A little slight narratively and Kelly’s natural charisma kind of clashes with the pest pervert character he plays but… when you got colors and sets and costumes and dancing like that… well fuck. Minnelli really frames the movie as existing in the same realm as all of Paris’s oil paintings and orchestra and entire artistic history and, despite the artifice of his Paris, he sells it, ultimately culminating in that final ballet that feels boastful but also earned. Kelly and…
Finally scratching off that Bollywood blind spot with this one. Anyway, sick. Very much informed by the sensibilities of 2000-2002 Hollywood action (MI 2 comparisons are spot on but also Die Another Day and also XXX) with all of the artificial stunt work and indestructible heroes and dubious jingoism that they entail. All sustained by the impossible hotness and coolness of SRK and Padukone. A blast start to finish
Went into this expecting a screwball but found something a whole lot more gentle, melancholic, and sentimental which, if I understand correctly, was the source of some enmity between Sturges and Leiden. What can I say, I’m a sap and Leiden does a pretty good job of depicting a nice romanticized Christmas Americana. Plus Stanwyck, with very good supporting work from MacMurray, nails it- beautiful, funny, kinda sad work. Love it when she calls that guy a “fresh hick.”
I mean fuck. What’s there to say? The sense of spectacle and scale and revolution and being a tangible part of history and myth making is so fucking tangible here that the audience gets swept into the messianic delusions of the main character, right until all of that is deflated.
Anyway, what’s there to say? Just firing on all cylinders: O’Toole’s, Sharif’s, and Guinesses’s performances, Freddie Young’s cinematography, Anne Coates’s editing (that fucking match cut Jesus), Jarre’s music. Just everybody operating at the peak of their powers, it’s insane. New favorite