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FOR PARENTS
Commentary by historian John Fricke; New making-of featurette, vintage comedy short and cartoon; Mack the Black stereo remix version; Audio-only bonuses: song outtakes and Roger Edens guide track versions; Promotional radio interviews with Gene Kelly and Judy Garland; Theatrical trailer
Full Product DetailsDisc #1 -- Pirate
1. Credits [1:53]
2. Manuela's Intended [3:32]
3. Future Bride's Request [5:09]
4. Serafin the Great [3:06]
5. Nina (Song) [3:37]
6. Nina (Dance) [3:46]
7. Accosted by an Actor [4:57]
8. Her True Love [4:45]
9. Mack the Black [4:12]
10. Rude Awakening [2:02]
11. Unwelcome Visitor [3:05]
12. Tightrope Lover [3:33]
13. Cry Macoco [5:53]
14. Taking Charge [5:00]
15. Pirate Ballet [5:45]
16. Her Noble Sacrifice [6:01]
17. I Despise Actors [4:56]
18. Bric-A-Brac Breakage [3:08]
19. You Can Do No Wrong [2:31]
20. No Fooling the Viceroy [3:21]
21. Condemned Man's Request [5:34]
22. Be a Clown (1) [5:17]
23. Playing a Love Scene [3:36]
24. Love of My Life [2:22]
25. Footlight Confession [1:07]
26. Be a Clown (2) [3:10]
When Alfred Lunt and Lynn Fontanne appeared in S. N. Behrmann's The Pirate on Broadway, there were no musical numbers whatsoever. But with Gene Kelly and Judy Garland in the leading roles of the 1948 filmization of The Pirate, the MGM production staff would have been drawn and quartered had there not been song after song. The story is merely serviceable: on a Caribbean isle in the early 19th century, sheltered young Garland comes to believe that travelling troubadour Kelly is in reality "Mack the Black," a notorious pirate. Kelly realizes that the surest way to win Garland's heart is to impersonate the romantic buccaneer, and this is what he does--nearly getting himself hanged in the process. Cole Porter's marvelous score yielded only one bona-fide hit: "Be a Clown," which has practically nothing to do with the storyline, but do you care? Highlights include the magnificently staged "Mack the Black," a heady combination of Broadway glitz and Caligariesque nightmare. Seven MGM screenwriters toiled away on The Pirate, though only the team of Albert Hackett and Frances Goodrich were credited. While The Pirate was not a huge moneymaker on its first release, it has since been embraced by the cultists, who apparently can never get enough of Judy Garland. Hal Erickson, All Movie Guide

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Some cartoonish violence, throwing objects.
About ThePirate
Parents need to know that there's not much to worry about here. Characters deceive each other. There are no role models, but there is, of course, a happy ending.
Families can talk about gender roles in the 1940s. How does Serafin treat women as he sings "Nina"? Based on what Manuela knows about the legendary pirate Macoco, why is she attracted to him? Stock portrayals of certain "types" can be the center of a discussion about gender, race, and beauty. Does Manuela dread marrying Don Pedro for any reason other than his looks? How do mob mentality and public opinion factor into the characters' fates?