Julie Andrews is at her peak of adorability in this enjoyable (and surprisingly sarcastic) spoof of the 1920s. It has every trick: occasional silent-movie intertitles, flapper lingo ("Oh, banana oil"), and a laughable plot about women being sold into white slavery by the scheming manageress (splendid Beatrice Lillie) of a Hotel for Ladies, aided by a cabal of wicked Chinese. (The stereotypes are bearable only if you remember this is a spoof of silent movie melodrama. ) Even with able support from Mary Tyler Moore and James Fox, this is Julie's show; she plays to the camera with the collusion of director George Roy Hill, who's clearly smitten with her silly streak. The movie has an annoying tendency to spend time on musical numbers-a Jewish wedding, a vaudeville act-that don't serve the plot. A future Broadway musical would create a new score, except for the delightfully catchy title tune. -Robert Horton.

Jacques Demy's Les Demoiselles de Rochefort was released in 1967 as a dancing companion piece to his musical film Les Parapluies de Cherbourg-an international hit three years earlier. The two films shared the same composer, Michel Legrand and one star, Catherine Deneuve but there the parallels ended: Les Demoiselles was a box-office flop. The reputation of the film has since been kept afloat by Legrand's music, which includes the pretty melody "You Must Believe in Spring". Demy's film is self-evidently a tribute to the American film musical: the choreography is modelled on Jerome Robbins' dances as seen in West Side Story but unlike that film no attempt has been made to make these dances a natural extension of the action. Here the dancers break footloose and fancy-free in a manner that can at best be described as naïve and at worse wearisome in the film's two-hour running time. The opening duet for the two sisters (Deneuve and Françoise Dorleac) nods in the direction of the Marilyn Monroe/Jane Russell "Little Girl from Little Rock" duet from Gentlemen Prefer Blondes but at least the Legrand tune has its own punch and vivacity. Seasoned performers like Gene Kelly-rather too old to play a romantic lead but singing (unlike most of the cast) in his own French-and Danielle Darrieux are on screen too but their presence can't compensate for the lacklustre direction and purposeless plot that reaches its nadir in some embarrassing local headlines describing murder and crime set to jaunty music. While grateful to have had the opportunity to see a film that might have been lost were it not for the restoration process, there can be little doubt that the Demy-Legrand partnership will continue to be remembered for their earlier work. -Adrian Edwards.

Disney's 1967 animated feature The Jungle Book seems even more entertaining now than it did upon first release, with a hall-of-fame vocal performance by Phil Harris as Baloo, the genial bear friend of feral child Mowgli. Loosely based on Rudyard Kipling's original, the film goes its own way as Disney animation will, but the strong characters and smart casting (George Sanders as the villainous tiger, Shere Khan) make it one of the studio's stronger feature-length cartoons. Songs include "The Bare Necessities" and "Trust in Me". -Tom Keogh One of the very best animated films that the Walt Disney Studio has ever released (and the last to be produced by Walt Disney himself), and as downright brilliant as it was on its debut in 1967, The Jungle Book makes a very welcome return to DVD in this excellent 40th anniversary double-disc set. Based loosely on the Rudyard Kipling’s book of the same name, the film tells the story of man-cub Mowgli, and the friends he makes in the jungle. And it’s these friends who ignite the film, with some of the most memorable characters and songs that Disney has ever put on the screen. Kings of The Jungle Book are the likes of Baloo the Bear, King Louie the villainous Shere Khan the Tiger, while supporting characters such as Colonel Hathi are just as memorable. It’s astonishing that it packs so much and so many into its relatively short running time. It’s an amazing achievement too that The Jungle Book bristles with such energy and fun, and that it’s just as likely to enthral the current generation of youngsters as well as those of us who saw it first time round. And when those songs start playing-from Bare Necessities through to I Wanna Be Like You-it'll take some effort to not start tapping your feet. [+]

After the world-wide success of A Hard Day's Night, the Beatles and director Richard Lester reunited for a follow-up film, Eight Arms to Hold You. Well, that wasn't the final title; a pleading Lennon-McCartney tune provided the catchier handle: Help! A loose semi-spoof of the globe-trotting James Bond pictures, Help! has always been considered a somewhat disorganised comedown from its predecessor; but it presents "the famous Beatles" even more clearly as the English cousins of the Marx Brothers. The plot has an Eastern religious cult declaring that the new ring on Ringo's finger is the key element in a human sacrifice; they will stop at nothing to obtain it. Meanwhile, a mad scientist (crazed Victor Spinetti, who also appeared in A Hard Day's Night and Magical Mystery Tour) believes that if he has the ring, he could-dare we say it?-rule the world. The songs, including "Ticket to Ride" and "You've Got to Hide Your Love Away", are filmed with gleeful ingenuity, in locations such as the Bahamas, an Austrian ski resort and Salisbury Plain. The relentless nonsense becomes nearly the equivalent of a swinging-60s Alice in Wonderland: for instance, Paul shrinks to the size of a gum wrapper, John fishes a season ticket out of his soup, George wears a top hat on the ski slopes, the lads sing the "Ode to Joy" to a lion. Oh, and the film is dedicated to Elias Howe, "who in 1846 invented the sewing machine". Brilliant. -Robert Horton.

The most widely seen movie produced by a Hollywood studio, The Sound of Music grows fresher with each viewing. Though it was planned meticulously in pre-production (save for the scene where Maria and the children take a dipping in an Austrian lake that nearly cost a life), on each viewing one is struck anew by the spontaneous almost improvisatory air of the acting, notably of Julie Andrews under Robert Wise's direction. There are also the little human touches he brings to, for instance, the scene where Maria leads the children to the hills, over bridges and along tow paths where the smallest boy trips up and momentarily gets left behind: it creates a feeling that most of us have encountered. From the opening pre-credit sequence of muted excitement as the camera roves over the Austrian Alps (photographed in magnificent colour), where little phrases from the wind instruments on the soundtrack are flung as if on the breeze, foreshadowing the title song to follow, the production never puts a foot wrong. On the DVD: On the first disc the film itself has never looked or sounded better since its original presentation in Todd AO (prints of which are said to have disappeared forever). The disc also contains a separate audio guide that takes the viewer through the film sequence by sequence, with director Robert Wise commenting on the weather, the production design by Boris Leven, the sequences filmed on location and in Hollywood (like the interiors of the Von Trapp villa), and the naming of other actors who were eager for the lead roles, notably Doris Day and Yul Brynner. On the second disc there are the documentaries. "Salzburg Sight and Sound" was Charmian Carr's own record of her time on location in the summer of 1964, playing Liesl, the eldest Von Trapp daughter. "From Fact to Fiction", running two hours, begins with the birth of Maria in 1905 who inspired the film, charts her subsequent marriage to Captain Von Trapp, their escape from Nazi Germany not across the Alps but via a train across the Italian boarder, their home in Vermont and thence to the German film of the family that was brought to the attention of Rodgers and Hammerstein as an ideal vehicle for a stage musical. A second group of documentaries covers previews, television and radio commercials and a 1973 interview with Wise and Andrews. [+]

After several years as the hottest musical director on Broadway, Bob Fosse made his film directorial debut with this movie version of his Broadway hit, which was based on Fellini's Nights of Cabiria. Shirley MacLaine is terrific as the proverbial hooker with the heart of gold, one who is convinced that she will find the right man if she just turns enough tricks. The Cy Coleman score is a solid one; the film is at its best when Fosse lets his cast of singer-dancers (which includes Chita Rivera, Paula Kelly, and Sammy Davis Jr) unleash his leggy brand of choreography. While the film suffers from stylistic excesses of the period, you can see the seeds being planted for Fosse's future musical film forays in Cabaret and All That Jazz. -Marshall Fine.

This 1968 oddity is probably a film only a total Beatlemaniac could love, but it carries both musical and historical resonance. It also gives intimations of what would happen in the next 30 years as artists gained more and more power over how they were presented. The roots of virtually any rock star's vanity project (including Prince's Under the Cherry Moon) can be traced to this little Liverpudlian home movie. Fresh from the success of their films A Hard Day's Night and Help!, and still under the influence of the intoxicants of the era, the Beatles set out to make their own fancifully psychedelic project. What they got out of it was, essentially, a knock-off album with a few good songs and a lot of filler, which is more than can be said for this alternately self-indulgent and mildly amusing British version of Ken Kesey's magic bus tour. Using some of their favourite actors (including Victor Spinetti, who was in their first two movies), the Beatles make an alternative British travelogue, stopping occasionally to sing songs like "I Am the Walrus" and "The Fool on the Hill. " Strictly for completists. -Marshall Fine, Amazon. com.

Doctor Doolittle was an expensive 1967 movie that nearly wiped out the studio (20th Century-Fox) that made it, owing to public apathy. It doesn't engender much more excitement today. Rex Harrison still looks lost in the overblown production, the songs are still awful (except "Talk to the Animals", of course), the story of one man's communication with beasts devoid of enchantment. Director Richard Fleischer (The Vikings) certainly shares in the blame. -Tom Keogh.