Plot: What’s it about?
A trio of Russian agents was dispatched to Paris, as part of a mission to retrieve and return a Soviet composer. As loyal as the agents were to the cause, once in Paris, they fell victim to the charms the area could offer. The thrills of freedom were too much for them to burden, so they buckled and began to indulge themselves. Of course, this doesn’t sit well with the government that sent them in the first place, so they have to get a new agent into the field, one who won’t give in to the temptations. This agent has to not only carry out the original mission, but also bring back the three failed agents, which won’t be a simple task. After all, they’ve become spoiled by Paris and all it has to offer, so they don’t wish to return home now. The agent chosen to handle the mission is Ninotchka (Cyd Charisse), a beautiful woman with a severe attitude, not to mention a disdain for the ways of the world outside her native Russia. If anyone can resist the capitalistic ways of Paris, it is her, but it won’t be easy, even in her case. She is able to hold true to her beliefs at first, but all that changes when she meets Steve Canfield (Fred Astaire), an American movie producer. The two start off shaky, thanks to Ninotchka’s serious ways, but sparks still surface. Will she choose this new lifestyle for herself, or remain loyal to her Russian heritage?
I’ve heard a lot of praise for this movie, but I have never been a real fan, so when Warner released Silk Stockings to DVD, I decided to revisit it once again. I hold the same opinion as ever after this session, which is that this is a decent and mostly entertaining picture, but it has no real substance or memorable qualities. Yes, Fred Astaire and Cyd Charisse are good, as is the rest of this well chosen cast, but that fails to be enough. This is because the musical numbers seem less than impressive, as if they were rushed and never refined. The music is good and the lyrics are solid, but perhaps not enough time was taken to present them in the scenes, as if the elements were just tossed together for those routines. I know a lot of folks will disagree, but I think Silk Stockings lacks the kind of polish we want from musicals, it seems more like a loose stage version, instead of a refined film edition. It offers some good moments of romance, drama, and even comedy, but its not the kind of material that stays with you. Once the end credits roll, this movie kind of erases itself from your brain. I have no problem with light, brisk musicals, but this one has a reputation as more than that, so I was a tad let down. But if you’re a fan of musicals, then give Silk Stockings a spin, but keep your expectations grounded.
This would prove to be his last musical feature film for some time, but it wasn’t because Fred Astaire was losing his touch. No, he is on the mark here and gives another terrific effort, he just wanted to concentrate on more traditional pictures. I can see why too, as he sought to prove he could handle himself in non-musicals as well, since he was known for his musicals and little else at this point. Although he made some good non-musical pictures, I can’t help but think he was meant for the musicals. His skills as a singer and dancer were vastly superior to his traditional acting talent, though he could hold his own in normal movies. Yes, he had some memorable performances in non-musicals, but he wasn’t overly impressive and in truth, I think most people cut him slack because of his success in musicals. So no, he is by no means a bad actor, but I think he was best suited to work in musicals. And he shows why in Silk Stockings, with a solid and very enjoyable performance from start to finish. Other films with Astaire include The Band Wagon, Holiday Inn, Royal Wedding, On the Beach, and Broadway Melody of 1940. The cast also includes Cyd Charisse (Singin’ in the Rain, The Harvey Girls), Janis Paige (The House Across the Street, Cheyenne), and Peter Lorre (The Raven, 20,000 Leagues Under the Sea).
Video: How does it look?
Silk Stockings is presented in 2.35:1 anamorphic widescreen. Warner has given us a nice treatment here, as the movie looks clean and sharp throughout. It all starts with the print used, as it has only slight grain and infrequent debris, which is impressive, given the age of the materials involved. The image is a tad soft at times, but remains sharp enough, so detail is good and the visuals are never hindered. I found the colors here to be bright, but a shade faded in some instances, though still natural in overall scope. The reds look superb here, with a lot of life and boldness, but no bleeds or such to mention. No real troubles with contrast either, as black levels appear stark and well balanced. I do think this one has some rough edges at times, but all things considered, this is a more than solid presentation.
Audio: How does it sound?
The audio here reminded me a lot of the audio found on Warner’s release of Kiss Me Kate, which came out at the same time. As such, I am porting over my comments from that review, since they are applicable in this case also. This release is home to a new Dolby Digital 5.1 option, but I was unable to detect much in terms of surround presence. A few squeaks came from the rear channels, but for the most part, there is no surround use in this mix. That’s a shame, as this is a musical after all and that means at least music needs a boost at times. The music is spread well over the front channels, but aside from that, the elements are bland and basic. I found dialogue to be clear and crisp however, so not all is lost here. The overall mix sounds decent, but for a brand new soundtrack, its kind of a let down. This disc also includes a French language track, as well as subtitles in English, Spanish, and French.
Supplements: What are the extras?
This disc includes a brief interview featurette, as well as two bonus musical shorts (Paree, Paree & The Poet and The Peasant Overture). You’ll also find some production notes and of course, the film’s theatrical trailer.
