ThiefHott Too much of everything

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

weezeralfalfa I'd like to start off saying something unexpected. I was struck how much the basic plot resembles that of the previous musical "Belle of New York", also starring Fred, with another famous dancer: Vera Ellen, in Cyd's role. They both involve Fred taking on the challenge(why?) of trying to break through the thick ice of a beautiful, but emotionally repressed, young woman, who is always seen wearing a drab uniform. True , Cyd's character (Ninotchka) was a much harder case to crack, but eventually, Fred succeeded in both cases. In consequence, the singing(dubbed) and dancing of Vera-Ellen and Cyd is delayed compared to Fred's, and it takes time for their characters to fully warm up to Fred's lifestyle, including exuberant dancing. They both get a dance without Fred, in their bedrooms, when they first change from their drab uniforms into some sexy female clothing(including silk stockings). In both films, it looks like they will soon marry Fred at one point. But the woman then becomes disenchanted by something, and partially reverts to her old self until the finale, when their imminent marriage is again hinted. While the earlier film was set in turn of the century NYC, this film is set in contemporary Paris and sometimes Moscow. However, the combination of Fred and Janet Blair impart a significant American flavor to the film. Thus, two musical numbers lampoon the recent pop phenomenon of rock and roll, or several film enhancement technologies commonly adopted in recent times to try to lure potential customers away from their small- screen B&W monaural TVs, back into movie theaters. The present film is much longer than the earlier film, with a more interesting and complicated plot and more significant characters. However, we are stuck through most of it, even to the end, with Cyd's unpleasant arrogant robotic monotone Soviet persona, occasionally replaced by Janet Blair's blasé personality or snippets of Cyd's westernized personality. I would rate the songs in the earlier film as being, on the whole, better, while the dancing is more stimulating in this film. Cyd's solo dancing, in the several opportunities she is given, is especially interesting. There are an endless number of jabs at the stereotypical repressed lives of Soviets, half-truth Soviet propaganda about capitalism, and paranoia, to counter Ninotchka's constant criticisms of 'decadent' capitalism, as she saw it or had been indoctrinated to expect. At one point, Ninotchka, composer Boroff, and the 3 stooge-like commisars sent to bring him back from Paris, have returned to Moscow, reminisce about how they miss their brief stay in Paris, then stage an exuberant dance to music recently composed by Boroff, while singing that they have the "Red Blues": a nifty title. Comically, during this dance, a Soviet bureaucrat walks through the room twice, inducing all to revert to pretending they are discussing the virtues of communism over capitalism. Since Fred can't get a visa to visit Russia, he thinks up a trick to induce the turn of all to Paris...The overall theme of the film clearly is that the Soviet attempt to remake human nature to be interested only in basic survival mode and to only serve the interests of the state is flawed and will ultimately be rejected by real people.In the later part of the film, Ninotchka seemingly develops a split personality, occasionally succumbing to Fred's attempt to westernize her thinking and behavior and seduce her, but then reverting to her monotone Soviet personality. Seems like she mostly lets down her guard after she's had some Champagne. In the finale, she tears up her second plane ticket back to Moscow, after learning that Fred still wants to marry her, thereby presumably proving that even the seemingly most loyal adherents to the Soviet state, given the chance, will choose to live in a western country.The 3 clownish commisars sent to bring back the reluctant -to-leave-Paris composer Boroff rather remind me of the 3 sailors on leave in "On the Town". Jules Munshin served as one of the 3 in both groups, being much taller than any of the others. The choice of Peter Lorre and Joseph Buloff as the other two seems odd, as neither was musical and the singing of both was dubbed. Would have been interesting to have the Marx Brothers or 3 Stooges at their height in their places. But would have been considered overkill, I'm sure.I wonder why the screenwriters decided to subtly deride Esther William's acting ability in clearly casting Janis Paige in her likeness, with the implication that it was doubtful if she could carry a film that lacked her swimming ballets. Interestingly, Esther's long contract with MGM had rather recently been terminated. Seldom used Rouben Mamoulian, as director, was a controversial choice. His last film musical('48) was an expensive box office flop for MGM. However, he had directed some prior successful films , as well as the stage versions of "Oklahoma" and "Carousel". More significantly, he spent his youth in Georgia, where Stalin had also spent his youth. Thus, it was felt he could help provide a more authentic presentation of the Soviets.The non-musical "The Iron Petticoat" and "Jet Pilot", with similar themes of defecting Soviet women, were released about the same time, but were box-office flops, compared to the moderate success of this film.

Applause Meter Comparisons between this and the 1939 film "Ninotchka" are inevitable, but both films are entirely different genres and need to be evaluated on their own merits…or lack thereof. The 1939, Garbo-Douglas "Ninotchka" can be defined as a comedy/drama; the 1957, Astaire- Charisse "Silk Stockings" as a comedy/musical.Also… to those who find fault with the script as an unauthentic representation of Soviet citizenry circa the Cold War era… well…"Silk Stockings" is not meant to be a polemic on Communism, soviet style. It takes elements from Soviet life, exaggerates, and subverts the realities for comedic effect. We're talking comedy here, not documentary. Fred Astaire, as Hollywood producer Steve Canfield, here is an older Fred than we are used to seeing and although given star billing, the film is more of an ensemble effort. Cyd Charisse, as Ninotchhka, is tasked with playing a prudish, repressed, literal minded Soviet official. Ninotchhka, a personality manufactured by political propaganda is more of a one- dimensional caricature, a role that doesn't require great acting skill and Charisse manages her role with facility. Together Astaire and Charisse make a good dance team but the choreography is lackluster and pedestrian. Astaire at age 58 still demonstrates vitality but he's taking it easy here… nothing physically innovative or too rigorous. There's no Fred wow factor that would serve to add another jewel to the King of Dance's crown.Peter Lorre, one of a trio of Soviet commissars come to Paris to waylay a Russian composer's defection to Hollywood, diverges from his familiar portrayals. Formerly inseparable from characterizations of the sinister, sly insinuator here he's an engaging, chubby comrade/sidekick. Janis Paige was a ubiquitous, popular name in entertainment in the 1950s. She's the crass exhibitionist, Peggy Dayton, a concoction epitomizing the Hollywood star factory; she's a proxy for the over the top, gaudy commercialism of the Capitalist System. Her movie star is a manufactured product famous for showcasing her talents in the type of movie called water spectaculars, most commonly confined to swimming pools or sound stage sets mimicking exotic, fanciful lagoons. A not very flattering homage to Esther Williams...maybe?In "Silk Stockings" Cole Porter has given us song lyrics that seem forced, applied with a heavy- handed manipulation agonized over. The tunes are not memorable. Overall, there's a turgid gimmickry at work here, lacking the easy, almost effortless, sophisticated grace of his best work. This musical score is not representative of the best compositions in Porter's catalogue of memorable work. The most glaring bungling occurs in the cinematography and lightening. The camera work throughout is woefully uninspired, filmed predominately using medium shots, every scene is framed in a relentless monotony lacking visual variety. The unimaginative lightening only emphasizes the camera's deficiency further bathing everything in a uniform bright light, without nuance, shadow or mood. The result presents everything as if a flat page in a picture book. These "lazy" production values extend to the costumes and set décor as well where Technicolor is not used to advantage. The entire movie has a flat dullness, and drabness to it all. It might as well have been filmed in black and white. After finishing "Silk Stockings," Astaire didn't make another movie musical for ten years. After viewing the finished product, it's no mystery why he made that decision. All this being said… this is not the worst musical ever made, and can offer some entertainment value. Just sit back and enjoy the effortless charm and courtliness of Fred Astaire and the gorgeous Cyd Charise. What woman wouldn't want her figure and those beautiful, sculpted long legs?!

MartinHafer Rarely have I seen my wife and oldest daughter hate a film as much as they hated "Silk Stockings"! I didn't think it was that bad, but I did understand SOME of their feelings. It sure should have been a lot better! "Silk Stockings" is a musical remake of "Ninotchka". Now that is a serious problem, as this Ernst Lubitsch film is a wonderful classic--a film that is very, very hard to top. But the film didn't even come close to the quality of the original for many reasons--though the biggest one is the music. Too often, the romance or comedy of the film grinds to a severe halt when the musical numbers intrude--and they did intrude! Few of the song and dance numbers were that good or had much to do with the film, but the tempo was even more seriously a problem. While the film is a sweet little plot--the songs are often HUGE production numbers. The fit is all wrong. And you know it's a problem when Fred Astaire is totally lost in the process! On top of all this, the characters are way too cartoony and silly to work. Overall, I see no need to see this one considering that "Ninotchka" is light-years better!

mark.waltz The 1955 Broadway musical "Silk Stockings" is one of the few hit stage shows that has not (as of yet) had a major New York revival, even at the City Center Encores. One of the reasons is probably its dated communist propaganda spoofing, something as gone with the wind as the south of Tara and Rhett and Scarlett. But we have this movie version of the musical, and if we don't get the original cast (Don Ameche, Hildegard Kneff and Gretchen Wyler) we do get more than acceptable substitutes (Fred Astaire, Cyd Charisse and Janis Paige) instead. After their pairing in "The Band Wagon" in 1953, it seems inevitable that the team of Astaire and Charisse would be re-teamed, something that other than Fred & Ginger for 10 films had happened with Rita Hayworth for 2 films. When "Silk Stockings" was adapted for the screen, only Cyd Charisse of MGM's musical stars seemed capable of playing that part, even if her acting was nowhere near the quality of Garbo's."Silk Stockings" is of course a musical version of the 1939 romantic comedy "Ninotchka", and was the final Broadway musical of Cole Porter, the genius behind "Anything Goes", "Kiss Me Kate" and "Can-Can". An original Broadway cast album reveals a charming, if not remarkably sung musical score, with pleasant romantic tunes such as "All of You" and "Paris Loves Lovers" added to the snappy comic songs "Stereophonic Sound", "Too Bad" and the show-stopping "Siberia", which is up there with "Kiss Me Kate's" "Brush Up Your Shakespeare" as a classic song for the comic supporting players. Then, there's the big dance number, "Red Blues", which in itself isn't anything outstanding, but an excuse for the chorus to get out there and do all sorts of high kicks and traditional Russian dance moves. (The lyrics basically continue to repeat themselves over and over, as if a skipping record, but getting wilder and wilder. With Cyd Charisse dancing, it ends up the hot spot of the film.) The story of American film director Steve Canfield in Paris to film his latest epic has a Russian composer defecting, sending in Russian agent Ninotchka to bring him home. She finds she loves the capitalistic society and the lights of Paris, and even more so, the charming American man who tells her that they were fated to be mated. But her duty calls her back, and the lovers part so Canfield utilizes the Russian defectors sent prior to Ninotchka to bring her back for the final fade out. Among those men is a comical Peter Lorre who sings and dances for the first and only time, or as some may say, screeches and shakes a leg. Sultry Janis Paige takes on an Ann Miller type role as the American movie star Peggy Dayton and steals every scene she is in. Paige ironically didn't get to repeat her Broadway role in "The Pajama Game" the same year, but when you're dancing with Fred Astaire, why quibble? (Ironically, she would co-star with her replacement, Doris Day, in "Please Don't Eat the Daisies", whom she had ironically appeared with in Day's first film, "Romance on the High Seas").Porter wrote a new song for the movie, "The Ritz Roll and Rock", a spoof of the rock music of the time, combining it with Astaire's traditional white tie and tails. The song is not a classic, but with Astaire's charm and the MGM glamor treatment, it ends up a lot of fun. When Paige and Astaire get together to honor the new trend of glorious Technicolor, breathtaking cinemascope and stereophonic sound, you will grin from ear to ear with the cleverness of the parody of advances in Hollywood movie making. This will never beat the charm of the original movie, but there is a lot of fun to be had in it, and Astaire and Charisse have more chemistry than some of the much younger women he had been co-starring with in some previous recent movies.