![That's Entertainment III [DVD]](https://images-na.ssl-images-amazon.com/images/I/21x03V4mUjL._AC_UL160_SR160,160_.jpg)
![Seven Brides for Seven Brothers (1954) [DVD]](https://images-na.ssl-images-amazon.com/images/I/81X9SUpVwZL._AC_UL160_SR160,160_.jpg)
Jack Haley Jr, (son of the Tin Man), had been producing and directing popular documentaries about Hollywood since the early sixties for television. His next, in 1974, was to be focused on the MGM musicals. But when the studio heads saw the footage that would be included, they decided to expand it and release it in theaters. This was a genuine risk, since no one knew if the public would be interested enough in these old films to see them in a theater and not just on television. The risk paid off, as “That’s Entertainment” became not only a box office smash, but something that people talked about. For one thing, you couldn’t just see these films any time you wanted to as you can today. Though some turned up on television with so-so copies and lots of ads, many hadn’t been seen in decades. Also, the stars in the pictures were mostly known to both old and young as most of them had appeared on television shows over the years. And it turned out that after the stresses of the sixties and early seventies, the public was delighted to see films whose only purpose was to entertain.
The project was given a good budget and the best editing talent at MGM assembled the many parts. Haley wrote the script and some of the biggest stars were hired to introduce and narrate the various segments. The opening sections of all three begin with some really rare footage from musicals of the 1927-29 era. These had been locked away and still are, because they suffered from the limitations of early sound films and were rather corny and unsophisticated by later standards. The big musicals of the thirties followed, and here was the only criticism the film received. People said the film gave rather short shrift to Jeanette MacDonald and Nelson Eddy (about a minute or so of “Indian Love Call” from “Rose Marie”), the studio’s biggest musical stars of that decade. By the mid-70s, their romantic operetta style had long been out of date and seemed rather campy, so I understand their reluctance to go all out. I’m glad they made up for this in Parts II and III. For the record, in the 1930s, MGM had MacDonald/Eddy and added Eleanor Powell by mid decade to compete with Astaire. RKO was riding high with Fred Asaire and Ginger Rogers (a fact not discussed until Part III). Warner Brothers had the Busby Berkeley extravaganzas often featuring Dick Powell and Ruby Keeler, and Paramount had Bing Crosby.
After that it’s one great number after another. “A Pretty Girl Is Like a Melody,” a wedding cake-like fantasy was one of the studio’s most extravagant moments and is followed by clips from June Allyson in the forties to the heyday of the MGM musical in the early fifties. There are actors singing who’d you never expect, from Clark Gable to Jimmy Stewart and a lighthearted look at the “Hey, kids, let’s put on a show” musicals of Judy Garland and Mickey Rooney. Fred and Ginger finally do appear in an MGM film in “The Barkleys of Broadway” (1949) in an exquisite dance to “They Can’t Take That Away from Me”. That song had been sung by Fred to Ginger in “Shall We Dance” (1937) but without any dancing; that was more than made up for here with a dance that echoed the big romantic dance that was the peak of each of their earlier films. Astaire, Gene Kelly and Judy Garland are the largest presences in the rest of the first film, that of course includes major stops at “The Wizard of Oz”, “Meet Me in St. Louis”, “High Society” and “An American in Paris” The studio wisely used shortened versions of all but the most important numbers because here the point is the sheer amount of MGM’s musical production.
The first film was narrated from the ruins of MGM’s back lot, which was slated to be torn down to build houses; movies now were generally filmed on location and the real estate had become too valuable. Wait until you see Astaire’s once sleek Art Deco train station. With more by Ann Miller, Kathryn Grayson, Donald O’Connor, Debbie Reynolds and Lena Horne, it’s very much the definition of its title. Then there’s Esther Williams, who received a big renewal of interest after the film’s release. I think people had forgotten her swim films of the 40s and 50s but here they were in all their technicolor glory, especially the smoke and sparkler finale from “Million Dollar Mermaid”. And they even include a peek at the studio’s 25th anniversary lunch with “all the stars in the heavens”. You might note the lack of films from the 1960s. This could still be considered part of the classic era, but in the 60s, 20th Century Fox released most musicals followed by Warner Brothers. MGM had mostly stopped making them.
“Part II”, released in 1976, surely contains all the clips they had to leave behind after the first film had reached 2 ½ hours, and you can see that these were agonizing choices. This time it was directed by Gene Kelly and he narrates it with Fred Astaire. The clips include many of the same people, of course, but the new clips are as good as the first. Some newcomers include Ethel Waters delightfully singing “Taking a Chance On Love”, Doris Day (usually at Warner Brothers) singing “Love Me or Leave Me” and dancer Bobby Van doing a pogo-stick-like jump through town in “Small Town Girl”. Despite the vast musical output, MGM was primarily a maker of dramas and comedies and there is an attempt here to acknowledge that in clips which seem all too brief. But we do get Garbo in “Grand Hotel,” the Marx Brothers, Tarzan and Jane, Hepburn and Tracy, and Powell and Loy in the “Thin Man” series.
The third film wasn’t made until 1994 and seems to be aimed at classic film enthusiasts and film scholars rather than the more general audience. It features many scenes which were cut or reshot now seeing the light for the first time. It’s amazing how much the studio would spend on a number like “March of the Doagies” from “The Harvey Girls” with Judy Garland and hundreds of extras and then cut it. We see young dancers Joan McCracken and Ray McDonald and a cast of college extras in the big dance number, “Pass That Peace Pipe” from “Good Times. Lena Horne explains how the very idea of a woman singing in a bathtub alarmed the censors and resulted in cutting “Ain’t It the Truth” from “Cabin in the Sky”. She also goes into the fact that she was never in the cast but only was allowed specialty numbers (like being a nightclub singer), but the writers didn’t allow the explanation: her scenes could be easily cut from the film for showing in many theaters in the South.
The Blu-ray is excellent with great picture and sound, truly necessary for this kind of picture. The extras are good if not great and include Robert Osborne’s introductions on TCM, clips about MGM’s luncheon, the movie premieres and original trailers. Please note that this set does not include “That’s Dancing”, which is sold separately. If you’re into classic film musicals this is a real gift.
Enjoy fast, free delivery, exclusive deals, and award-winning movies & TV shows with Prime
Try Prime
and start saving today with fast, free delivery
Similar items that may ship from close to you
Page 1 of 1 Start overPage 1 of 1
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Reviewed in the United States on June 25, 2023
Reviewed in the United States on January 17, 2024
Reviewed in the United States on February 19, 2024
Reviewed in the United States on July 31, 2023
Reviewed in the United States on August 13, 2023
Reviewed in the United States on September 6, 2020
Reviewed in the United States on February 2, 2023
Top reviews from other countries
david brown
This really is entertainment!
Reviewed in the United Kingdom on January 15, 2024Rik Van Malder
What's entertainment in het Engels
Reviewed in Belgium on November 24, 2023BOMBERAULT MARTINE
Le parcours et la situation du produit
Reviewed in France on June 26, 2020