Easter Parade

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Jeff
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#1 Post by Jeff » Sun Mar 06, 2005 2:28 pm

Scheduled for release March 15, 2005. Available individually, or as part of the Classic Musicals Collection.

Features:
* Commentary by Fred Astaire's daughter Ava Astaire and Judy Garland biographer John Fricke
* New digital transfer from restored picture and audio elements
* New making-of documentary: "Easter Parade: Beyond the Avenue"
* American Masters documentary profile: "Judy Garland: By Myself"
* Outtake musical number: Mr. Monotony
* Audio-only bonuses: radio production with the film's stars
* Radio promo
* Garland trailer gallery

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david hare
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#2 Post by david hare » Tue Mar 08, 2005 4:04 am

"Mr Monotony is a knockout and turns up on the "That's Entertainment 3" disc. But I th9ought it was originally cut from SUMMER STOCK? (Not that I'm complaining.)

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devlinnn
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#3 Post by devlinnn » Mon Mar 14, 2005 11:19 pm

Looks like the R4 (and therefore R2?) will only be one disc come April, with the dropping of the Judy Garlnd doc. etc. Thanks again Sydney, keep it up!

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david hare
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#4 Post by david hare » Wed Mar 16, 2005 10:58 pm

Aww Dev this not Sydney, this the morons who work in the Sydney office!I know Anthony Clarke already has a review copy for dvd.net (review coming) but I haven't spoken to him about the extras. They CANT drop "Mr Monotony"!!!!! My own copies due any day now...

On another subject. Does anyone know if MGM still has, or indeed ever recorded the musical numbers for the Freed Unit in multi-track stems? I note a 5.1 DD "remix" for BAND WAGON but it is unclear, like the 5.1 version of "Atcheson Topeka and the Santa Fe" on HARVEY GIRLS disc if these soundtracks are from original multi-stems or are electronic rejigs.

Also (another thread perhaps?) A fasinating discussion elsewhere on the joint choreographic responsibilities of Director Charles Walters and "Dance Director" Richard Alton on EASTER PARADE. Richard Ehrenstein suggests Walters did the Ann Miller close-shots for "Dancin' the Blues Away" and Alton did the wide shots. They were apparently also a couple. (blurred auteurial status here.)

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david hare
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#5 Post by david hare » Sat Apr 16, 2005 12:02 am

Just bought this (R4 version single disc).

As appears the case on Beaver the documentary is unavailable outside the US given the PBS rights issue (despite whcih the R4 cover lists PBS among the credits.)

As a movie I really think it's one of the least of the Freed productions. For one thing the Berlin score doesn't take off for me and is integrated into the movie far too late in the peace. I also find the Garland Astaire pairing quite uncomfortable. Apart form the shallowness of the relationship in the screenplay they simply look uneasy together, except for perhaps the "Couple of Swells" number. The outstanding number in the show for me is Ann Miller's "Shakin the Blues Away" which seems to belong in another movie altogether.
However glad I bought the disc for the "Mr Monotony" outtakes alone -for me this 21 minute slab is far more interesting than the actual movie. A couple things are clear from this, first Robert Alton's (Charles Walter's life partner's) name is up on the clapperboard as director; secondly Garland, who looks absoutely terrific is still a total professional, a real movie natural (how sad to see the lousy outtakes two years later from ANNIE GET YOUR GUN.) One minor quibble - I would have liked a separate chapter stop at 17 minutes to isolate the edit of the complete song.
As for the print!! Is this the most drenched Technicolor yet from Warner? (And the Monotony footage is equally gorgeous.)

BWilson
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#6 Post by BWilson » Sat Apr 16, 2005 3:17 pm

flixyflox wrote:As for the print!! Is this the most drenched Technicolor yet from Warner? (And the Monotony footage is equally gorgeous.)
Actually, while the transfer is fine, it does have plenty of age related artifacts, some technicolor misalignment, and was not restored using the Ultra Resolustion process (like Meet Me in St. Louis, Singin' in the Rain). But it looks just fine.

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david hare
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#7 Post by david hare » Sat Apr 16, 2005 6:16 pm

This is true (and BAND WAGON is also not ultra res) but they appear to have used original dye transfer prints which look the best I have ever seen. The misalignment in EASTER PARADE only seems to pop up twice, and briefly. Don't you think the saturation on EASTER PARADE is incredible?

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david hare
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#8 Post by david hare » Sat Apr 16, 2005 9:02 pm

Certainly all the press releases said this but intriguingly the covers of both titles don't mention the ultra res remastering anywhere. Simply states: "new digital transfer of restored...elements." Maybe someone can contact Feltenstein and clear this up.
These two titles don't actually look like the ST LOUIS or SINGIN' IN THE RAIN transfers. BAND WAGON in particular is a litle softer but it and EASTER PARADE look like real McCoy Technicolor IB prints. Believe me this aint a complaint!

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#9 Post by unclehulot » Sun Apr 17, 2005 12:09 am

flixyflox wrote:This is true (and BAND WAGON is also not ultra res) but they appear to have used original dye transfer prints which look the best I have ever seen. The misalignment in EASTER PARADE only seems to pop up twice, and briefly. Don't you think the saturation on EASTER PARADE is incredible?
Don't know why there is such confusion about whether Band Wagon was or wasn't ultra rez.... was it the Glenn Erickson's review on the DVD Savant site? I haven't seen the packaging, but it's odd that they wouldn't trumpet the process as other releases have.

BWilson
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#10 Post by BWilson » Mon Apr 18, 2005 1:29 pm

That press release is a lie. It's that simple. But this shouldn't hold anybody up from buying either film, they look fantastic.

unclehulot
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#11 Post by unclehulot » Tue Apr 19, 2005 10:45 am

This whole tempest reminds me of my days selling cds when certain customers would ask about the SPARS codes and refuse to buy a certain cd reissue if it were AAD rather than ADD. Back in that day MANY 78 rpm transfers were done on analog equipment, then transfered to DAT tape and mastered off this "master", thus ADD, but the code doesn't really reflect it. Was it a lie? I don't know. In any case, they listener could congratulate himself on being discerning enough to seek out the ADD code, but the same thing could have been issued as AAD, and the consumer would have no of being able to tell. That didn't stop some reviewers bullshitting about it, claiming to hear the benefits of an all digital transfer.

My friends, WE can't tell which process they used from hearing anymore than we can tell what Warner did on these discs. If you think you can, you're just kidding yourself and the rest of us.

So, I'd sooner believe what Harris/Feltenstein say in an interview, than some thing the marketing dept. does or doesn't include on the box of the dvd, or what some reviewer decides was the process used!!

BWilson
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#12 Post by BWilson » Tue Apr 19, 2005 12:21 pm

Sorry to get panties in a bunch. I'm basing my opinion of Easter Parade on the fact that, while it looks great, it doesn't look nearly as great as the other Ultra Res titles (Robin Hood, Singin', GWTW, etc.) Those transfers look unbelievable, Easter Parade just looks alright.

Let's put it this way. If Easter Parade is Ultra Res then I guess it proves that Ultra Res is not the "be all end all" of three strip restoration. Ultra Res did not make Easter Parade look like Meet Me in St. Louis or GWTW.

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david hare
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#13 Post by david hare » Tue Apr 19, 2005 5:23 pm

I actually don't agree this looks "less good" than the previous ultra-rez titles, I think it looks BETTER, in fact I feel the color saturation and grain give it an abosolutely film-like appearance, if not in fact a Techni IB appearance (I am old enough to remember routinely viewing real Tehcnicolor throughout the fifites sixties and early seventies.)
The same goes for BAND WAGON. In the transfer Warners appear to have softened the image ever so slightly so it is not as razor sharp as the other titles, but again the inky blacks, the vibrancy of color surpass any previous rendition of this movie.
Looking over the ultra-rez titles - SINGIN IN THE RAIN etc I feel these new titles are actually a step forward. I.e. they are definitely more film-like than the earlier transfers. I was re-reading an interview with George Feltenstein in DVD OBsessed and he remembers how we all gasped 10-15 years ago when they did a new Laserdisc and thought "it can't get better than this!" Of course they keep revisiting titles and getiing better and better! I don't care if they use ultra-rez or voodoo as long as they keep doing this!

BWilson
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#14 Post by BWilson » Wed Apr 20, 2005 11:56 am

I agree that it does look more film like. And in other words it doesn't look like the Ultra Resolution process.

I never said it looked bad, or that it didn't look like film, I said it didn't look like they used Ultra Res. Even you agree that it doesn't look anything like WB's eariler Ultra Res titles. They probably used a very good pre-print element.

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devlinnn
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#15 Post by devlinnn » Thu May 05, 2005 6:22 pm

Dear Ms. Ann Miller

Sorry, but I don't buy it. I've spent the last few days going back through dozens of books, I've watched the 'Shaking the Blues Away' number numerous times and discussed the topic with friends and a dance-crazy partner. Yet there is no proof, visual or verbal, to your story about back braces during the production of Easter Parade. I'm an expert at watching the female figure during heavenly routines such as yours, and there is no way you are wearing such a contraption. Sadly, there is no one around anymore who worked on the film to refute your claim, so congratulations on setting an embellished record for the ages. However, it's the sort of act that gives ammo to those who always felt you should have stayed in b-pictures.

Hope your still tappin', and send my regards and thanks to Ms. Garbo and Mr. Minnelli.

Love,
Devlinnn

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david hare
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#16 Post by david hare » Thu May 05, 2005 6:55 pm

I am definitely NOT an expert in the female form in motion! However! Maybe Ann wore the back braces for MULHOLLAND DRIVE.

(At a more ludicrous level I like the David Ehrenstein story that Bob Alton shot Ann's CUs and Walters shot the mediums for the number. At least Alton shot all the dailies for Mr Monotony.)

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Ben Cheshire
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Re: Easter Parade

#17 Post by Ben Cheshire » Tue Sep 29, 2009 5:19 am

I just watched this, inspired by its high praise in the latest Halliwell's "Movies That Matter" edition. What a stunning musical. And a great DVD from MGM. I hope its in works for a Blu soon; pm me if anyone finds out.

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Jeff
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Re: Easter Parade

#18 Post by Jeff » Tue Oct 23, 2012 5:43 pm

Blu-ray on February 19. As usual, Warner has dropped the nice poster art from the DVD release in favor of some Photoshop silliness.

felipe
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Re: Easter Parade

#19 Post by felipe » Wed Oct 24, 2012 6:15 am

That artwork looks awful. Everything looks terrible from the picture to the font.

Nevertheless, I'm glad it's even getting released. Great film, and some nice bonus supplements.

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