There is only one word that comes close to accurately describing the enchanting Mary Poppins, and that term was coined by the movie itself: supercalifragilisticexpialidocious! Even at 2 hours and 20 minutes, Disney's pioneering mixture of live action and animation (based on the books by P. L. Travers) still holds kids spellbound. Julie Andrews won an Oscar as the world's most magically idealized nanny ("practically perfect in every way," and complete with lighter-than-air umbrella), and Dick Van Dyke is her clownishly charming beau, Bert the chimney sweep. The songs are also terrific, ranging from bright and cheery ("A Spoonful of Sugar") to dark and cheery (the Oscar-winning "Chim-Chim Cheree") to touchingly melancholy ("Feed the Birds"). Many consider Mary Poppins to be the crowning achievement of Walt Disney's career-and it was the only one of his features to be nominated for a best picture Academy Award until Beauty and the Beast in 1991. -Jim Emerson A pioneering film within Animation, Musicals and Fantasy, Walt Disney's Mary Poppins is possibly one of the warmest and dearest films ever made. Based on a story by PL Travers we find Julie Andrews on fine form in her debut lead role (for which she would win the "Best Actress" Oscar). She is practically perfectly teamed with Dick Van Dyke as the lovable chimney sweep Burt, whose cockney accent is endearingly inaccurate. Along with a fine supporting cast, where even the child actors hold their own without appearing like stage school wannabes, Poppins and her crew take you on a magical ride through chalk pictures, the roof tops of London and show you that laughter is not always the best medicine (even with a spoon full of sugar) when you can't get down. [+]

Danny Kaye spoofs Robin Hood and Scaramouche in this inventive slapstick swashbuckler. Portraying the clownish but good-hearted entertainer Hawkins, he infiltrates the court of the corrupt Basil Rathbone (up to his usual brand of cruel villainy) disguised as the legendary king of jesters, Giacomo. After a court sorceress hypnotises Hawkins into believing he is also a legendary assassin, Hawkins has more identities than he can keep straight, and Kaye zips back and forth between them at, literally, a snap of the fingers. Comic highlights include a wonderful sword fight with Rathbone in which he constantly switches identities, and the classic "chalice from the palace/vessel with pestle" wordplay as Hawkins plays "hide the poison" and forgets where it is. With comely Glynis Johns as his spy-in-arms love interest, Angela Lansbury as the scheming princess, and Mildred Natwick as the dotty spellcaster, this is Danny Kaye at his comic best. -Sean Axmaker, Amazon. com.

Snow White and the Seven Dwarfs was nicknamed "Disney's Folly" by contemporary observers; they doubted that the short cartoons shown before the main film could ever successfully make the transition from filler to feature presentation. Surely, no one would sit still for over an hour to watch an animated film, their eyes smarting from the bright colours on screen? Fortunately, Walt Disney and his army of artists persisted and the world's first full-length animated feature was finally released in 1937 to widespread acclaim. Adapted from the Grimm fairytale, Snow White and the Seven Dwarfs is chillingly dark in places, reflecting its roots in European folklore, but the deft Disney touch ensures that the overall tone remains light and the story develops apace, swept along on the perfect musical score. Any lingering gloom is quickly dispelled by the superbly characterised dwarfs and by the humorous antics of the various irresistible fauna that threaten to steal the show in several scenes. The pioneering animation is breathtaking and songs such as "Heigh Ho, Heigh Ho" and "Whistle While You Work", now firmly embedded in popular culture, are seamlessly interwoven with the action. Snow White and the Seven Dwarfs happens to be an interesting technological milestone in cinema history-it is also an enduring masterpiece of family entertainment. To the millions who have fallen under its spell over the years, this magical fairy tale remains one of Disney's most enchanting and best-loved films. Only Grumpy could resist. -Helen Baker On the DVD: the video quality on this DVD is stunningly clear. Though it is noticeable that the film is nearly 65 years old, Disney has done a great job in the cleaning process: the bright colours shine clearly, the blacks are deep and the whites clear. [+]

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.

Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pickpocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship", and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist. " -Jeff Shannon Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pick-pocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship," and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist". [+]

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.

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.

To heck with the kids-this is one of the best Christmas presents you can give yourself. Adapted from the children's book by Dr Seuss, this charming story is one to watch every holiday season. It is just edgy enough to help you forget the more cloying aspects of Christmas. It is also sweet enough to remind you of the reason for all that holiday cheer. Animation genius Chuck Jones directed this 1966 television production featuring the voice of Boris Karloff as the mean greenie. Bitter and selfish, the Grinch decides to steal Christmas away from the Whos, sweet little folk at the bottom of his mountain that is his home. When little Cindy Loo Who returns his hateful act with kindness, she melts the old miser's heart. There are many reasons to watch this: inventive wordplay, Karloff's impressive narration and a very memorable soundtrack. -Rochelle O'Gorman.

Holiday Inn is a perennial, Christmas-season favourite from 1942 teamed Bing Crosby and Fred Astaire as entertainers (and rival suitors of Marjorie Reynolds) running an inn that is only open on holidays. It's a great excuse for lots of singing and dancing, seamlessly wrapped in a catchy story, and Astaire's frequent director Mark Sandrich (Top Hat, Shall We Dance?) doesn't let us down. The Irving Berlin numbers (each one connected to a different holiday) are winners. Crosby's warm performance of "White Christmas" is a movie touchstone. -Tom Keogh "A Couple of Song and Dance Men" is a 45-minute conversation between author-historian Ken Barnes and Ava Astaire McKenzie, Fred's daughter, recapping the careers of Astaire and Crosby. It's a bit wooden, but not without charm, and has some interesting early footage, chiefly of Crosby (presumably because of studio rights issues). There's also a seven-minute discussion of how sound has been recorded for movie musicals, and specifically how it was done for Holiday Inn's "I'll Capture Her Heart. " Barnes's commentary track offers bits of trivia (they had originally wanted Ginger Rogers for one of the roles, and yes, the title inspired the hotel chain) and incorporates some archival quotes by Astaire and Crosby. The remastered picture is a noticeable improvement over the earlier double-feature DVD, which paired Holiday Inn with Crosby's Going My Way. -David Horiuchi.

Perhaps because it was Fred Astaire and Ginger Rogers's penultimate picture together for RKO, or perhaps because it is more romantic comedy than musical, Carefree tends to be a neglected entry in the series. This is unfortunate, because it retains many of the elements that made the duo so popular while also breaking new ground. Fred plays Tony Flagg, a psychoanalyst who is asked by his friend Steve (Ralph Bellamy) to try to figure out why his fiancée, Amanda Cooper (Ginger), keeps breaking off their engagement. During the course of treatment, and in a reversal of the usual pattern, Ginger falls for Fred and begins to pursue him. The emotionally repressed doctor resists, leading to a number of comic encounters, as well as a moment of genuine heartbreak. Other innovations include Fred's dance on a driving range, a slow-motion dream sequence (which was going to be shot in color until budget concerns won out), Fred and Ginger's first screen kiss, and some of Ginger's best turns as a comic actress. More familiar elements include Ginger fronting the band at the start of a large company dance number ("The Yam," which failed to catch on as a dance craze), an expert if skimpy Irving Berlin score including the lovely ballad "Change Partners," and of course fabulous, high-flying dancing. Fred and Ginger fans can't afford to miss Carefree. -David Horiuchi.

Hollywood's legendary "woman's director," George Cukor (The Women, The Philadelphia Story), transformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical. Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins (Harrison also played the role, opposite Julie Andrews, on stage), who draws Eliza into a social experiment that works almost too well. The letterbox edition of this film on video certainly pays tribute to the pageantry of Cukor's set, but it also underscores a certain visual stiffness that can slow viewer enthusiasm just a tad. But it's really star wattage that keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night. " Actor Jeremy Brett, who gained a huge following later in life portraying Sherlock Holmes, is quite electric as Eliza's determined suitor. -Tom Keogh Hollywood's legendary "woman's director," George Cukor (The Women, The Philadelphia Story), transformed Audrey Hepburn into street-urchin-turned-proper-lady Eliza Doolittle in this film version of the Lerner and Loewe musical. Based on George Bernard Shaw's play Pygmalion, My Fair Lady stars Rex Harrison as linguist Henry Higgins (Harrison also played the role, opposite Julie Andrews, on stage), who draws Eliza into a social experiment that works almost too well. Star wattage keeps this film exciting, that and such great songs as "On the Street Where You Live" and "I Could Have Danced All Night. " Actor Jeremy Brett, who gained a huge following later in life portraying Sherlock Holmes, is quite electric as Eliza's determined suitor. -Tom Keogh.