NinadeL

A series in the style of Magnificent Century.

I grew up frustrated with shows that didn't have an ending for various reasons, which was pretty common in the 90s. That's also why I'm so pleased with the show's ending, which received a carefully planned finale after six years. There are a number of guest appearances by old friends (basically replacing popular events before Covid) and pop culture-style catchphrases: "You'd think in another life I was a Kryptonian." - "Only in a movies." Individual themes include a beautiful lesbian wedding and an outline of Kara Zor-El's story in the years following her public coming out. Anyway, Supergirl isn't ending, Melissa Benoist is just taking a break, and the comics and movies will keep coming.

Like many times before, I enjoy the local ignorance. Watching The Sword and the Rose from the Disney studio (1953) as regular TV filler requires a very large portion of disinterest. Misunderstanding thus often logically follows. The film is based on Charles Major's 1898 novel "When Knighthood Was in Flower," which was successfully reprinted for the next decade and inspired numerous adaptations, including the great 1922 film starring Marion Davies. It is even a novel that has influenced the entire genre of historical romance in many mediums. In this context, then, the modern color version seems to be an almost ideal film.

It's a little sad to see how all that's left of the big events across the Arrowverse this year is a series of guest appearances by former Arrow member David Ramsay. He's made the rounds in Batwoman, Legends of Tomorrow, The Flash, Superman & Lois, and finally here in Supergirl.

The 6th season, and final, of Supergirl is a completely separate topic. Anything big that the previous series suggested had to be simplified or scrapped. It started with the posters in masks. At the beginning, Lex was still being dealt with, but Kara was immediately banished to the Phantom Zone. There she met Nyxlygsptlnz, a friend of Mxyzptlk, but also her father... The production constraints turned the whole thing upside down. Often some people dropped out, often the parts were made up of only intimate scenes with two people... While it helped Lena, Dreamer and Guardian on the whole, because each could separately address their independent storyline, the whole suffered. At least Nicole Maines can continue to pursue her trans protagonist in the comics. The spring cliffhanger was quite a surprise, and the show took on a sci-fi and horror feel for a while. But the big crossover between the former Arrowverse series has been canceled. And after the hiatus, it was necessary to wait for a few films until Lex returned for a relaxed finale. It wasn't a bad farewell series, but it was mainly a challenge - how to finish the series with honor during Covid.

Sweethearts was a Broadway operetta by Victor Herbert in 1913. Twenty-five years later, that success has translated into a full-color MGM spectacle. Singing sweethearts MacDonald and Eddy were experiencing romance even in civilian life, and it showed in their confessions. Even MacDonald was pregnant at the time of the shoot... The experience is so exciting that the eyes can't stop moving and the ears can't get enough. Overall, it is an excellent capture of the behind-the-scenes of Broadway productions, radio, theater productions, and the contrasting world of Hollywood that is so far removed from New York. MacDonald and Eddy beautifully distinguished their operetta acting from their civilian acting. In plain clothes, they even allowed themselves a few good jokes. An interesting modern film.

Sigmund Romberg wrote the operetta "Maytime" (1917), based on Walter Kollo's German operetta "Wie einst im Mai" (1913), and it was a success. First filmed in 1923, this sound version fit perfectly into MGM's treasure trove of excellent films by audience darlings MacDonald and Eddy. There’s not much to ponder about here, because Maytime is simply perfection.

The Lottery Bride is the only film experience of theatrical producer Arthur Hammerstein, who didn't make his fortune in Hollywood. It was an interesting project, and the operetta music was composed by Rudolf Friml without a theatrical version. The whole thing plays out in a funny Hollywood take on Norway, and by the end, it's a complete Amundsen. Technicolor was used on the aurora borealis. Only Jeanette MacDonald, unfortunately, had nothing to do here.

The second Paramount adaptation of the operetta based on Friml's "The Vagabond King" (1925). As usual, its creation was supported by technological advances, because while the original 1930 film was shot in dual-band Technicolor, by the mid-1950s it was possible to shoot the film in full Technicolor, and if that wasn't enough, the latest VistaVision technology was added. Otherwise, Villon was reprised by the veteran of the role Dennis King.

Friml's operetta "The Vagabond King" (1925) follows the life of François Villon and is set in the second half of the 15th century. The operetta itself was based on Justin Huntly McCarthy's romantic novel "If I Were King" (1901) (and its theatrical dramatization, written by the same author). The qualities of this film adaptation are defined by the Technicolor of the time, and seeing only the black and white version is like seeing a completely different film. However, the film's reputation is not entirely steeped in superlatives, and Jeanette MacDonald herself has also only spread a sort of socially acceptable gloss. However, this did not slow down her career and Friml also kept the door open to Hollywood studios. Another film adaptation was made in 1956, and there is also a recording of a 1975 theatrical production from HDK.