Like the Tin Man's heart, the true test of a real classic is how much it is loved by others. The enduring charms of The Wizard of Oz have easily weathered the vicissitudes of changing fashions making the film one of the world's best-loved, most-quoted and frequently imitated movies. It's now as ubiquitous an American pop-cultural icon as McDonald's, making judging the movie purely on its own merits an almost impossible task. Judy Garland's tragic later life, for example, makes her naïve and utterly beguiling Dorothy seem all the more poignant in retrospect. But this at least is clear: much of this movie's success depends on the winning appeal of Garland's "Everygirl" figure, who creates the vital identification and empathy necessary to carry the audience with her into the land of Oz. We always care deeply about Dorothy, her quest for home and the strength of her friendship with her companions. Garland's assured dancing and singing routines with her ideally cast Broadway comedy co-stars Ray Bolger, Bert Lahr and Jack Haley are still endlessly delightful, of course, and the songs and score (by Arlen, Harburg and Stothart) are as good as anything in the Hollywood musical canon. It is Garland's deeply felt rendition of "Over the Rainbow" that is both the film's emotional core and the reason why adults as much as children the world over still respond so strongly to this movie. So long as people long for home and the love of their friends and family, the nostalgic appeal of Oz will never fade. On the DVD: another splendid digital restoration from the MGM vaults keeps this wonderful classic as vivid and alive as it was back in 1939, if not more so. [+]

The chemistry between Fred Astaire and Ginger Rogers was still going strong in their seventh spin around the dance floor, Shall We Dance? And this time-amid the usual improbable plot confusions and on-again, off-again flirting between the two, they were backed up by a song score provided by the matchless George and Ira Gershwin. Among the highlights are "They All Laughed", "Let's Call the Whole Thing Off", and the Oscar-nominated "They Can't Take That Away from Me". Director Mark Sandrich, the most frequent helmer of the Astaire-Rogers pictures (including Top Hat), creates a gleaming showcase for his stars. He also brings back two devilish character actors, Edward Everett Horton and Eric Blore, to repeat their support from previous outings. Ginger is kicky and fun; she was one of the few partners who didn't look intimidated onscreen by Astaire's incomparable dancing skills. Fred is in great form himself-so good you almost believe it when he pretends to be a Russian. -Robert Horton, Amazon. com.

In 1955 this lavish production of Rodgers and Hammerstein's Broadway hit The King and I, starring Yul Brynner as the King of Siam and Deborah Kerr as the governess sent to look after his children, was the most expensive film ever mounted by 20th Century Fox. The 40 sets in ripe decors by Walter M Scott and Paul S Fox included a ballroom of black marble with jade and silk tapestries and a banqueting scene with a table that gives the impression of stretching to infinity. The costumes by Irene Sharaff, notably the hoop ballroom gown for Deborah Kerr and those for the ballet "The Small House of Uncle Thomas", dazzle the eye in their delineation of Western manners and Oriental splendour. Brynner remains impressive as the King but his pidgin dialogue, inherited from Hammerstein's book, with the dropping of the definite article takes some adjustment. Alfred Newman put his unique stamp on the music: the Overture offers an example of his luminous divided string sound, the climactic ballroom scene a full bodied orchestral reprise of "Shall We Dance?" as the camera pulls away to a high angle producing an exultant visual finish to this celebrated polka. On the DVD: To view The King and I in its original format (thanks to this DVD release) is a revelation. Over the years the production values of the film have been compromised through inadequate presentation on television and video. Now the eye can appreciate once more the novelty of the wide-screen process CinemaScope 55 which offers in-depth vision, breathtaking employment of Eastman colour and an enhanced sound system that ensures a well-upholstered backdrop for the sumptuous musical arrangements under conductor Alfred Newman. DVD supplements here include the original theatrical trailer, a Movietone news of the Oscar ceremony of 56-57 and three songs lifted from the movie itself. Marni Nixon overdubbed Deborah Kerr's vocals on screen-those moments where one voice takes over from another are more clearly delineated on the DVD with the result that there is some discrepancy between Kerr's spirited playing and Nixon's over careful (rather) twee enunciation of the lyrics. [+]

Joshua Logan's 1967 film of the hit Broadway musical about the love triangle between King Arthur (Richard Harris), Guenevere (Vanessa Redgrave), and Sir Lancelot (Franco Nero) is strong on star emphasis and weak on such fundamentals as story and sets. Except for a handful of solidly dramatic scenes-such as Guenevere grieving, late in the film, for the ruination she and Lancelot have caused-there's not a lot to get excited about. (The story's theme of a lost, great society, however, certainly struck a chord in the 1960s. )The Lerner-Loewe songs ("If Ever I Would Leave You", "Camelot") pretty much sell themselves, even if they are, at best, only proficiently performed in this movie. -Tom Keogh.

New York, New York-it's a helluva town; the Bronx is up and the Battery's down; the people ride in a hole in the ground. Well, you get the idea. Those lyrics (by Betty Comden and Adolph Green), set to Leonard Bernstein's music, have made On the Town a permanent part of the psychological landscape of New York City. The story (inspired by Jerome Robbins's ballet Fancy Free) is pretty slight: Gene Kelly, Frank Sinatra and Jules Munshin play sailors with 24 hours' leave to take their bite out of the Big Apple. When they meet, and then lose, this month's Miss Turnstiles (Vera-Ellen), they scour the town in search of her, bumping into a lady anthropologist (Ann Miller) along the way. Shot mostly in the studio but with location exteriors all over town, from Coney Island to the Statue of Liberty to Central Park, this 1949 gem was the first of three great musicals codirected by Kelly and Stanley Donen, followed by Singin' in the Rain (1952) and the underrated It's Always Fair Weather (1955). -Jim Emerson.

Even the best Fred and Ginger musicals are merely lavish excuses for some of the most elegant dancing ever put on screen, and Top Hat is no exception. The story is a silly but timeless tale of mistaken identity that compounds itself to extremes. Fred Astaire is the famous American hoofer Jerry Travers, in London preparing for a new show with his befuddled producer Horace Hardwick (the always entertaining Edward Everett Horton) when he falls for Dale Tremont (Ginger Rogers), a lovely, wisecracking American girl as light on her feet as Jerry. Dale believes Jerry to be Horace, the husband of her best friend Madge (Helen Broderick) and rebuffs his advances by marrying her dressmaker Alberto (Erik Rhodes), but in the best tradition of musical comedy, true love finds its own way. Practically the entire cast of the 1934 hit The Gay Divorcee reunites for this frothy confection, along with director Mark Sandrich, designer Van Nest Polglase, and choreographer Hermes Pan. Irving Berlin provides a tuneful score, including "Cheek to Cheek", which provides a classic duet for Astaire and Rogers, and "Top Hat, White Tie and Tails", which remains one of Astaire's finest solo numbers. Polglase outdoes himself with sets both elegant and outrageous and Hermes Pan's choreography is as smooth as ever, but ultimately it is the grace and chemistry of the leads that makes Top Hat top entertainment. -Sean Axmaker.

This semi-remake of Holiday Inn (the first movie in which Irving Berlin's perennial, Oscar-winning holiday anthem was featured) doesn't have much of a story, but what it does have is choice: Bing Crosby, Danny Kaye, Rosemary Clooney, an all-Irving Berlin song score, classy direction by Hollywood vet Michael Curtiz (Casablanca, The Adventures of Robin Hood), VistaVision (the very first feature ever shot in that widescreen format), and ultrafestive Technicolor! Crosby and Kaye are song-and-dance men who hook up, romantically and professionally, with a "sister" act (Clooney and Vera-Ellen) to put on a Big Show to benefit the struggling ski-resort lodge run by the beloved old retired general (Dean Jagger) of their WWII Army outfit. Crosby is cool, Clooney is warm, Kaye is goofy, and Vera-Ellen is leggy. Songs include: "Sisters" (Crosby and Kaye do their own drag version, too), "Snow", "We'll Follow the Old Man", "Mandy", "Count Your Blessings Instead of Sheep" and more. Christmas would be unthinkable without White Christmas. -Jim Emerson.

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.

The hit Broadway musical from the 1940s gets a lavish if not always exciting workout in this 1955 film version directed by old lion Fred Zinnemann (High Noon). Gordon MacRae brings his sterling voice to the role of cowboy Curly and Shirley Jones plays Laurie, the object of his affection. The Rodgers and Hammerstein score includes "The Surrey with the Fringe on Top", "Oh, What a Beautiful Mornin'" and "People Will Say We're in Love", and Agnes DeMille provides the buoyant choreography. Among the supporting cast, Gloria Grahame is memorable as Ado Annie, the "girl who cain't say no", and Rod Steiger overdoes it as the villainous Jud. -Tom Keogh.

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.

In 1933, RKO Pictures had the bright idea of pairing Dolores Del Rio and Gene Raymond for their new musical blockbuster, Flying Down to Rio. The film was a smash, but not for the reasons anyone expected. The fourth and fifth-billed stars were an RKO bit player and a Broadway man breaking into Hollywood. Their names were Ginger Rogers and Fred Astaire, and their pairing in this and eight subsequent RKO films would help to rewrite cinematic history. Most of Rio's screen time is spent on a humdrum romantic triangle involving Del Rio, Raymond and Raul Roulien, but Fred (as Fred Ayres) and Ginger (as Honey Hayes) are still able to establish many of the trademarks of their later films. Ginger fronts the band (with Fred on accordion) in the saucy "Music Makes Me", and Fred does some solo tap then sings and leads the band for the spectacular airborne finale featuring chorus girls perched on the wings of biplanes. The heart of the film is "The Carioca", a company dance extravaganza that would be imitated by "The Continental" and "The Piccolino" in later films. Here Fred and Ginger take the floor together for the first time; their eyes meet and their foreheads touch. Their dance lasts only a few minutes, but it was the highlight of the film and audiences wanted more. A prophetic moment occurs toward the beginning of the dance, when, after watching for a while, Fred grabs Ginger and tells her, "I want to try this. [+]

Going My Way is an irresistible Oscar winner from writer-director Leo McCarey (An Affair to Remember) that stars Bing Crosby as a low-key, crooning priest who joins the parish of a no-nonsense but sweet old Irish man of the cloth (Barry Fitzgerald). While Bing turns local toughs into a choir, the elder priest worries over the church building fund and whether he'll get a chance to see his old mother back in Ireland before she dies. One would have to have a heart of stone not to be won over by this charmer, with a lovely ending guaranteed to make you bawl for a week. -Tom Keogh, Amazon. com.