Nikki Martin, a beautiful French opera star, stows away on an ocean liner in hopes of escaping her jealous fiancee. Once aboard, she joins an American swing band and falls in love with its leader, who, after hearing her sing, eventually comes to reciprocate her feelings.
Bob Clemens is a cameraman for newsreels. Assigned to shoot the Swiss ice skater Karen Vadja, he arrives too late, so decides to film a woman skating on a different New York rink and pass her off as Karen. The scheme backfires when promoter Larry Herman takes a look at Bob's film and decides to make the skater a star. Unfortunately, it's actually amateur (and illegal immigrant) Marie Bergin in the newsreel footage, not the great figure skater from Switzerland. Chaos ensues as Bob tries to straighten everybody out.
Dulcinea seeks an eternal dream of justice, chivalry, protection of the wronged in real, everyday life but all her dreams fail to come true. All men to whom she turns for setting the out-of-joint time right fall short of her expectations because they are too small for the task. She is mocked, exposed and disappointed. So what to do? Somebody has to take Don Quixote's place.
As dancer Ginny Walker performs on stage, a veiled woman in the audience stands up, accuses Ginny of stealing her husband and then fires a gun at her. After Ginny collapses and is taken to her dressing room, the woman, Julia Westcolt, a friend of Ginny's, dashes backstage, discards her veil, and then congratulates her friend on their successful publicity stunt. When Ginny's press agents, Gus Crane and his son Junior, visit their client backstage, she brags about her feat and chides them for not being more creative in promoting her. Horrified at Ginny's brashness, Junior, a conservative Harvard graduate, chastises her and leaves the room.
The film concerns a family vaudeville troupe headed by patriarch Pete Monahan. Because of his love affair with the bottle, Pete manages to get himself and his family blacklisted from every major vaude house in the country. Though Pete's kids Jimmy and Patsy love their dad, they're forced to break away from the act and go off on their own to survive. Eventually, the whole gang is reunited in a shamelessly lachrymose musical finale.
The wild and woolly early days of New York -- when it was still known as New Amsterdam -- provide the backdrop for this period musical-comedy. In 1650, Peter Stuyvesant (Charles Coburn) arrives in New Amsterdam to assume his duties as governor. Stuyvesant is hardly the fun-loving type, and one of his first official acts is to call for the death of Brom Broeck (Nelson Eddy), a newspaper publisher well-known for his fearless exposes of police and government corruption. However, Broeck hasn't done anything that would justify the death penalty, so Stuyvesant waits (without much patience) for Broeck to step out of line. Broeck is romancing a beautiful woman named Tina Tienhoven (Constance Dowling), whose sister Ulda (Shelley Winters) happens to be dating his best friend, Ten Pin (Johnnie "Scat" Davis). After Stuyvesant's men toss Broeck in jail on a trumped-up charge, Stuyvesant sets his sights on winning Tina's affections.
Between 1993 (with the release of Dr. Dre's The Chronic) and 1996 (when 2Pac dropped both All Eyez on Me and The Don Killuminati: The 7 Day Theory), Death Row Records was the most successful label in hip hop, releasing a string of major hits featuring a distinctively laid-back but funky sound that took gangsta rap to the top of the charts. Death Row Uncut collects videos of 28 tunes that Death Row released during their heyday, including "Dre Day" and "Let Me Ride" by Dr. Dre and Snoop Doggy Dogg, "Gin and Juice," "Who Am I (What's My Name)," and "Murder Was the Case" by Snoop Doggy Dogg, "Natural Born Killers" by Dr. Dre and Ice Cube, and "To Live and Die in L.A.," "Hit 'Em Up," and "Dear Mama" by 2Pac. Death Row Uncut features unreleased live performance clips and uncensored versions of some videos that were softened for broadcast; it also includes an interview with label CEO Suge Knight, who has few kind things to say about his former co-workers.
Broadway producer Earl Carroll was a Ziegfeld-like entrepreneur who staged lavish revues featuring attractive young ladies. Carroll's annual "Vanities" provided story material for three Hollywood films: Murder at the Vanities (34), A Night at Earl Carroll's (40) and Earl Carroll Vanities (45). This last film was produced by Republic Pictures, a bread-and-butter studio specializing in Westerns and serials; Republic had made musicals before, but few of them were expensive enough to allow for lavish production numbers. Earl Carroll Vanities is likewise rather threadbare, though some of the individual musical highlights aren't bad. The plot, such as it is, concerns financially strapped nightclub owner Eve Arden, who finagles Earl Carroll into staging one of his revues at her club.
Three chords, three countries, one revolution...PUNK IN AFRICA is the story of the multiracial punk movement within the recent political and social upheavals experienced in three Southern African countries: South Africa, Mozambique and Zimbabwe.
This show is more of a tribute for the fans than any self-adulation on Davis’ part. It’s obvious form his voice when he speaks with the audience just how grateful he is to them, and just who it is he’s putting the show on for. The music reads like Davis’ personal selection of best-ofs, including several songs from ‘Queen of the Damned’ and ‘Spawn’ “Alone I Break”, one of Davis’ favourites, is a high point on the album, but of the 15 tracks on the ones I enjoy the most are “Last Legal Drug”, “Forsaken”, “Redeemer” and “Not Meant For Me.” This is a brilliant must-have for everyone who’s ever been a fan of Korn or Jonathan Davis as a singer and songwriter. From the gothic décor of the Union Chapel venue to the ornately carved throne Davis sat in for most of the performance, this was the perfect setting for the show.
Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.
Tony and some friends put together a rock band to do some concerts and earn some money. Unfortunately the military service is incumbent, but fortunately the boys will find themselves in the same barracks.