Charles Walters
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Some viewers have compared her to Audrey Hepburn, but Tautou's Amelie is more like a slightly naughty, less inhibited descendant of the characters Leslie Caron played in "An American in Paris" and "Lili."
Claire is a perfectionist who has planned the party down to the precise moment of cutting a storybook wedding cake that looks like something Leslie Caron danced on in The Glass Slipper.
I don't love the Griffith Park Observatory dance sequence, which trades on imagery (dancing on air) others have explored, back to the days when Fred Astaire and Vera-Ellen did it in "The Belle of New York."
She’s a “cold goddess,” in the words of Grace Kelly’s similarly drawn Tracy in High Society (1956) .
He's Just Not That Into You (2009)
Directed by Ken Kwapis
influenced by The Tender Trap (1955)
Themes
Still, it's not so different from dating films of a half century ago (think The Tender Trap) that comically pointed out that goal-oriented dating for men (object: sex) was different from goal-oriented dating for women (object: relationship and marriage).
Not since Easter Parade has the screen seen such over-the-top millinery.
Plot isn’t exactly what Grease is all about: In fact, it’s really just an updating of that 1928 musical, Good News (as if directed by that forgotten regisseur of the ‘30s, Mark Sandrich).
The plot comes straight out of the old "Varsity Drag" musical "Good News," the one about the approachable, unglamorous good girl who tutors the preening high school football hero and ends up falling in love.
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by Steven Spielberg
influenced by The Barkleys of Broadway (1949)
Themes
"Indiana Jones and the Kingdom of the Crystal Skull" is no "Raiders of the Lost Ark," but if you look at the long, tired history other sequels made years after the initial magic had faded - "Rocky Balboa," "The Phantom Menace," "The Barkleys of Broadway" - this has to rank among the respectable entries.
Made towards the tail end of the Arthur Freed production era at MGM that spawned "Meet Me in St Louis", "Easter Parade", "On the Town", and "An American in Paris", it was first seen as a means of using many of the songs that Freed and Nacio Herb Brown had written 20 years earlier when talkies were in their infancy.