Pandemonium movie toothbrush7/21/2023 His deft comic delivery of one-liners, crazy facial expressions (just watch him lampoon the diction teacher in the glorious "Moses Supposes" bit) and exhilarating dance moves (the opening "Fit As a Fiddle" number with Kelly to name just one) throughout the film are just sheer film treats in any critic's book.Īfter the success of Singin' in the Rain, O'Connor proved that he had enough charisma to command his first starring vehicle, opposite Debbie Reynolds, in the cute musical I Love Melvin (1953). Although his self-choreographed routine of "Make "Em Laugh" (which includes a mind-bending series of backflips off the walls) is often singled out as the highlight, in truth, his whole performance is one of the highlights of the film. Yet if O'Connor had to stake his claim to cinematic greatness, it would unquestionably be his daringly acrobatic, brazenly funny turn as Cosmo Brown, Gene Kelly's sidekick in the brilliant Singin' in the Rain (1952). The story about an Army private who discovers that only he can communicate with a talking army mule, proved to be a very profitable hit with kids, and Universal went on to star him in several sequels. As an adult, O'Connor struck paydirt again when he starred opposite a talking mule (with a voice supplied by Chill Wills) in the enormously popular Francis (1949). Titles like What's Cookin', Get Hep to Love (both 1942), Chip Off the Old Block and Strictly in the Groove (both 1943) made for some fairly innocuous entertainment, but they went a long way in displaying O'Connor's athletic dancing and boyish charm. He co-starred with Bing Crosby and Fred MacMurray in Sing, You Sinners (1938) and played juvenile roles in several films, including Huckleberry Finn in Tom Sawyer - Detective (1938) and the title character as a child in Beau Geste (1939).Īs O'Connor grew into adolescence, he fared pretty well as a youthful hoofer, dancing up a storm in a string of low-budget, but engaging musicals for Universal Studios (often teamed with the equally vigorous Peggy Ryan) during World War II. Discovered by a film scout at age 11, he made his film debut with two of his brothers in Melody for Two (1937), and was singled out for a contract by Paramount Pictures. His parents were circus trapeze artists and later vaudeville entertainers, and as soon as young Donald was old enough to walk, he was performing in a variety of dance and stunt routines all across the country. He was 78.īorn Donald David Dixon O' Connor in Chicago on August 28, 1925, he was raised in an atmosphere of show business. This film is well worth your time and isn't the boring, stodgy take on biography that some might be fearing.Donald O'Connor, the sprightly, acrobatic dancer-comedian who was unforgettable in his exhilarating "Make 'em Laugh" number in the classic musical Singin' in the Rain, died of heart failure at the Motion Picture Country Home and Hospital in Woodland Hills, California on September 27. Also, the scene with frost forming on the window while Coleridge cares for his son Hartley, leading to one of his more memorable early poems, is a standout. The film is a bit odd at times, with jet trails moving across the skies of the 18th century, but it does a great job of getting at the creative impulse, showing the feverish bouts of imagination that gave rise to Coleridge's _Rime of the Ancient Mariner_ and the fragment _Kubla Khan_ (interesting that it shows an interruption by Wordsworth as the cause of STC losing his train of thought). I was reminded of a similar film, _Haunted Summer_, which portrays the meeting of Percy Shelley and Lord Byron. Then, suddenly, _Lyrical Ballads_ is finished and published and filled with Wordsworth's poetry! The performances are excellent, particularly Linus Roache as Coleridge and Emily Woof as Dorothy Wordsworth. Wordsworth goes to visit Coleridge and to collaborate with him, but can't seem to put a single word to paper. Wordsworth comes off very badly-he gives up on his revolutionary principles, marries a shrewish wife, and seems only interested in how he will be viewed by posterity. The film sure is biased towards Coleridge. I guess I thought Wordsworth and Coleridge were more friendly than this (and maybe they were) in reality. I saw the movie on DVD and really enjoyed it.
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