Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Salubfoto It's an amazing and heartbreaking story.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

calvinnme "Royal Wedding" is a great movie for anyone who loves those big MGM musicals of the 40's and 50's and the dancing of Fred Astaire. Of course, the big numbers in this film include Astaire dancing with a hat rack, which only goes to prove he could make any dance partner look good, as well as the famous number where Astaire dances on the walls and ceilings of his London hotel room. The trick here, well known by now, was that the room was actually set up to rotate. What is wondrous about this scene is that Astaire never seems to have any trouble keeping his balance as this rotation is going on. He just looks like someone who is so much in love he is just jumping with joy from floor to wall to ceiling and back. Less mentioned is the number where he dances with Jane Powell on board ship in choppy waters as furnishings roll about, but it is also a charming piece of choreography.The plot is fairly simple. Astaire and Powell play a brother and sister song and dance team, Tom and Ellen Bowen, both of whom claim to be against any long-term romantic entanglement. They are invited to perform in London during the period preceding the wedding of then Princess Elizabeth to Prince Philip. While in England they both fall in love, leading to a happy ending for both but breaking up the partnership in the process. It's rather interesting that art loosely imitated life in this case, since Fred Astaire's long-running dance partnership with his sister Adele was ended when she got married to a member of the English nobility in 1932. It's also strange that this film was actually made four years after the royal wedding took place. By that time the royal couple already had two children. As for good supporting performances, Keenan Wynn is quite funny playing twin brothers who are theatrical agents on opposite sides of "the pond". They can't understand each other during their telephone conversations because, although both are speaking English, they are using the familiar expressions of their respective countries.From a technical standpoint, this film may either be in rather rough shape or completely restored if you see it, since it spent a long time in the public domain before Warner Brothers restored it in 2007. If you have the restored copy, I highly recommend it.

TheLittleSongbird Royal Wedding may not be one of the classic musicals and everybody involved have been in and done better things, but any fans of great choreography and dancing and Fred Astaire will find plenty to like about it. It does have a good shortcomings, that are thankfully outweighed by the many things that are delightful.Starting with what didn't come off so well, the story is as thin as a wafer and occasionally loses momentum when there's no singing or dancing. The script is very commonplace, and while it mostly flows well, reads well tonally and has entertaining moments some of the comic moments fall limp and it's cringe-worthingly stereotypical in places(i.e. Keenan Wynn's slang). The songs and choreography are top notch, but the (slightly) clumsily staged finale was an exception. Two performances don't work. Peter Lawford has to work with a dully written character that often felt incidental to the plot, and he brings very little personality or charm to it. Even worse is Sarah Churchill, she is incredibly wooden here and doesn't ever look comfortable with what she's given. Her chemistry with Astaire completely lacks warmth, and veers on non-existent on occasions.The production values are very colourful however, not quite lavish but very beautiful nonetheless, and the photography shows adept technical skills and very good attention to detail. The songs are great, with three being particularly memorable. One is the Oscar-nominated Too Late Now, which has a lot of emotional resonance and is performed with just as much by Jane Powell(though maybe Judy Garland may have given it more heft if she was cast). Two is How Could You Believe Me..., which benefits from some of Lerner's funniest and cleverest lyric writing and a genuinely easy-going natural chemistry between Astaire and Powell. Last is the infectiously catchy I Left My Hat in Haiti. The choreography is even better, there is so much energy and sparkle to it and the two highlights both feature Astaire and are among his best and most iconic. One being Sunday Jumps, with the most inventive use of a duet with a hat-rack you'll ever find in a film, and the other being his dancing on the walls and ceiling in his hotel room in You're All the World to Me which is the epitome of jaw-dropping.Royal Wedding may not be perfect in the writing department, but it's not too slow-going(even those bits lacking momentum don't hurt the film that badly) and has an endearingly light-footed, good-humoured(though not always) and warm-hearted quality, in a way also that often entertains and never talks down. So while there are flaws in the writing, the spirit and tone are just right. The characters are not too original and Lawford and Churchill's are not interesting at all, but the rest of the characters are very likable and engaging. Stanley Donen's direction is very accomplished technically and in terms of pacing and balancing everything is very assured also. The performances on the whole are fine, Keenan Wynn is amusing and Jane Powell is a more than worthy partner for Astaire and plays her role with plenty of attractive spunk and graceful charm. But it is Astaire who is the main reason to see the film, he was one of the dance world's greatest and one of the all-time greats at interpreting songs in musicals. While he didn't have the best voice in the world, though it was still an above-pleasant one, his dancing is masterful and he exudes complete confidence.Overall, has shortcomings and falls short of being great(like it could have been considering it had Astaire and was directed by Donen). But these shortcomings are far outweighed by the good things, and the good things are delightful and a good many. 7/10 Bethany Cox

wes-connors After a successful run on Broadway, sibling musical team Fred Astaire and Jane Powell (as Tom and Ellen Bowen) are invited to play London during "the wedding season." This means participating in the 1947 "Royal Wedding" of Princess Elizabeth and her cousin Prince Philip of Greece and Denmark (presently known as Elizabeth II and Philip, Duke of Edinburgh). Romance is in the London air as Ms. Powell meets playboy Peter Lawford (as John "Johnny" Brindale) and Mr. Astaire meets showgirl Sarah Churchill (as Anne Ashmond). Sarah is the daughter of Winston Churchill (who, with Franklin D. Roosevelt and Joseph Stalin, was one of the "Big Three" winners of World War II). Churchill's daughter and the actual UK wedding are thematic, but less than overwhelming...It's a surprise to find so many of MGM's "That's Entertainment!" (1974) showstoppers were from average musicals. However, the soundtrack is grand and includes three of Astaire's best numbers. Without the Astaire highlights, "Royal Wedding" is sub-par stuff. The romances are dull and Powell, while lovely, seems too way young to be Astaire's sister. As reported here and in other sites' trivia, June Allyson was pregnant with Dick Powell Jr., and Judy Garland was bitten by the buzz bug; so, the role went to Jane Powell...First, watch as Astaire dances with a hat-rack in "Sunday Jumps". This marvelous routine made headlines in 1997 when digitally altered to feature Astaire dancing with a "Dirt Devil" vacuum cleaner. Friends of the deceased star, and many TV viewers, were appalled. Happily, the commercial was removed. Next, watch for Astaire and Powell sing the interminably titled, but delightful, "How Could You Believe Me When I Said I Love You When You Know I've Been a Liar All My Life?" This song also returned Astaire to the record best-seller lists. Finally, Astaire and MGM's crew get him dancing on the ceiling in "You're All the World to Me". As anyone with a laptop knows, it's not a difficult special effect; but it's really Astaire, not a spinning room, that makes it magical.***** Royal Wedding (3/8/51) Stanley Donen ~ Fred Astaire, Jane Powell, Peter Lawford, Sarah Churchill

tedg Musicals sort of blend into a blur, especially those built around Fred Astair. All the stories are disposable, and you remember them more or less by who his partner was.This one is different. I does stick to the mature template of how the dances fit in: half the dances are part of a show within a show. The other half spring from the story in that fantastic manner we accept as a matter of narrative convention.The dances, though, some of them are pretty darn memorable.To appreciate this, you need to understand the challenge of filming dance. We have the "old" convention in spots here: the camera is in some sort of theater seat and watches a performance on a stage, sometimes a literal stage. There's nothing cinematic about it: you could see the same thing is a live performance.The challenge is in what to do that works with the dance and at the same time leverages cinema, presumably to engage us. The production team here did some rather amazing things with space. I don't know who to credit, but there's some genius here.The idea is by steps bonding the dance to notions of artificial space, the actual containing space. It starts with a simple device: Fred dancing with a hat rack. Its a strange thing, halfway between being a partner and an interaction with the world.Then on a ship, he and Jane dance on a floor that shifts. The notion of an unstable gravity is a pretty amazing notion because Fred's effects all depend on his relationship to the ground and what's on it. The floor shifts and he accommodates, amid moving pulls, rolling oranges and shifting furniture.Then the most memorable dance sequence shifts this on its head, mastering gravity: he dances in a room starting on the floor. Then dances on the walls and ceiling. The effect is accomplished by having the room imperceptibly rotate and the camera with it. But its an extraordinary achievement the way he plays with it. It isn't as wild as Gene Kelly playing with and in the rain because it is more precise and intellectual. But it is a real thrill. You need to see it.Later, in the stage show, there's an acknowledgment of all this, a production number about place, with a map of a place that turns transparent to reveal the place itself.+++++++ There's a strange background here, the actual royal wedding of the period. The tone of that was supposed to be so obvious and strong that merely being immersed in it would overcome hesitations to wed. Its so flat today it shocks, especially the actual footage of the rather ridiculous pomp.(The woman playing Fred's paramour is Winston Churchill's daughter, an odd combination of mannish face, red hair, terrific legs, a studied grace and little charm. The man playing the beau of Fred's sister was one of Hollywood's most promiscuous empty souls — he married a Kennedy.) Ted's Evaluation -- 3 of 3: Worth watching.