Jerome Robbins Movies
One of Broadway and Hollywood's greatest choreographers, Jerome Robbins helped change the face of modern dance with his breathtaking ballets and spectacular stage productions.Born Jerome Rabinowitz in Weehawken, NJ, his passion for dance began after watching his older sister, Sonya, dance. As a young man, Robbins dropped out of college to study dance full-time, and he became a professional hoofer in 1937. After working three years in various Broadway chorus lines, Robbins joined the newly formed Ballet Theater (later known as the American Ballet Theater); at that time, he was strictly a background dancer and only occasionally obtained small roles in classical ballet. As a choreographer, Robbins collaborated with composer Leonard Bernstein to create a more modern ballet sequence about a trio of sailors on leave in New York. The dance, "Fancy Free," was expanded into a full-length show by Adolph Green and Betty Comden, and retitled On the Town. Making its Broadway debut in 1944, the show's subsequent success led Robbins to an exciting second career as a stage choreographer. Though he continued to perform classical ballet until his retirement in 1952 at age 34, Robbins as a choreographer freely combined classical ballet with modern dance and jazz techniques to create a whole new way of interpreting dance that would earn him three Tony awards for High Button Shoes, West Side Story, and Fiddler on the Roof.
In addition to choreographing for other directors, Robbins also directed a number of distinguished Broadway productions; his direction of Fiddler on the Roof and the variety revue Jerome Robbins' Broadway earned him two more Tonys. Interestingly, he made his directorial debut not on-stage, but in the 1954 television adaptation of Peter Pan, starring Mary Martin. In film he choreographed The King and I (1956) and West Side Story (1961). He also co-directed the latter with Robert Wise and earned an Oscar for his efforts. Some of his stage choreography has been used in filmed versions of such productions as Gypsy (1963) and Fiddler on the Roof (1971). ~ Sandra Brennan, All Movie Guide
- 1998
- NR
Leonard Bernstein was one of the best known and most compelling figures to emerge in classical music in the 20th century, bringing symphonic music to a whole new audience, and this documentary follows his life and career from his first concert as a conductor in 1943 to his final one at Tanglewood. Reaching for the Note features rare footage of his concerts, home movies, selections from the Broadway shows he helped compose, and interviews with his friends, relatives, and colleagues, including Stephen Sondheim, Jerome Robbins, Michael Tilson Thomas, and Seiji Ozawa. ~ Mark Deming, All Movie Guide
Based on a Broadway play and featuring the Jule Styne and Stephen Sondheim score, this is a remake of the 1962 movie which was based on the memoirs of Gypsy Rose Lee, a stripper, depicting her life growing up in "show biz." ~ Tana Hobart, All Movie Guide
- Starring:
- Bette Midler, Cynthia Gibb, (more)
Norman Jewison's adaptation of the long-running Broadway musical is set in the Ukranian ghetto village of Anatevka (the film was actually lensed in Yugoslavia). Israeli actor Topol repeats his London stage role as Tevye the milkman, whose equilibrium is constantly being challenged by his poverty, the prejudicial attitudes of non-Jews, and the romantic entanglements of his five daughters. Whenever the weight of the world becomes too much for him, Tevye carries on lengthy conversations with God, who does not answer but is at least more willing to listen than the milkman's remonstrative wife Golde. After arranging a marriage between his oldest daughter Tzeitel and wealthy butcher Lazar Wolf, Tevye is forced to do some quick rearranging when the girl falls in love with poor tailor Motel Kamzoil. Fancying himself more broad-minded than his gentile oppressors, Tevye cannot accept the notion that his other daughter Chava would want to marry Fyedka, a non-Jew. And after shouting the praises of "tradition," Tevye must change his tune-and his entire life-when he and his neighbors are forced out of Anatevka by the Czar's minions. Topol's co-stars include Norma Crane as Golde, Yiddish theater legend Molly Picon as Yente the matchmaker, and Leonard Frey as Motel. ~ Hal Erickson, All Movie Guide
- Starring:
- Topol, Norma Crane, (more)
Romeo and Juliet is updated to the tenements of New York City in this Oscar-winning musical landmark. Adapted by Ernest Lehman from the Broadway production, the movie opens with an overhead shot of Manhattan, an effect that director Robert Wise would repeat over the Alps in The Sound of Music four years later. We are introduced to two rival street gangs: the Jets, second-generation American teens, and the Sharks, Puerto Rican immigrants. When the war between the Jets and Sharks reaches a fever pitch, Jets leader Riff (Russ Tamblyn) decides to challenge the Sharks to one last "winner take all" rumble. He decides to meet Sharks leader Bernardo (George Chakiris) for a war council at a gymnasium dance; to bolster his argument, Riff wants his old pal Tony (Richard Beymer), the cofounder of the Jets, to come along. But Tony has set his sights on vistas beyond the neighborhood and has fallen in love with Bernardo's sister, Maria (Natalie Wood), a love that, as in Romeo and Juliet, will eventually end in tragedy. In contrast to the usual slash-and-burn policy of Hollywood musical adaptations, all the songs written by Leonard Bernstein and Stephen Sondheim for the original Broadway production of West Side Story were retained for the film version, although some alterations were made to appease the Hollywood censors, and the original order of two songs was reversed for stronger dramatic impact. The movie more than retains the original choreography of Jerome Robbins, which is recreated in some of the most startling and balletic dance sequences ever recorded on film. West Side Story won an almost-record ten Oscars, including Best Picture, supporting awards to Chakiris and Rita Moreno as Bernardo's girlfriend, Anita, and Best Director to Robbins and Wise. Richard Beymer's singing was dubbed by Jimmy Bryant, Natalie Wood's by Marni Nixon (who also dubbed Audrey Hepburn in My Fair Lady), and Rita Moreno's by Betty Wand. The film's New York tenement locations were later razed to make room for Lincoln Center. ~ Hal Erickson, All Movie Guide
- Starring:
- Natalie Wood, Richard Beymer, (more)
- 1960
Mary Martin originally starred in the Jules Styne/Carolyn Leigh/Comden & Green musical version of James M. Barrie's Peter Pan on Broadway in 1953. On March 7, 1955, Peter Pan was restaged for television, live and in color, on NBC's Producer's Showcase. The telecast was so popular that it was repeated, again live, the following year. Blessedly, Mary Martin returned to commit Peter Pan to videotape in 1960; this version was first telecast on December 8 of that year. Forty-seven years old at the time, Martin is utterly enchanting as Peter Pan, the little boy who won't grow up and who whisks Wendy Darling (Maureen Bailey) and her brothers Michael (Kent Fletcher) and John (Joey Trent) out of their London nursery and off to Never Never Land: "First star to the left, then straight on till morning." Song highlights include "I've Gotta Crow," "I'm Flying," "I Won't Grow Up," "Neverland," "Ugg-a-Wugg" and "Hook's Waltz." As with the Broadway version, the staging and choreography was in the more than capable hands of Jerome Robbins. Cyril Ritchard shamelessly hams it up as the wicked Captain Hook, and also doubles as the more benign Mr. Darling. Both Martin and Ritchard re-created their Broadway roles, as did Sondra Lee as the incongruously blonde Indian princess Tiger Lily. Martin's daughter Heller Halliday also appears in the minor role of Liza the maid, while the whole wonderful package is narrated by Lynn Fontanne. Repeated several times into the 1970s, this full-color version of Peter Pan was put into mothballs for several years, then retelecast (complete with the old NBC Peacock logo) in 1989. For this return engagement, the play was edited to accommodate extra commercials; happily, the complete version of the 1960 Peter Pan is now available on videocassette. ~ Hal Erickson, All Movie Guide
The King and I, Richard Rodgers and Oscar Hammerstein's 1951 Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of The King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process). The culture clash between Anna and the King is but one aspect of their multilayered relationship. Through Anna, the King learns the refineries and responsibilities of "modern" western civilization; Anna meanwhile comes to realize how important it is for an Oriental ruler to maintain his pride and to uphold the customs of his people. After a successful evening entertaining foreign dignitaries, Anna and the King celebrate with an energetic dance, but this is cut short by a bitter quarrel over the cruel punishment of the King's new Burmese wife Tuptim (Rita Moreno), who has dared to fall in love with someone else. Despite the many rifts between them, Anna and the monarch come to respect and (to a degree) love one another. When the King dies, Anna agrees to stay on to offer help and advice to the new ruler of Siam, young Prince Chulalongkhorn (Patrick Adiarte). In general, The King and I tends to be somewhat stagey, with the notable exception of the matchless "Small House of Uncle Thomas" ballet, which utilizes the Cinemascope 55 format to best advantage (the process also does a nice job of "handling" Deborah Kerr's voluminous hoopskirts). Most of the Broadway version's best songs ("Getting to Know You", "Whistle a Happy Tune", "A Puzzlement", "Shall We Dance" etc.) are retained. None of the omissions are particularly regrettable, save for Anna's solo "Shall I Tell You What I Think of You?" This feisty attack on the King's chauvinism was specially written to suit the talents of Gertrude Lawrence, who played Anna in the original production; the song was cut from the film because it made Deborah Kerr seem "too bitchy" (Kerr's singing, incidentally, is dubbed for the most part by the ubiquitous Marni Nixon). When all is said and done, the principal attraction of The King and I is Yul Brynner, in the role that made him a star and with which he will forever be identified. ~ Hal Erickson, All Movie Guide
- Starring:
- Deborah Kerr, Yul Brynner, (more)
Three sailors on a 24-hour pass -- Gabey (Gene Kelly), Chip (Frank Sinatra), and Ozzie (Jules Munshin) -- decide to soak up the sights and sounds of New York. Each one finds romance within those 24 hours: Gabey with aspiring dancer Ivy Smith (Vera-Ellen), Chip with lady cabbie Hildy Esterhazy (Betty Garrett), and Ozzie with paleontology student Claire Huddesten (Ann Miller). That's all, right? Wellll....Ivy passes herself off as a celebrity, but she's actually a kootch dancer in Coney Island. Claire and the boys inadvertently topple a dinosaur replica at the Museum of Anthropological History. And Hildy breaks any number of speeding laws attempting to get the lovers together and straighten out all misunderstandings. Adapted from the Broadway musical by Betty Comden, Adolph Green, and Leonard Bernstein, On the Town is one of the freshest, most exhilarating musicals turned out by the old MGM regime. The stars' verve and camaraderie are contagious, and the songs are staged by legendary musical director Stanley Donen and Kelly himself with wit and innovation. Highlights include the opening "New York, New York" number, shot on location and flat-cutting from one image to another at a dizzying pace, and Gene Kelly and Vera-Ellen's ""Miss Turnstyles Ballet."" ~ Hal Erickson, All Movie Guide
- Starring:
- Gene Kelly, Frank Sinatra, (more)
