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About MareyMac

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  1. I'm just surprised that Week 1 talked about house style of various studio musicals in the 30s and it's not even mentioned in Week 2. I know MGM was the major studio for big Technicolor musicals in the 40s, but what other studios were doing should at least get a mention. All the behind the scenes experts covered (set & costume, scriptwriting, editing, etc) were all MGM as well.
  2. The Love Parade, discussed last week, was a Paramount picture
  3. In reviewing material to make notes for the quiz (yes, I actually do that), other than Yankee Doodle Dandy from Warners, the emphasis is squarely on MGM and Garland, Kelly, et. al for the 1940s, principally a handful of films.
  4. Musicals were fantasies right from the get-go. In "Footlight Parade" the premise of travelling prologues for movies is laughable. I mean, these were supposed to be presented on a simple stage in movie theatres. That "By a Waterfall" Busbey Berkeley production number had 300 choreographed swimmers, along with movable swimming pools.
  5. I have a weird obsession with collecting out-of-print movie-tie in editions. Search ABE books (Advanced Book Exchange) for reputable editions but apparently this is a long out of print title. There are a few editions that are slightly cheaper, but you'll still have to pay for an early tie in edition. FYI, one of my most prized possessions is the 1929 photoplay edition of "The Broadway Melody" from 1929.
  6. MareyMac

    Ruby Keeler

    I've always thought of Ruby Keeler as a triple non-threat. She couldn't sing, dance or act. But I wait for the lines in (I think) 42nd Street (they were all the same) where she she responds to "you're going out a youngster, but you're coming back a star". With "Who, me?". And when Ginger Rogers says something like "I can't carry a show, but you've got a great little trooper who can". Of course Ginger could carry the show. She could dance rings around Ruby. But Ruby non-talent is totally charming.
  7. Does anyone remember the Simpson's episode based on Rear Window?
  8. I was going to add my thoughts on this but you've pretty much touched on all the points I was going to make. Considering the amount of material to be covered and all the juggling that I'm sure the Prof had to do, kudos on a brilliantly executed course. A few lecture notes were posted a bit late and I think everyone took it in stride.
  9. I'd sign up for a Pre-Code course in a heartbeat. Lots of late 20s/early 30s"social context" a prof could cover. It has to tie into a month long festival that TCM would run and I think that would be do-able summer festival on their end. I believe they've done some Pre-code evenings in the past?
  10. MareyMac

    Third Man

    Sorry, here is her picture!
  11. MareyMac

    Third Man

    My office mate casually informed me that her first apartment was in Vienna, across the street from the Third Man ferris wheel, the Prater. She gave me this pic of the view from her living room window. I mean seriously, how cool is that?
  12. Found a website that has stills of all Hitchcock's cameos. He certainly has a thing about musical intruments.
  13. Loved the Noir course. There was a lot more required reading, so more demanding time wise, but then a broader subject. And LOTS more films. I kept my course binder and have loaned it out to few people. I had to laugh when my bro said he found it 'pedantic'.
  14. I'd also be interested in reading some of Hitchcock's original stories. "While working at Henley's, Hitchcock began to dabble in creative writing. The company's in-house publication The Henley Telegraph was founded in 1919, and he often submitted short articles, eventually becoming one of its most prolific contributors. His first piece, 'Gas' (1919), published in the first issue, tells of a young woman who imagines that she is being assaulted one night in London—only for the twist to reveal that it was all just a hallucination in the dentist's chair induced by the anesthetic. Hitchcock's second piece was 'The Woman's Part' (1919), which involves the conflicted emotions that a husband feels as he watches his actress wife perform onstage. 'Sordid' (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story 'And There Was No Rainbow' (1920) is Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. 'What's Who?' (1920) at first glance seems to be a precursor to Abbott and Costello's 'Who's on First?' routine, as it is a short dialogue piece resembling antic dialogue from a music hall skit. It captures the confusion that occurs when a group of actors decide to put together a sketch in which they will impersonate themselves. In the story’s forty sentences, confusion regarding the questions 'Who’s me?' and 'Who’s you?' rise to comic emotional heights. 'The History of Pea Eating' (1920) is a satirical disquisition on the various attempts that people have made over the centuries to eat peas successfully. His final piece, 'Fedora' (1921), is his shortest and most enigmatic contribution. It also gives a strikingly accurate description of his future wife Alma Reville, whom he had not yet met."

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