Ready for His Close-Up

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ALL THE LATEST DANCE REVIEWS RELEASES AND SHOWS READY FOR by doing good work,” he observed. Rather HIS CLOSE-UP than sensationalising such challenges, Marianka Swain salutes a forgotten Phillips offers a maestro of Hollywood’s golden age moving glimpse into a long battle. egendary Yet this is not a movie worthy read, but a L musicals pithy, affectionate director? You’re Above, rehearsing for the backstage tour. There thinking Vincente opening sequence of are detailed accounts Torch Song (1953), in Minnelli, Stanley which Walters returned to of Walters creating Donen, Gene Kelly – the screen at Joan timeless numbers like not Charles Walters. Crawford’s request Garland’s “Get Happy” But, as Brent Phillips this contradictory and tactfully handling argues cogently in figure: the star who temperamental stars; his illuminating new ceded the spotlight Astaire apparently book, that exclusion caught the attention to others, the self- complained endlessly is simply unjust. of choreographer deprecating man in a when trying Charles “Chuck” Robert Alton. Alton cut-throat world, the something new “as a Walters’ work has offered invaluable visionary renowned defence mechanism”, certainly left an mentorship, and the for generous but it was still an indelible impression. performer eventually collaboration. He exciting process: There are beloved, moved to the other addresses the “Well, hell, you were hugely influential side of the camera charge that Walters working with the films on his CV, in MGM’s “dream was a mere company best.” Phillips makes from Meet Me in factory”. There, he man, not a true a compelling case St Louis to High worked with greats auteur, suggesting for that superlative Society, plus Phillips like Astaire and that his lack of also applying to highlights uncredited Rogers, Judy Garland, signature style is a Walters. l projects like Gigi. Gene Kelly, Doris sign of commitment It’s a peculiarity of Day, Debbie Reynolds to individual projects. Charles Walters: history that the man and Frank Sinatra – Reticent The Director Who himself should have reportedly a director Walters did take a Made Hollywood slipped into obscurity. loved by actors. courageous stand in Dance by Brent Walters, a “born Phillips’ diligently living openly as a gay Phillips, published dancer” from researched tome, man in a repressive by University Anaheim, California, which draws on era. “I had to work Press of began as a Broadway letters and oral that much harder Kentucky, £31.95 hoofer, where he histories, teases out and hurdle the ‘evils’ 54 \ WWW.DANCE-TODAY.CO.UK Photographs courtesy of Brent Phillips .

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Leslie Caron
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Leslie Caron Photo: John Mann Location: London, United Kingdom Eye Colour: Blue Height: 5'1" (154cm) Hair Colour: Dark Brown Playing Age: Over 60 years Hair Length: Long Appearance: White Film Film, Suzanne de Persand, Le Divorce, Merchant Ivory Productions, James Ivory Film, Madame Audel, Chocolat, Miramax Films, Lasse Hallström Film, Regine De Chantelle, The Reef, CBS, Robert Allan Ackerman Film, Marguerite, Let It Be Me, Savoy Pictures, Eleanor Begstein Film, Katie Parker, Funny Bones, Hollywood Pictures, Peter Chelsom Film, Elizabeth Prideaux, Damage, Studio Canal, Louis Malle Film, Waitress, Guns, Malibu Bay Films, Andy Sidaris Film, Jane Hillary, Courage Mountain, Triumph Films, Christopher Leitch Film, Henia Liebskind, Dangerous Moves, Gaumont, Richard Dembo Film, Mother, Imperative, TeleCulture, Krzysztof Zanussi Film, uncredited, Chanel Solitaire, United Film Distribution Company, George Kaczender Film, Lucille Berger, All Stars Film, Dr. Sammy Lee, Goldengirl, AVCO Embassy Pictures, Joseph Sargent Film, Nicole, Nicole, Troma Entertainment, István Ventilla Film, Alla Nazimova, Valentino, United Artists, Ken Russell Film, Véra, The Man Who Loved Women, United Artists, François Truﬀaut Film, Céleste, Surreal Estate, Caribou Films, Eduardo de Gregorio Film, Katherine Creighton, Chandler, MGM, Paul Magwood Film, Sister Mary, Madron, Four Star-Excelsior, Jerry Hopper
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Boxoffice Barometer (March 6, 1961)
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Charles Walters: the Director Who Made Hollywood Dance Melinda F
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XVFIUQWNCL17 » Book < Charles Walters: The Director Who Made Hollywood Dance Charles Walters: The Director Who Made Hollywood Dance Filesize: 2.07 MB Reviews It is an awesome book that we have possibly go through. It is actually writter in straightforward words and phrases and not confusing. It is extremely difficult to leave it before concluding, once you begin to read the book. (Tierra Kunde) DISCLAIMER | DMCA 9ZGIGQJ078ST Doc // Charles Walters: The Director Who Made Hollywood Dance CHARLES WALTERS: THE DIRECTOR WHO MADE HOLLYWOOD DANCE The University Press of Kentucky. Hardback. Book Condition: new. BRAND NEW, Charles Walters: The Director Who Made Hollywood Dance, Brent Phillips, From the trolley scene in Meet Me in St. Louis (1944) to Fred Astaire and Ginger Rogers's last dance on the silver screen (The Barkleys of Broadway, 1949) to Judy Garland's timeless, tuxedo-clad performance of "Get Happy" (Summer Stock, 1950), Charles Walters staged the iconic musical sequences of Hollywood's golden age. During his career, this Academy Award--nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, Debbie Reynolds, and Frank Sinatra. However, despite his many critical and commercial triumphs, Walters's name oen goes unrecognized today.In the first full-length biography of Walters, Brent Phillips chronicles the artist's career, from his days as a featured Broadway performer and protege of theater legend Robert Alton to his successes at Metro-Goldwyn- Mayer. He takes readers behind the scenes of many of the studio's most beloved musicals, including Easter Parade (1948), Lili (1953), High Society (1956), and The Unsinkable Molly Brown (1964).
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Document generated on 09/24/2021 1:57 p.m. Séquences La revue de cinéma Lili (Fiche documentaire) Number 9, April 1957 URI: https://id.erudit.org/iderudit/52306ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review (1957). Review of [Lili (Fiche documentaire)]. Séquences, (9), 37–40. Tous droits réservés © La revue Séquences Inc., 1957 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SEQUENCES - No 9 - Avril 1957. LILI (Fiche documentaire) I - RENSEIGNEMENTS GENERAUX: 1. Générique : Film américain: 1952 - 80' Réalisateur: Charles WALTERS Scénario: Helen DEUTSCH, d'après une nouvelle de Paul GALLICO Photographie: Robert PLANCK Musique: Bronislau KAPER Chorégraphie: Charles V/ALTERS Marionnettes créées par Paul F» WALTCî! et Michael O'ROURKE Interprétation: LUI ..... Leslie Caron PAUL Mei Ferrer MARC Jn-Pierre Aumont ROSALIE . Zsa Zsa Gabor JACQUOT . Kurt Kasznar 2. Le réalisateur: Charles Walters naît à Pasadena, Califorhie. 'Tient, dans sa jeunesse, de petits rôles dansants dans des tournées de province, Tente sa chance à New-York. - Danse et joue dans plusieurs films mineurs. - Entre 1942-46, dirige les séquences de danse des films suivants: Du Barry was a Lady, Presenting Lily Mars, Meet me in St-Louis, Ziegfeld Follies.
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Judy Garland, Hedy Lamarr & Lana Turner in Ziegfeld Girl hat if M-G-M Records had expanded their popular “Those Glorious M-G-M WMusicals” soundtrack series to include complete soundtracks to musicals previously unreleased by the label? M-G-M Records released their first soundtrack album in 1947, well after many of the studio’s greatest musicals had been made. This left a void in their catalog. Some tracks from those pre-album films popped up on various compilation albums over the years, yet the label did not produce any complete soundtracks. When Rhino Records took over the catalog in the 1990s, they did provide several previously unreleased soundtracks, to the delight of soundtrack lovers everywhere. Even so, several films still didn’t make the cut and after some “glory years” Rhino Records ceased production of this series. his volume is the first in a new series of homemade soundtracks done in the style Tof those vintage M-G-M Records releases that so many of us enjoyed. Each of these homemade soundtracks release focuses on two or three films while others are themed compilations. In each case, we’ll include as much material as possible. ABOUT THE RECORDINGS ot all of the pre-recordings survive for both Ziegfeld Girl and Presenting Lily NMars, but luckily most do. This gives us the chance to flesh out the missing tracks by using a variety of sources including the soundtracks to the films themselves and radio promotional records. Due to the fact that MGM recorded their music in an early form of multi-track recording, what they termed “stems,” many recordings can now be presented in true stereo.
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