In many ways, Lured is a kind of dark cousin to the jaunty backstage musical comedies that populated the 1930s. Lucille Ball stars as Sandra, a taxi dancer who spends her evenings getting fed stale one-liners from even staler old men. Throughout the film, she gets to wear fancy dresses, go on dates to the …
This post is part of the Classic Movie Blog’s Assocation’s fall blogathon: Planes, Trains, and Automobiles. Visit CMBA to see all the entries. The wide open expanse and often harsh climate of the western American frontier usually necessitated some mode of external transportation for those seeking to cross it; in film, the cowboy’s trusty horse and the clattering …
In case it’s not obvious, I’m sort of cheating on my That’s Entertainment watchlist, because I’m starting with all the movies that have multiple entries first, so it’s more satisfying to check off. This will catch up to me later, but for now it works.
The Barkleys on Broadway was kind of a delightful surprise, as I’d mistakenly assumed it was related to Babes on Broadway (because… words, I guess), so I was expecting a pleasant, frothy comedy with a few dances in it. But I was wrong! It’s actually a heady, emotional dramatic piece with some great character moments. Not that there’s anything wrong with either of these options–it was just a pleasant surprise.
Meet Me in St. Louis is part of the rare club in That’s Entertainment that has THREE numbers included, which means it must be good.
“The Trolley Song” is one of those great movie moments where, after growing up inherently knowing the song, you realize… so that’s where that comes from. Unless, of course, you watched Meet Me in St. Louis a lot as a kid, in which case you were probably the one spreading it around on the playground and teaching it to kids like me who would have a late-in-life epiphany moment like this. So, really, we’re all a part of the cycle.