10*
By - #samthebestest.
Nothing Sacred (1937)
Nothing special about Wellman's screwball comedy, even with Carole Lombard's typical hysterical chatter.
Nothing Sacred (1937) :
Brief Review -
Nothing special about Wellman's screwball comedy, even with Carole Lombard's typical hysterical chatter. Just a year before this, Carole Lombard starred in "My Man Godfrey" (1936), which is perhaps her most memorable comedy ever. That chatterbox character never looked so funny and dangling. She carries the same chattering accent here and tries to save this comedy, but alas. There is no enough substance in the end to make a good comedy. Wellman's comedy is about a journalist who is blamed for fake news and now wants to redeem himself. He learns about a girl who is dying of radium poisoning. However, just before he meets her, she learns that she has nothing to worry about. Yet, she goes to New York with the journalist just to get rid of her boring life in her small town. She becomes a sensation, a public hero, and an idol for every citizen of the city. As expected, the journalist and she fall in love, but what would they both do to hide the fact that she is not dying after all and the public will lynch them for playing with their feelings? Nothing Sacred seemed like a decent comedy in the first half, but it doesn't have a substantial storyline in the second half. The climax looks too stupid to believe. The only good thing about this film has to be Carole Lombard and Fredric March's performances. They couldn't share the chemistry because the narrative hardly has any scenes for them to romance each other, except that one kissing scene in the dark beside the river. The film feels depressive on occasions, but some of those crying scenes are funny too. It was too early to crack the idea of a comedy out of a dying person, and everyone around it is only weeping, so it was a fair attempt. William Wellman could have worked more on the story and gotten the climax right, and then it would have ended up as a "good comedy." For now, I'd say it's an average affair.
RATING - 5/10*
By - #samthebestest.
Double Wedding (1937)
The old madness of a true screwball rom-com that got the brilliant "Yumphs."
Double Weeding (1937) :
Brief Review -
The old madness of a true screwball rom-com that got the brilliant "Yumphs." I didn't know the meaning of yumphs, nor did I hear the word before watching this movie, but now I'll remember it forever. This is a true screwball comedy from the golden age of Hollywood, which certainly hasn't gotten its due over the years. I am a huge fan of 1930s screwball comedies, as I believe they set the stage for films to follow for years, and I don't need to tell you how popular the same mad comedies and rom-coms are, even today. This film has a mad plot with an illogical conflict that I'd care to forgive and go ahead with. The two people who lie about loving each other seemed too dumb about that one thing. Rest, every character has a nasty feel, and one or two got true philosophical sense. One such scene is the conversation between Lodge's ex-wife and Margit. "So he married you for your money?" asks Margit. "No. He left me for my money," answers Claire Lodge. That was some conversion. Mr. Lodge made a very likeable character for her. A free-spirited artist with no future is just living in the present. On the other hand, he is mingled with an exact opposite character-a rich and overly disciplined girl. Irene and Waldo are those stupid fellas you'd want to see in every screwball comedy, and I personally believe that such films are incomplete without such characters. I only think that the film was rushed in parts. The romance between Lodge and Margit deserved some more space, and I missed Lodge's philosophical advice to Margit too. Powell and Loy made a lovely pair yet again, and I am not sure how many times I have said this same thing before. Richard Thorpe's rom-com is honest to its genre, a complete screwball, nutty rom-com, and therefore a must-see for those who know this genre inside out. However, he missed a chance at a classic rom-com by a step or two, I guess.
RATING - 7/10*
By - #samthebestest.
Malliswari (2004)
"It Happened One Night" Indianised in K. Vijaya Bhaskar style. Belongs to those rom-coms that they don't make anymore nowadays.
Malliswari (2004) :
Brief Review -
"It Happened One Night" Indianised in K. Vijaya Bhaskar style. Belongs to those rom-coms that they don't make anymore nowadays. Bhaskar's filmography is full of remakes, and Malliswari just happens to be one, but unofficially and differs in parts. I enjoyed his Nuvvu Naaku Nachav, which wasn't a remake of any film, but I could see a lot of references from other movies. K. Vijaya Bhaskar knew the pals of Telugu audiences, especially family audiences, so he served them with his cinematic knowledge of commercial entertainers (clean entertainers too). We all know Frank Capra's timeless cult, "It Happened One Night" (1934)-Hindi audiences know it from "Chori Chori" (1956) or "Dil Hain Ke Maanta Nahin" (1991). Now, just remove a few elements here and there from the original, add Indian masala as per requirements, and you have your "Malliswari" ready. The girl is a princess, just like it was in the original, but the boy doesn't know about it until the first half is over. In the original, the boy knows it, and that's why he is with her. During the trip, they fall in love, and the girl realizes how important he is to her. The boy isn't after money; he saves her life, and she finally runs away from her wedding and all that.. You know all the stuff already, so I won't spoil much. The action and villain angles are new here, and that's why it makes a perfect family entertainer. Some emotional scenes do carry you away. I liked that one when Balu, the chauffeur, shows his respect towards Prasad and asks him to leave because he thinks that this man is too big for these small-hearted people. In reply, Prasad says, "You can ask for interest after lending money, but you cannot ask for thanks after helping someone." It won my heart there. Then, there was a typical speech by Malliswari, and it really worked on emotional levels. Overall, a nice adaptation of an iconic rom-com and a healthy comedy, if not a complete remake.
RATING - 7.5/10*
By - #samthebestest.
Presenting Lily Mars (1943)
Norman Taurog could have given a pathbreaking ending to the old "actor's" tale, but alas..
Presenting Lily Mars (1943) :
Brief Review -
Norman Taurog could have given a pathbreaking ending to the old "actor's" tale, but alas.. Presenting Lily Mars is the same old story of a girl aspiring to be a stage actress but isn't getting the chance. In a few films from the 30s, we saw the girl getting a supporting role, and then at the end, she gets the main role because the arrogant main actress has left the show. Lily Mars is the same girl here, and there is another same old angle of romance with the hero/maker of the show. Nothing new here, but the same tale is told in a funny manner here, which keeps you entertained. What Presenting Lily Mars does different from others is that it allows itself to go with a negative end, which makes it more logical than our typical happy endings. The girl is rejected for the role towards the end, and she is feeling low. But the director/her lover advises her to stay and take her old role back. "Do that maid's part like no one had ever done on the stage," he says, and I was clapping all the time for 5 seconds. As expected, she returns, making it a damn good film with an offbeat but more sensible ending. However, the next 5 minutes have the same old happy ending, and we are left with a typical watchable film after promising a pathbreaking theory of hard work (it would have destroyed nepotism too). I wish the film had ended there with that kiss and "Lily Mars" intro segment instead of her own grand show, and then, I would have called it a must-see. But alas... It goes on to be a typical, funny, and entertaining rom-com drama. Judy Garland with that hairdo was slightly better than her regular roles at the time. I haven't seen much of Van Heflin, so I'd say he was okay. Marta Eggerth was that arrogant main actress I was talking about, but even she had a nice change of heart at the end. Norman Taurog has directed many of my favorite flicks, so this was an easy job for him. This was more of a Ziegfield show than a Taurog show.
RATING - 6.5/10*
By - #samthebestest.
Love Is a Many-Splendored Thing (1955)
A tragic love story of an Eurasian girl and an American man amidst war
Love Is a Many-Splendored Thing (1955) :
Brief Review -
A tragic love story of an Eurasian girl and an American man amidst war. You know it's better to have your story set in a difficult time rather than using the difficult period as the major conflict to turn the story around. Love Is a Many-Splendored Thing is set during the Korean War and tells the story of an Eurasian girl trying to tackle the social norm of her identity. An American man falls in love with her, and they begin a passionate romance. Now, what bad could happen to them if you had to make surroundings look real and rational? Let's have it: the man is married, and his wife won't divorce him. The woman is a widow but won't give up her nationality or profession. Now that's some battle for a love story. They both have to find a getaway, which is, of course, a marriage, but what if destiny has different plans? They are ready to fight society and live happily as a married couple, but there is a lot that comes before getting married. Duty calls! That's one of the major scenarios here for both characters, and it looks plausible. There are typically romantic but breezy scenes, with the background music making them look mesmerizing. Some dialogues are too good. "If we didn't believe the unbelievable, what would happen to faith?" "So you're a reporter?" Asks she. He replies, "Please. A correspondent." "What's the difference?" He hits, "About $100 a week." I mean, just wow. Both characters are mature and educated (a doctor and a journalist), so we don't see any immature or illicit things or love affairs here. It's a love story for adults who believe that love is not just about the sex appeal and kisses the characters share on the screen but about the words and philosophies they discuss. William Holden was fortunate to have been part of some brilliant love stories that had tragic and meaningful endings in his time. Jennifer Jones looked good and did well. Henry King can always write his book with this movie in the first 10 pages.
RATING - 7/10*
By - #samthebestest.
Soshite chichi ni naru (2013)
Too many nuances of parenthood's ego, dignity, love, and expectations destroyed in a subtle family drama
Soshite Chichi ni Naru / Like Father Like Son (2013) :
Brief Review -
Too many nuances of parenthood's ego, dignity, love, and expectations destroyed in a subtle family drama. Like Father, Like Son reminded me of some of those parenthood tales I have been adoring for years, but for a big change, instead of one, we have two fathers, two mothers, and two sons here. That makes it different and more advanced. There are too many nuances to notice, and unfortunately, most of them will be overlooked by the audience because not all of them are verbal. The biggest plot twist in the film is the biological identity of the child. For me, the film isn't about it. It may be the major conflict of the narrative, but the actual potential of this moving drama is unfolded by small small nuances the writer and the director have captured through child characters. The child switch was too common, and it was easy to guess that the child wouldn't be happy with his biological father after all and would return to his parental father. Despite this highly predictable plot, the film manages to uplift itself from regular drama as it delves deep into human emotions and instant character changes that have no intelligent thoughts. "Now it all makes sense" was a dialogue that destroyed three lives in 2 secs. The father, who suddenly realizes why his child is not like him; the mother, who was receiving taunts already but is finally angry about it; and third, the child, who isn't aware of the egoistic character change his father and mother are going through. Having one family rich and the other poor, with the regular idea of "happiness can't be bought with money," felt pretty good here. The structure of a restricted family and an unrestricted, big family is explained very well. The only problem with the film is that the drastic and desiring change in the characters doesn't reach its peak or limit. The father wanted both sons and didn't really seem to understand what he was doing. A few things like these remain unexplored, but excluding that, you have a buffet full of unseen nuances here.
RATING - 7/10*
By - #samthebestest.
The Pirate (1948)
Judy Garland and Gene Kelly's underrated romantic musical will hypnotize you with its colorful romance, the pirate, the Caribbean, and enchanting setups
The Pirate (1948) :
Brief Review -
Judy Garland and Gene Kelly's underrated romantic musical will hypnotize you with its colorful romance, the pirate, the Caribbean, and enchanting setups. The Pirate has to be one of those colorful rom-coms that hasn't gotten its due. It did not bother the reputation of Vincente Minnelli since he has many classics to his name, but it's better to receive praise for something that's deserving than what's overhyped. You know it happens sometimes that you are watching a movie and you start predicting what's gonna happen next. Actually, you want those things to happen, and they actually happen in the movie. That satisfaction is something else. The Pirate gave me that satisfaction as a movie viewer. It may be that old formula of rom-coms, Don Juan, and Robinhood stuff, but the writer has tweaked it very nicely. Usually, we see the girl not knowing the real personality of the man she loves, and the man is actually the man of her dreams. That dream-come-true part comes in the ending to make things happy and cheerful, but in this movie, we have a twist to that old but adorable theory. The girl here is fooled by the man of her dreams, but the actual man of her dreams is worse than this man. That's a metaphor too, if you see it in depth. The musical numbers are enchanting, and the comedy factor works too. Garland was a beauty with a voice, and that's why there was no one like her at her age. She was sensational and will forever be. How gorgeous she looked here! Gene Kelly has another great role that's more in the female-friendly zone. Quite similar to some of his memorable roles and movies, but still something different. Vincente Minnelli has created a joyous musical romance that can lift your mood on any off day. The Pirate and the Caribbean were never so lovable with false identities. Sometimes reality is more beautiful than fantasy. The Pirate proved it with a lighthearted show.
RATING - 7/10*
By - #samthebestest.