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Easter Parade

Easter Parade

Romance · Music · 1948

On the day before Easter in 1911, Don Hewes is crushed when his dancing partner (and object of affection) Nadine Hale refuses to start a new contract with him. To prove Nadine's not important to him, Don acquires innocent new protege Hannah Brown, vowing to make her a star in time for next year's Easter parade.

Movie details

Easter Parade

“The Happiest Musical Ever Made is...”

1948 Romance · Music 1h 43m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

On the day before Easter in 1911, Don Hewes is crushed when his dancing partner (and object of affection) Nadine Hale refuses to start a new contract with him. To prove Nadine's not important to him, Don acquires innocent new protege Hannah Brown, vowing to make her a star in time for next year's Easter parade.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Easter Parade?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Cinderella

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The Sweetest Christmas

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Names above the title

The people responsible.

Directed by

Charles Walters

Written by

Albert Hackett · Frances Goodrich · Sidney Sheldon · Guy Bolton

Judy Garland

Judy Garland

Hannah Brown

Fred Astaire

Fred Astaire

Don Hewes

Peter Lawford

Peter Lawford

Jonathan Harrow III

Ann Miller

Ann Miller

Nadine Hale

Jules Munshin

Jules Munshin

François

Clinton Sundberg

Clinton Sundberg

Mike

Richard Beavers

Richard Beavers

Singer

Court is in session

Put Easter Parade on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.