The Pirate Screen 4 articles

The Pirate

1948

The Pirate Poster
  • The movie is playful and fun, showcasing Kelly’s dancing moves and Garland’s not inconsiderable vocal chords, but like all true-blue auteurs, Minnelli also uses the film’s mise-en-scène to develop a complex emotional and thematic architecture.

  • Kelly’s inimitable mix of musical-theater corniness and pelvic physicality finds its ideal screen partner in Judy Garland, whose earnest avidity often stopped just short of alarming, but here seems the very least that’s appropriate... On proscenium stages, in costume-closet silks with no credible real-world antecedent, the two stage a pageant of G-rated thirst that ascends to a fever pitch of hysteria and hilarity.

  • It represents the Hollywood studio system at its giddy, most imaginative best... THE PIRATE is a testament to the life-changing power of art.

  • Vincente Minnelli’s famous musicals—among them Meet Me In St. Louis and An American In Paris—tend to eclipse his 1948 Technicolor flop The Pirate, one of his richest and strangest works. One of his kinkiest, too. Minnelli himself considered it a surrealist film... The theme of fantasy-as-agency fits an aesthete like Minnelli, but it remains a challenging idea. When Serafin plays the role of Macoco, Manuela, as the audience, has the reins.