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Everything posted by jkbrenna

  1. I agree with you. Ruby Keeler and the cast are magnificent. 42nd Street was the first Broadway show I took my daughters to. They loved it. Even though it’s been so many years ago, they will say it’s their favorite Broad way show. In our house it was “Mr. Marsh is putting on a show!” It was such fun. I may be way off base, but Eleanor Powell does not inspire me. Yes, she’s a very good dancer, but it doesn’t pull me in like some of the others. 42nd Street is one of my favorite musicals.
  2. There will always be only one Ginger Rogers. I like Ginger best of all with Fred. They danced as one person. I watch their feet.
  3. I found the same thing. I couldn't get to the Tuesday movies and on demand, I'd have to rent them for $3.99 each. In previous courses, the past movies were always free. Something wrong this time?
  4. I always liked this film, but now after watching other Hitchcock film, this does seem a "trifle" compared to his more dramatic movies. I had a feeling that Carole Lombard was over acting, but I'm not a professional actor. It just seemed that way to me.
  5. just watched The Lodger in full on You Tube. It's 90 minutes. It is a Hitchcock masterpiece. I did think it was a bit long and moved somewhat slowly at times, but then I'm judging it from 2017 movies. I enjoy films from 30s because they are fast moving and keeps one fully engaged the whole way through. Still The Lodger is a remarkable story. Also, when I first saw the landlady/mother of Daisy, I thought it was Mary Gordon until I saw a close up. Now on to others. Judy B
  6. Someone already replied that they thought the opening to the Lodger reminded them of "M". I thought the same thing too. Also, Mr. Hitchcock seemed to like to cast blondes throughout his career. In The Lodger, a blonde is murdered and In his first film, The Pleasure Garden, blondes are running down the spiral staircase. His use of camera angles and light and dark help tell his story. I love his films and look forward to watching them in totallity. I would like to watch The Lodger now, but oh well.
  7. May I also add my thanks and appreciation to Dr. Edwards, Vince Cellini, and Wes Gehring for passing on their knowledge for us. I have thoroughly enjoyed this. I have two movies left to watch, take the last quiz and of course the final exam. As CynthiaV said it's been a treat to watch these slapstick films through new eyes. My favorite will always be Charlie Chaplin. Actually, the last film, Sidewalk Stories, reminds me of The Kid. Although, this wasn't as sad as The Kid (I cry my eyes out every time I watch it), but certainly a take off on it. The homeless man, finds a baby, raising it, and then the rightful people show up - in the case of Sidewalk Stories, he finds the mother, and in The Kid, the orphanage reclaims him. I guess it was fitting to end with a silent film as we started with one - Tillie's Punctured Romance. As an aside, I've noticed that while the earlier movies were laugh out loud funny, but without sexual innuendo and language. As we get closer to the current time, there's so much of it, and used to draw a laugh. I will always prefer the earlier films. Again, my thanks to Dr. Edwards and wait to see what you come up with next year (PLEASE?) The insight that Dr. Gehring provided was enlightening and filled in some gaps for me. And another thank you to Vince Cellini and Greg Proops who introduced all the films; like having Ben Mankiewicz intro a film. Thanks to all for adding their knowledge and thoughts too. Best, Judy B.
  8. This clip from Naked Gun starts as a parody to Dragnet, with Nielsen narrating like Sgt. Joe Friday. It then switches to spoof as Nielsen jumps out of the way of his car coming toward him, fires on it, and asks people if anyone caught the license plate; a light humored and senseless scene - funny all the way. It continues the spoof in the lab with the Swiss Army Shoe, reminding me of the shoe with knife in From Russia With Love. The roll of his eyes when he says he has to go inside the building, reminded me of Igor in Young Frankstein, which brings us to Wilder. I consider Brooks and Wilder's approach to slapstick as slapstick, with the character taking prat falls, fast talking (or not) and getting into unbelievable situations. ZAZ's approach combine a few of their approaches, with Drebin walking past the wall on the way to the Laboratory without going through the door, but I see ZAZ's parody more similar to Stanley Kramer's It's a Mad, Mad, Mad, Mad World (I almost forgot a Mad). Drebin is a bumbling detective in trouble with his boss, just like Clouseau. Peter Sellers is more flexible in his physical activities and violence and doesn't skip a beat. Leslie Nielsen, while a good slapstick comedian, is a bit more reserved in his falls and physical activities. Plus, Sellers uses that hysterical french accent.
  9. Anchorman is an amusing film, and the cast does a great job in getting the jokes across, but I see it as a comedy, not necessarily slapstick. I think the newer films have some elements of slapstick from Chaplin to Keaton and to Chase. Ferrell and McKays style of slapstick involves exaggerated physical activity of the group. I believe Ferrell reminds me more of Charlie Chase. He doesn't do the physical activity of the silent slapstick comedians, like Lloyd. Ferrell's is more verbal than physical. The film, in my opinion, isn't as funny as Young Frankenstein or Bananas. While I'm at it, I may as well add that I didn't like Gumball Rally; It wasn't all that funny, just a car race trying to emulate It's Mad, Mad, Mad, Mad World and The Great Race, which were much funny and more slapstick, and better actors. The cameos save the movie, with hints at previous films. Vince Vaughan and his team circle Ferrell and his team like the old westerns when the native americans circles the wagons. Tim Robbins with the pipe, turtleneck and jacket are very PBS, and I do like the line about taking time off from the donation segment. Of course, Dr. Edwards ( I think) brought out the Planet of the Apes influence with the net corralling someone. Ben Stiller and his hispanic group reminded of Viva Zapata. Who I liked best was Steve Carrell, and it makes sense that he became a super star. The fight scene, I think, had some influence from the fight scene in West Side Story. Ferrell does ask Vaughan if he wants to dance. I can't say with any confidence who influenced Ferrell the most. He's a mixture of all of them.
  10. Young Frankenstein has always been funny - with Gene Wilder and Mel Brooks, what else could it be. I like the salutes to the original Frankenstein - the lab, the little girl in the meadow, Wilder's screaming "It's Alive", and the townspeople gathering to go after the monster. My favorite line, from the first time I saw it years ago was Cloris Leachman's "Yas, Yas, He Vas my boyfriend." Igor is pure slapstick with his hump shoulder changing sides, his quick retorts and general physical activities. Great cameo from Gene Hackman, the blind monk. Loved this movie!
  11. The black & white film imitates the horror and otherwise films of the 1930s. Dracula, Frankenstein, The Wolfman and others were shot in black & white. Black & white is stark, like the noir films in the 40s with angled lighting that sets the atmosphere and tone of the movie, albeit funny this time.The old time horror movies did the same. In that opening scene, he tries to live down his family name and gives a demonstration of voluntary and involuntary reflexes. He stabs himself in the leg, which is slapstick funny, and he dismisses the class. His grandfather's will intrigues him.
  12. Sorry to be a pain - but i can't locate Daily Doozy #13. Is anyone having this problem?
  13. jkbrenna

    The course material on Canvas

    I've printed them out so I read them on paper and then you save the pages. Not sure about downloading.
  14. jkbrenna


    The cameos in both films are terrific, but I would bet there are more in It's MAD, MAD, MAD, MAD WORLD than in any other film. I like to watch and go, "Oh, Look who that is." Keep the action going and the audience attentive.
  15. I'm pretty sure I responded to this topic regarding It's a Mad, Mad, Mad Mad World; but I'd like to add that I loved the homages to the silent era comedians. Destroying a gas station looked so much like Buster Keaton. When the cast is hanging from a broken fire escape, I thought of Harold Lloyd; there's so many more that can be cited, but the best was the banana peel on the floor at the very end (salute to Charlie Chaplin). I may have seen these movies in the past when they first came out, but now, through this course, I'm looking at them with new eyes. The actions that transpire, the quick dialog, and bumps along the way. Thanks!
  16. The Three Stooges were hysterical. Sometimes a little too violent for me with the hammer and slapping a lot of the time. I understand it's slapstick according to the five conditions. They do exaggerate their actions, especially in the opening sequence when they jump out of bed and are getting their clothes on; they are physical as well as violent, and certainly Make believe in going up in a rocket in 1959. My younger brother, when we were kids, LOVED the three stooges and used to wave his hand in front of my face with the "Nyuck, Nyuck, Nyuck". It was annoying, so that's my problem with the Three Stooges. The Great Race is great! I loved it when I saw it the first time in the movie theater. Jack Lemmon's two different roles only show him to be versatile as well as talented. As Dr. Gehring said, Lemmon was outstanding in comedy, and won an Best Actor Oscar in a dramatic role for Save the Tiger. Of course, he also won best supporting for Mr. Roberts. The tooth sparkle on Tony Curtis, who was THE male icon back then is so cool. I'm sure Tony didn't go up in the basket upside down and had a stunt double, but whoever it was was amazing. A throwback to Houdini? Curtis and Lemmon were a good team in Some Like it Hot of 1959, so it makes sense that Blake Edwards would want to pair them in this film.
  17. From the beginning of this clip with the curved pool cue to the walking into the wall behind the door at the end, Peter Sellers shows his excellent comedic talents. He is another master of slapstick. The one gag I particularly liked (and laughed out loud) was Sellers trying to put the cue back in the rack, with them falling all over the place, including himself. IT was a masterful performance hitting all the spots with the props. He tops it off with walking behind the door to exit into a wall. His physical slapstick combined with his verbal slapstick (in the misuse of language) is hysterical. Clouseau is a bumbling detective who somehow manages to get the right culprit. George Sanders, more of a dramatic actor, is a perfect foil to Sellers' jousting. IT's Clouseau's verbal and physical slapstick that puts him in the class with Chaplin, Keaton and Lloyd. The butler, Maurice, adds to the comical atmosphere as he too struggles with Clouseau and the pool sticks. These days there's not too much fun in police dramas. Sellers added to the rapid mistakes of the Keystone Kops and created his own immortal simple-minded, straight-faced, yet intelligent detective. Can't wait to watch the whole film again.
  18. The addition of color in The Long, Long Trailer brings all the props and settings to life. It's easier to see the white wine, at a tilt, their pajamas, the contrast of her hair and pjs with mud at the end of the clip. Her slapstick is so funny, when she slides off the bed. Lucy was doing both verbal and physical slapstick. One of the best. I think she would have gotten along very well with Charley Chaplin. What a move they would have made! I've seen this movie a few times and unfortunately, never knew Vincente Minelli directed it. Didn't know he had a funny bone. Going back to the 50s, when this was made, TV at the time was black & white and SMALL. They weren't like the flatscreens we have today. So, the film, adding bright colors, a much larger venue to watch, and seeing our stars up close and personal, all made the movie more enticing than our little screens at home. Plus, it was a night out. Lucille Ball seems to be the one of the most prolific slapstick women in film, perhaps the first. She was Chaplin in a dress. She gave audiences a way to view slapstick comedy in a feminine way. She was a genius, like the silent slapstick comedians were.
  19. Cameos are the "surprises" in the Cracker Jacks box. When a famous actor, especially if he or she is known for dramatic roles, suddenly appears on screen in a comedy, the response is Oh Wow, look who it is. I think it makes you smile and get more interested in the film and where it is going. Love them.
  20. jkbrenna

    Abbot and Costello

    They were terrific. I laughed out loud. They combine the verbal slapstick, i.e. the bantering between Abbott and Costello characters, and the physical slapstick via Lou Costello. The "Frankenstein" movie is hysterical. Loved Bela Lugosi and Dracula, Lon Chaney Jr. as the Wolfman, and the only one missing was Boris Karloff as the monster. But the actor who took over the Monster role did a fine job, I just thought he was a little stiff (hahahaha). Abbott and Costello rank with Laurel & Hardy, and the silent slapstick comedians, like Chaplin, Keaton and Lloyd.
  21. Mon Oncle clip: M. Hulot, in this clip, seems to me to be a kind person, taking the blame for the dropped tomatoes for the girl, and evidently buying two more to give to her. He does reprimand her, waving his umbrella and yet gives her two more tomatoes. He's quiet and doesn't complain when the woman takes the tomatoes from the girl, supposedly her daughter, and keeps them. He acts like a simple man, who glides along with the events of his day. I guess that could be interpreted as a positive outlook. The house's unusual structure is funny and he takes his ups and downs and ups again in stride. Clever. Will watch the whole movie tomorrow night.
  22. jkbrenna

    Laurel and Hardy

    Sons of the Desert was a very funny film incorporating all the slapstick conditions, including Laurel eating a wax apple. I remember my grandmother had a bowl of wax fruit. I used to scratch at the them. Scene is so funny.
  23. Compared to Charley Chase and the Marx Brothers, Fields doesn't exaggerate his verbal gags. His voice is steady and calm. The Marx Brothers are rapid fire verbal gags which works for them and us. Fields, I think, is smoother. I'm not as crazy about Charley Chase, who in the shorts I've watched, he is too exaggerated to pull off decent acting, than I am of the others we're studying. In the Pip from PittsburgH (there should be an H at the end of Pittsburgh), and in Dollar Dizzy, I didn't get the sense that he or the women were good actors. Just my opinion. But, maybe that's why I had never heard of Chase until this week. I did like the tip of the hat to Chaplin, with the hat shaking (not sure how to describe it) and the kick of the wad of paper to the side. Verbal gags: unfortunately I didn't catch everything Fields said cause he sort of mumbles and I would have to watch the clip a third time to be able to quote lines. Enjoying this.
  24. somehow I am woefully behind everyone else on keeping up with all the films. I can't stay up all night to watch them and so I record them and watch when I can during the day. I just finished Laurel & Hardy's "Sons of the Desert" which was extremely funny and has all the elements of slapstick, both verbal and physical. Exaggeration - with the eating wax apples routine, and hiding in the attic with the spring bed that lightning strikes, the bit about bing on a ship that sunk, and so much more. Physical - with them tripping over suitcases, boxes, the horn in the attic, the taxi driver who somersaults over the suitcase and the landing in the pot of hot water in Oliver's living room. Ritualistic - repeating the landing in water outside the house when they slide down from the roof. Make believe - with scenes from the Convention, and violent when they slap with a "slapstick" the next person who bends over at the convention. Simply the best! Interesting, too, is that Sons of the Desert is really an international fraternal organization devoted to the appreciation of Laurel & Hardy. Great film.
  25. Everyone has answered the three questions so well, there's not much to add. The only condition in this clip (not taking into account the whole film) there is no violence/pain. Unless you consider the banter as verbal combat/verbal slapstick. Great lines and it made me wonder if any was improv by one or both of them. Marx brothers were so talented I would not be surprised to learn some of this scene was improvised, such as the line, "you don't have a baboon in there?" Can't wait to see the whole film.

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