Easter Parade

The drumsticks thrown on the floor shift position.

Nadine's necklace during the first restaurant scene.

The stage manager at the Ziegfeld Follies mispronounces "Ziegfeld".

During "I Want To Go Back To Michigan", the trombone plays a muted solo, yet the trombone is open - no mute is used.

When Hannah is explaining to Don in the rehearsal room that she can't tell left from right, she says she normally wears a garter on her left leg so she can tell which is which.

She touches her left leg to indicate this.

In the "Roof Garden" scene, Nadine is wearing high heels when she does the "Magazine Cover" number.

In the wings at the end of it, she removes her headdress, discards her huge fan, and goes back onstage to call Don Hewes out of the crowd to dance their old number.

Suddenly, she's wearing ballet slippers.

In fact, in all of her scenes with Astaire, she wears flat shoes, so as not to tower over him.

When Hannah calls Jonathan on the phone, the shadow of the mic is very visible near a painting.

'Robert Patrick (III)' (qv) says in his book, "Film Moi""The most beautiful goof in movies comes in the 'Steppin' Out with My Baby' number.

Fred Astaire at one point goes into slow motion.

The chorus behind him continues at normal speed, but that's not the goof.

'Judy Garland', in the wings watching this miracle, just beams with admiration - as well she should.

" In Mike's bar, a motto is shown with the possessive form of "its" spelled as "it's".

While this is incorrect today, the possessive form was spelled this way up until the 1940s, and thus could well have been around in 1912.

Waiter in Mike's bar appears at the end of the bar, then when the camera changes shots, the waiter comes up to the opposite end of the bar.

Marty is obviously not really playing the piano as is hand movements do not match the notes being played.

Watch Judy's/Hannah's hat in the "Fella With the Umbrella" scene.

She makes it through the drops to the umbrella with her feather relatively unharmed.

The shot changes to a close up and her feather is drenched.

Later its standing up straight again, then down again.

Its pretty obvious that the close up shots were filmed before or after the longer shots.

During "Steppin' Out with My Baby", Hewes twirls a girl and her skirt floats up and revealed a black underskirt.

However, when twirled again, she has a bright yellow underskirt.

When Peter Lawford joins Fred Astaire at the bar, where Judy Garland is introduced, a waiter steps up to the bar on Fred's left; when the camera angle changes, the same waiter steps up to the bar on Peter's right.

A Police officer writes Jonathan ('Peter Lawford' (qv)) a ticket for parking beside a fire hydrant.

As he hands the ticket over he bumps the hydrant which visibly wobbles showing that it is not real.

Directed by George Stevens With Fred Astaire, Judy Garland, Peter Lawford, Ann MillerIt might not be THE happiest musical ever made but is one of the greatest. It's story is simple, maybe too simple, but overall is sweet and engaging.

Easter Parade is less a story than it is a roughly sketched premise filled out with musical numbers. Astaire loses his dance partner and decides he can turn anyone into a new partner, then conveniently stumbles upon Garland.

Easter Parade (1948) **** (out of 4)Dancing star Don Hewes (Fred Astaire) has his partner Nadine (Ann Miller) leave his side so he makes a bet that he can pick any woman and turn her into a dancing sensation. Hannah Brown (Judy Garland) is the young lady selected and soon her and Don are working their way up the ladder as they try to reach the top and fall in love.

Wow! I'm either having a good night or this is an absolutely great film.

Very entertaining and charming. Fred Astaire and Judy Garland made a good pair.

Tom Hewes (Fred Astaire) has his dancing partner Nadine (Ann Miller) leave him during a tour to sign up for a show. He hires a waitress named Hannah (Judy Garland) to take her place.

Ann Miller's tap dance to "Shakin' the Blues Away" could be the best scene this superb dancer ever left on film. Like all the numbers in this sunny love story, it helps move the plot along, with Fred Astaire as a dancer, on the rebound from Miller, who makes a star out of Judy Garland-following a few blunders along the way.

This lavish forties musical certainly has a few highlights of the forties genre among them Ann Miller's TAKING AWAY THE BLUES, Peter Lawford's socially upsscale dialogue. Jules Munshin's twp scenes and the duets of Fred Astaire and Judy Garland- The Midnight Train and COUPLE OF SWELLS.

For those readers who favor Ann Miller's performance please forgive me, but no one can ignore the amazing performances of both Fred Astaire and Judy Garland in their only appearance on screen together. I just thought Ann Miller and Peter Lawford's performances were the fillers so that we the audience could take a breather in anticipation for Astaire and Garland's next on screen song and dance number together.