Wonderful Movie

People are voting emotionally.

A story that's too fascinating to pass by...

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

I enjoyed the first That's Entertainment! a lot. The second was OK but a huge step down from the first. The third doesn't match the first but it does surpass part 2. The most interesting aspect of this compilation was the inclusion of outtakes and deleted scenes. So classic film fans get to see a lot of hidden treasures. A few of my favorites were the Lena Horne bubble bath number from Cabin in the Sky, Ava Gardner's unused vocals from Showboat, and the opening dance of Fred & Ginger in The Barkleys of Broadway without the annoying title credits. Also some interesting behind-the-scenes footage of Eleanor Powell's "Fascinating Rhythm" number from Lady Be Good and a side-by-side comparison of Joan Crawford and Cyd Charisse performances of the same song. But the true highlight of the film would be the Judy Garland numbers she filmed from Annie Get Your Gun before being fired and the "Mr. Monotony" number cut from Easter Parade. It's a great compilation that will please most fans of classic musicals.

The Salute to the Movie Musical, OK MGM Musicals, completes its Trilogy with something Delightfully Different. There is a goodly amount of previously unseen Footage, Outtakes, and other Information Visually Displayed that has a Behind the Scenes Peek at some rather Rare and Remarkable Stuff.Film Buffs can do nothing but Relish this Eye Candy and Gawk at the Privilege of Viewing these Things with Awe and Amazement. Casual Film Fans may find this Third Segment a bit too Insider, but there are enough "Regular" Clips, in fact just as many, to make up for this Venture into the "Weeds" of the Singing and Dancing Film.Aging Stars come on Screen to give Their Modern Perspective and Wax Nostalgic and while most Fans like Seeing this sort of Thing, it does have a somewhat Cringing Effect, such as Gene Kelly barely able to muster enough breath to Speak, a ballooning, hardly recognizable Mickey Rooney, and Ann Miller, well You get the Picture and some more Sensitive Viewers may wish They didn't. Remembering these Energetic and Lively Performers in Their Prime is one way to go, but in most of these types of Things, not usually.But that is a Nitpick, and doesn't really distract from the Awesomeness of this Three Part Retrospective. This is an Immensely Enjoyable and Fitting Conclusion.

This came out in 1994 and was a Turner Production. It beats part II by a mile for several reasons, and I can honestly say that I would never have seen it, but luckily, it was the third disc in the Blu-Ray release of all three films. Missing from all three is the "Easter egg" surprise of the extended scarecrow dance from "The Wizard of Oz", but you probably own this already on your DVD of that movie. This is far better than part II which always had a "patchwork quilt" feel to it. Here, there are many stars introducing, including perhaps the last time Gene Kelly appeared on camera in a movie segment. Most "clips" are shown uncut, which is a vast improvement. On the Blu-ray, you can play them conveniently like on a juke-box. So many Easter eggs here. Uncut scenes. Outtakes. The same song sung by different artists in different films. Joan Crawford in blackface (both horrid and scary). Candid commentary by Lena Horne. Very little repetition for the most part. "Hosts" you didn't know were still around in 1994! Finally, a scene from "Brigadoon". Minuses: Different scenes from movies already seen in the other two editions. Like part II, almost an "infomercial" at times, but it does make me want to buy or see some old movies I have long overlooked. Also, you have to admire the physical conditioning of Cyd Charisse, Ann Miller and Doris Day. Wow! When watching both previous parts, I found myself, occasionally, looking at the "elapsed film time" and yawning. Parts of this one are so spellbinding that 15 minutes goes by in an instant. Very well "cut" with fewer abrupt musical breaks. Well,I guess in 18 years, sound editing technology has improved! Better than part II and almost as good as part I. Maybe better?

Part 3 of the Ted Turner compilation of MGM footage and in celebration of the studio's 70th anniversary (thus the Overture, one gathers), this documentary written and directed by Bud Friedgen and Michael J Sheridan, and hosted by various surviving contract players is notable mostly for the out-takes and alternate takes of musical comedy numbers. That MGM was required to release one film a year and that they had no competition from television at their height, is still no excuse for the mediocrity that blights a lot of the historical footage here. It's hard to ridicule vaudeville and novelty acts like the athletic Ross Sisters, who tumble erotically as one joined mass, when the alternative are people as limited as Eleanor Powell, Esther Williams, and June Allyson. One questions the reason given for the unfinished March of Time, begun in 1930, as audience interest in technicolor musicals had fallen, though the editors goof when they supply a montage of black and white "Hollywood Parties" of the period and include Garbo in Two Faced Woman. The use of split screen to show alternate takes works best with Fred Astaire using identical choreography for Dancin' Man from Belle of New York. The footage of stage hands taking the set apart to allow the camera to move and follow Eleanor Powell dancing Fascinatin' Rhythm from Lady Be Good is done in too long a shot for us to make a comparison with Powell's closer shot. The choices between Cyd Charisse in The Band Wagon and Joan Crawford in Torch Song both dubbed to India Adams singing Two Faced Woman, and the alternate takes of Debbie Reynolds doing A Lady Loves from I Love Melvin, both reveal awful numbers, though Crawford's "tropical" makeup and disposal of her wig a la Julie Andrews in Victor/Victoria has camp appeal. Ava Gardner's own vocal of Can't Help Lovin' Dat Man from Showboat is preferable to the generic dubbed Annette Warren vocal, even if Lena Horne sours the idea of Gardner's casting by telling us the Production Code of the time banned interracial romances. Horne had performed the number in Till the Clouds Go By, but had been passed over for the film. She scores some unintentional laughs by not be able to match her younger vocal of Where or When from Words and Music, and practically falling over the musicians chairs in the recording stage, though her Aint it the Truth cut from Cabin in the Sky sees her naked (supposedly) in a bathtub, which the Production Code also objected to as being too riske. The credits are removed from the opening of The Barkleys of Broadway so we can see the Astaire and Ginger Rogers dancing The Swing Trot, even if Rogers looks uncomfortable and looking at her feet. Remember Barkleys had been planned to re-match Astaire and Judy Garland after Easter Parade, but Garland was too exhausted and subsequently replaced. However we see her Mr Monotony number cut from Easter Parade, which pre-figures the same outfit she would wear for Get Happy in Summer Stock, with Mr Monotony featuring an extreme close-up of Garland, surprising when MGM musicals never went for this kind of intimacy. We also get Garland's cut March of the Doagies from The Harvey Girls, and an edited version with cut-aways of her I'm an Indian Too from her aborted Annie Get Your Gun.