The Pirate
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Movie Reviews of The Pirate
Movie Review: Luscious Garland in brilliant farce--one of her very best roles.
Summary: 5 Stars
Though Gene Kelly is superb as the athletic strolling player Serafin, and is given some of the best dancing opportunities of his career, this is Miss Garland's film all the way. And what a film! How strange that it isn't better known.
In one of their rare moments of scenic largesse, Metro released Garland from the small town confinements of Hardy--ville, and/or the sweet girl who makes it to Broadway with the corn stalks still in her suitcase, and gave her something of genuine wit and sophistication.
For here, she is Manuela Alvarez, of the colonial Virgin Islands, a well born, cloistered 19th century maiden, (presumably convent educated, i.e., Gladys Cooper to Judy, "...we'll take refuge in the church!") whose only psychic escape from her self enclosure consists in fantasizing about the notorious pirate, "Mack the Black Macoco." That she is tricked into believing a dashing actor, Serafin (Kelly) is the real Macoco, while in fact he is none other than her lumpy affianced, Mayor Dom Pedro (Walter Slezak) is the spindle upon which this cinematic yarn spins its glories.
And what phantasmagoric glories they are! This ranks with "Yolanda and the Thief," (sorry "American in Paris" fans) as Mr. Minnelli's most accomplished Technicolor visual achievement. For working with Jack Martin Smith, he concocts a Caribbean sea port a swirl with color and characters--one can almost smell the salt air a waft with spice and languor, and including as well: a quay brimming with turbanned negroe vendors, a village of Salmon and off white stucco walls, and black filagreed wrought iron against a cerulean sky, and bevys of extras dressed in a fortune worth of rainbow colored moire, velvet and brocade flounces, furbellows, snoods, and gauntlets. The shaded interiors are replete with empire furniture, carved ebony, and bamboo blinds and palmettos.
The effect is dreamlike in an operetta sort of way and deliberately so. A storybook come to life but one which successfully combines the conventions of 19th century aristocratic propriety, (in which young women of quality do not walk out without their duennas) against 20th century show biz colloquialisms to great effect, (one thinks here of Mr. Kelly's delightful reference to a review in the "Trinidad Clarion comparing him to David Garrick","No Noose is Good Noose," and "You should try underplaying sometime."
The players are at the top of their form: Mr. Kelly is in full command of his powers here: his partnering with the Nicholas Brothers in "Be a Clown," as well as the "Pirate Ballet" (in which he pivots with a javelin against a cinnabar sky lit with explosions) almost literally take ones breath away.
But it is in "Ninia" that he achieves the most felicitous display of solo Terpsichore, with Robert Alton's choreography, Harry Stradling's fluid boom camera following his cat like moves over up and through the town, and the delightful Cole Porter lyric and melody, culminating in flamenco steps with torrid and tempting MGM contract dancers in and through the striped poles of a circular gazebo.
Of Miss Garland enough cannot be said. No more Betsy Booth! Manuela offers her a chance to broaden her range in a direction in which (sadly) she would never venture again.
Here her exasperated intonations wring humor out of every line and situation, "Oh Casilda I do wish you were a little more spiritual!" or "Do you call it fun to live in a tent? to go hungry ?, to be looked down on by all decent people?!" give full vent to the drollery the script affords. Indeed, she channels her trademarked nervous energy into her character in such a way, that she, (as "Parent's Magazine" noted in its review) gently spoofs some of her earlier film characterizations. Thus we get the Dorothy like: ("I know it, something dreadful is going to happen, something dreadful...") It's a performance that one cannot simply imagine any other actress playing. Thus, she claims the role and makes it her own.
And who can forget the scene where she pretends to believe Serafin is Macoco once she has discovered the deception, "I can see us now, you with your cutlass in one hand and your compass in the other, shouting orders to your pirate crew, and I, I spurring you on to greater and greater achievements, won't that be magnificent?!" to which she pounds her fist against the table with sugar dipped venom.
Musically she is also a delight from start to finish.
Moreover, she has never been seen to such pictorial advantage in the post war period as she is here, gowned by Tom Keogh and Madame Karinska in one of the most arresting (and beaded!) wardrobes she ever wore on screen, and just as importantly, effectively coiffed throughout, (most particularly in the "Love of My Life" sequence where she is adorned with a coral diadem and matching earrings.)
Similarly, her close-ups are meltingly lovely, such as the nightgown clad scene wherein she begs Gladys Cooper to take her to Port Sebastian, "I'll make him a good wife Aunt Inez--really." (what a vision in feminine charm she is here!) or slightly later when, clad in a broad brimmed straw hat she gazes upon the Caribbean, or perhaps best of all, with a conch shell at her ear, and under hypnosis, she whispers of Macoco to dazzled interlocutors.
Supporting players are top of the mark, and it is interesting to see Garland interact with Gladys Cooper and horror veteran George Zucco.
After it was completed, MGM relegated Garland back to formula vaudeville hokum, but thankfully "The Pirate" was already in the can. Musical film scholar Douglas McVay has declared it to be the best musical film of 1948. He's right. See it to find out why.
Movie Review: A wonderful musical with two of the best performers of all time!
Summary: 5 Stars
One Christmas about 25 years ago, one of our TV channels decided to show several Judy Garland films over the festive period. I had always loved The Wizard of Oz and Judy Garland's voice, so I decided to watch them all. Around the same time I recall seeing An American In Paris and loved this musical as well and Gene Kelly's performance was amazing. One film that I never managed to see was The Pirate and this has been frustrating me for years because I really wanted to see Garland and Kelly perform together.
As I live in the UK, most of these films are not particularly popular or readily available but the internet has now created far more access to foreign releases and this Christmas I thought I would see if some of those films I saw as a teenager were available on DVD anywhere. Sure enough I found several US released Garland films on Amazon and one of them was The Pirate.
Initialy I was apprehensive because I was hoping for a spectacular musical with wonderful sets, songs and performances but this film never seems to be talked about. I was not dissapointed however as I was soon glued to the TV, stunned by Garland's beauty and voice as well as Kelly's charm and performances and of course some wonderful sets. Perhaps the most enjoyable aspect of this film though is the bond between Garland and Kelly which is something that cannot be created upon demand, it is something wonderful that happens very very rarely!
One of the biggest surprises for me was the story line because the title is very suggestive of a tale of high seas and lots of swashbuckling. The actual plot however is far more imaginative and binds perfectly with the style of Garland and Kelly to create a most fantastic spectacle.
This must surely be one of the most underated films ever made! For anyone who enjoys musicals, amazing talent and wonderful sets then you must see The Pirate, a true master piece of it's time with two of the era's most loved performers and in my opinion, the best there has ever been!
Movie Review: Wonderful Musical
Summary: 5 Stars
I had never heard of The Pirate until I watched it on the TCM channel. I was delighted by it and I wanted to see it again. After i bought my copy of the movie, I shared it with another musical lover who also adored it.
Judy Garland and Gene Kelly made an excellent pair on the screen. A young girl is engaged to the boring, but somewhat dark mayor of the town. Of course, Manuela does not lve him, but instead has a wild cursh on a legendary pirate "Mack the Black". Then, she mets Serafin, who turns her world upside down. At first, she scorns him. When he discovers her secret crush, he does all he can to become the pirate of her passionate fantasies.
There are some wonderful singing and dancing numbers in the musical. My favorites are "Nina" and "Mack the Black". Gene Kelly and Judy Garland are brilliant in both numbers.
This muscal is both sweet and funny. I know that Judy Garland was in the midst of a difficult marriage with the director of film, Vincente Minnelli. When she she attacked Serafin with figurines, potted plants, and swords after she found out that he was dupping her, I like to think that she was getting her anger out. The part of the movie is the most fun.
I give this most two thumbs up.
Movie Review: "Judy/Gene" The Pirate-Sheer Brilliance
Summary: 5 Stars
I had the great fortune of seeing many old movies in the Los Angeles area Revival Theatres during the early 80's. The Pirate was one that really stuck in my mind.
I understand it was a bit too high brow for the level of the average audience sophistication of it's day but let me tell you......to see this movie today it is hard to comprehend how it did so poorly at the box office. Gene Kelly is a wow and does his numbers with great zeal. He is THE PIRATE. Not bad for a roving actor in the film. Judy is, as always, so believable and beautiful as Manuela longing for something more.(Mack the Black) is a showstopper.
The music by Cole Porter is very lyrical, the cinematography and color a sheer delight. My favorite scene is the funny fight between the stars. Of course we'll never see the destroyed footage of the Voodoo number but remember, adult (wild, risque then) is mild, old fashioned now.That doesn't mean it's bad too watch, just innocent by today's lower standards. So, the combination of music, stars, color and filming truly makes this a classic, top notch film. If these movies were rereleased today, I wonder what kind of new following or appreciation they might create?
Movie Review: Definitely underappreciated
Summary: 5 Stars
"Meet Me In St. Louis" is loveable upon first glance; during repeated viewings and studies, the many layers begin to peel away and you see how rich it is in both visuals and subtexts, and not necessarily the happy go lucky family movie that you initially see. "The Pirate" is a rare treat that begs for repeated viewings; it's exterior is not sugar sweet, and there are few quick fixes; it is definitely more for a sophisticated audience that can delve into all of the subtle humor and double entendres. Many already know the stories of the trouble production and the illness of leading lady Garland, so no need to rant on here about them. What matters is that Judy is in top comedic form, displaying the humor that she is known for off-screen. Gene Kelly phones in his usual smug performance, but makes up for it with the elaborate dance and ballet numbers. Although the songs are not Cole Porter's best, they are beautifuly sung by Garland and definitely memorable. The colors in this DVD are technicolor rich and the sound is full. The extras are fantastic, especially the commentary by John Fricke and the behind the scenes documentary.