Silk Stockings

A lot of humor at the expense of the Soviets (natch) is present throughout this musical version of "Ninotchka" in which Greta Garbo was the Russian who melts into a normal woman thanks to the spell of capitalism. Here it's CYD CHARISSE who plays the very uptight lady (with a stiffness that comes naturally to Cyd who could play an "ice princess" with the best of them). And FRED ASTAIRE is thankfully cast as an American film producer hoping to get her cooperation in borrowing a Soviet composer for his new film.

That's the nuts and bolts of the story, but the ingredients (including a trio of Soviet agents played by PETER LORRE, JULES MUNSHIN and Joseph BULOFF and a ditsy American singer/actress JANET PAIGE), are enough to stir up a lot of sardonic humor and some really good song and dance numbers. Paige is especially good with her "Stereophonic Sound" routine and "Satin and Silk", flirtatious and vivacious as ever in a top supporting role.

But it's the dance elements that count here--Astaire at his most elegant and Cyd Charisse gracefully matching him step by step all the way through. Her performance as the serious minded miss who gradually bends to his ways is one of her better contributions to film comedy.

Summing up: A delightful blend of Cole Porter songs and a clever script make this one a sheer pleasure, smooth as silk.

Clever, witty and charming musical, courtesy M.G.M. and the Arthur Freed unit, of which this was one of their last films. One of several musical remakes (of non-musical pictures) that the studio produced in the mid-late 1950s. This is one of the best.

Fred Astaire plays his usual character, the playboy-ish bachelor, in this case a film producer, wanting to use a Russian composer's music for his new film. Cyd Charisse plays Ninotchka, the Russian woman who comes to Paris to bring back the composer and three comrades who failed to return him to his native land. As the three comrades, Jules Munshin, Peter Lorre (holding onto a chair as he dances), and Joseph Buloff are a hoot, adding good comic relief in their "Too Bad" and "Siberia" numbers. Janis Paige is a jewel as the ditzy actress hired for the new film. She radiates with Astaire in the memorable "Stereophonic Sound" number, as well as in her own hilarious "Satin and Silk".

Charisse, (whose wooden acting is OK here), is lovely as usual and has a few excellent dances, including the sensual "All of You" (with Astaire), the lively "Red Blues", and the stunning ballet where she removes her old Russian garb, for her new Parisian silks. This was the second of her two pairings with Astaire, and though this is not the gem that "The Band Wagon" is, it still sparkles nonetheless.

A clever and classy musical, with some very topical humor. Great songs by Cole Porter (with the exception of the tacky "Ritz, Roll and Rock"...a poor punch at rock and roll). Excellent use of color and the Cinemascope frame help to make this one of the last great musicals of the 1950s.

"Silk Stockings" is something of an enigma. Its release came at the moment much of America had switched over to viewing television and the musical film was dying. But it was still glorious. I couldn't care less about the 'outdated Red Russia' story line; this is a remake of a 1939 film and the USSR conflict was in the original as well. What're you gonna do? The main focus is on capitalist seduction- first by Tobias, Munshin, and Peter Lorre, then most beautifully by Astaire and Charisse. Note that in their first duet (the non-dancing "Paris Loves Lovers"), as they sing in perfect counterpoint, they appear to be undressing each other with their eyes. Later, in "All of You," the gloves come off and our two leads seduce each other through a most graceful dance in a living room. Astaire was 56 years old, Charisse was about 36, and there is still more electricity in their pairing than in some of the downright silly things passing as romantic comedies today. The undisputed highlight of the film is Ms. Charisse in a silent and sensuous expression of terpsichory as she puts on nude stockings, a camisole, and a flared transparent slip. OMG!!

Teaming an on-form Fred Astaire and the lovely Cyd Charisse, supported by Janis Paige, Peter Lorre, and others, this musical adaptation of the famous 30s Garbo vehicle, 'Ninotchka', shines out right at the end of the golden era of screen song and dance movies.

Cyd looks the part and she and Fred have some marvellous dance numbers, as well as the repartee kept in from the original film. Janis Paige is particularly good in the mickey-take 'Stereophonic Sound' (because, of course, this Ninotchka version is based around, yep, putting on a show). The other fun to be had is in seeing Peter Lorre in a musical number. Priceless.

There are a number of good things about Silk Stockings, but there also is a professional finality about the movie that makes it easier to observe than to be delighted by it. It was one of the last of the big MGM musicals coming from Arthur Freed's production unit. It was the last musical Fred Astaire made as the lead. It was the last film directed by Rouben Mamoulian. It was based on the last Broadway musical Cole Porter wrote. Silk Stockings also was used to make a statement about the excesses some thought were ruining films and music...the advent of rock and roll and the technological changes in films with wide screen and stereo sound. It even takes a crack at the fashion for ballet in many musicals. You've got to be very clever and original to successfully parody things which are already self-parodies. Silk Stockings, even with its many entertaining moments, isn't that clever.

The story is based on Ninotchka, the female Soviet commissar who comes to Paris and finds romance reluctantly...and then enthusiastically. Paris is presented as a place where decadence was never more innocent and persuasive.

One of the things that seems so odd is that, for a Fred Astaire film, Astaire spends a good deal of time doing knee drops, full-length on-the-floor sprawls and athletic dance moves that limit the sophisticated and smooth Astaire style. He was 59 when he made the picture, and this might explain the relative shortness of some of the sequences. Still, while he is assured and immensely watchable (and while he can still do wonders with a cane), three major dance productions he is in just seem choppy.

Most of the songs from the Broadway show were retained and Porter wrote a couple of new ones. It's become routine with Porter to say that whatever his latest show was, the score was never one of his best. In this case, it's true. The romantic songs are great, but the topical specialty numbers just seem tired. Siberia and The Ritz Roll and Rock in particular miss the mark, in my opinion.

Astaire, as always, is first class. Charisse is easy to look at and a fine dancer. George Tobias, as a commissar in Moscow and Ninotchka's boss, gives a sly and dead-pan performance. Some of Porter's songs are very good. Mamoulian brought the film in on time and under budget. And Silk Stockings was a success with ticket buyers.