SILK STOCKINGS
US, 1957, 117 minutes, Colour.
Fred Astaire, Cyd Charisse, Janis Paige, Peter Lorre, Jules Munshin.
Directed by Rouben Mamoulian.
Directed by Rouben Mamoulian and attractively photographed in Cinemascope, this is a remake of the 1939 film, Ninotchka.
Fred Astaire is the debonair lead in his usual entertaining manner. Cyd Charisse does a very good job as the Russian
emissary. Peter Lorre is most odd as one of the defectors to capitalism as does Jules Munshin, who was one of the main leads in On the Town. Janis Paige has a very entertaining satiric song about Cinemascope and Stereophonic sound. All in all, Silk Stockings is an attractive M.G.M. fifties musical and a second look at Ninotchka.
1. The quality of MGM musicals in the 40s and 50s? The nature of their appeal? Style, stars, song and dance, plot, decor and costumes? The quality of this musical?
2. The appeal of Fred Astaire and Cyd Charisse? Personalities, acting, dancing individually and combined?
3. The film as a re-make of Ninotchka? The memories of Greta Garbo, pre-war comedies, Russia and American attitudes in the 30s, 50s? Cyd Charisse in the Garbo role and her success with it? The 50s and the comic treatment of relationship with the Russians, of Communism? Cole Porter's music inserted into this plot? The incorporation of the ballet and dance styles? The making of the musical of this comedy?
4. The comparison of titles? The focus on Ninotchka in the past? On her reaction to France and the capitalist world in the later title? Symbolised with the ballet? The visuals?
5. The quality of the songs, music and especially lyrics, We’re not going back to Moscow, the love songs, the satire on Josephine, the humorous song on Cinemascope and Stereophonic sound, Satins and silks, the Red Blues, the Ritz roll and rock? Their incorporation into the plot. illustration of character? Satire and parody?
6. The quality of the dances - the initial dancing of Fred Astaire, Ninotchka’s instinct to dance and her dancing with him, her ballet in changing from Russian dress to French dress, the Cinemascope song and dance routine, the ballet with the red blues, the Ritz roll and rock and Fred Astaire's skill? The dancing as illustrating the spirit and theme of the film?
7. The portrayal of Russia and America and their role of world powers, their ideologies and themes of freedom, social concern, oppression, censorship? The humour of the clashes, the points made against each society, for? Humour and goodwill as a result of this kind of comedy about relationships?
8. Themes of utility versus beauty? Steve and his attitude towards life, joy, beauty? Ninotchka and her approach to the use of things? Their discussions about this, her finding love restful, the.humour of the tour of Paris? furnaces and the feeding of the poodles?
9. The popularity of Paris as the city of romance, capitalism? The ideals of the communist act within Paris? The effect of the climax? Emotions, relationships, fashion, wealth, beauty, joy, excess? The picturing of the three Russians at the beginning and the elaborate dancing and style of the Moscow song? The contrast of happiness in Paris with the memories of Russia? The going back to Russia and reminiscing? Their final escape and the setting
up of the cafe? How well did the film illustrate the contrast between Paris and Moscow?
10. The thenee of represeion and humn reaction to it? The three at the beginning and the wine, women and song - literally? The musician and his career, talent, wanting to stay, the attraction to Peggy? Ninotchka and her emotionless reactions, the looking at the silk stockings, the hiding of the clothes around the room, the fascination of Steve, Paris and the climate? Her previous efficient typing and not being able to? Her memories of Paris, the importance of the Red blues? Her returning and steeling herself, but her succumbing to the joy of Paris? The importance of the theme of repression and its reaction?
11. Themes of America, the films pro-American stances, the witness on freedom, the ability to love? Levels difficulty in getting a visa? The censoring of his letters? Themes against the Americans the gaudiness. the brashness, Peggy and her mindlessness, the treatment of the music for Josephine? How seriously were these anti-American themes to be taken? The humorous criticism of parody?
12. Where did the true seriousness of the film lie? In themes of human freedom, relationships?
13. The character of Steve and Fred Astaire’s style, the initial predentation of his feet, his dealing with the Russians, role as producer, dealing with Peggy and her drinking, falling in love with Ninotchka and guiding her around, his devices of getting to see her, drawing.her back to Paris?A pleasant American hero of an American musical?
14. The contrast with the character of Ninotchka? Her military aspects in Russia, her efficiency, the initial interview with Markovitch? Her arrival and attitude towards the three, towards the musician? Why did she change in Paris and how convincing was the change? Her femininity emerging? Her pining for Paris in Russia? Her hardness and not wanting to go back? The harshness at the end and her joy in meeting Steve again and the marriage?
15 The satire in the character of Peggy. the arrival of the American film star, her ignorance about War and Peace, her cliches liaisons and romance, her attitude towards music? The clever song parody in this characterisation? The cinemascore 'the satins and silk, Josephine? The infatuation of the Russian with Peggy?
16. The sly humour at film making and film making, types? The songs, the nature of American film making. American treatment of European culture, the final rock roll song?
17. The total effect of enjoyment of this musical, its lighter", aspects, the serious tone, politics, ideals, the work ethic? How well did the film combine the American light treatment with serious themes?
