Popcorn97

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  1. How might Streisand’s performance of the song “People” have felt different in the film, had she been more theatrical and expressive, perhaps even belting her song more? If she was belting the song it would be more of a musical number. She is singing very casual in this film and it makes the song very low key. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? From the moment the clip starts till 25 seconds in they are together and she walks away from him when she sings "we travel single" and she stays single though out the song. He stays single during the song also. How does the direction and editing of this scene support Streisand’s performance? Be specific about blocking, reaction shots, etc. The guy stays far in the distance and Barbra is almost alone how she sings about people needing people. The guy she likes is so close yet very far away.
  2. I'll do my best to answer these questions so here it goes What do you notice about the relationship between Eliza and Higgins that seems enhanced by Cukor’s direction? i think at the end they become the best of friends. Higgins saw Eliza when she was at her low point when he picked her up on the street then at the end transforming her to beauty. And thru out they count on each other. This movie is a fish out of water film. The ugly duckling turn into the swan.
  3. As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? Well, masculine performances in musicals really did change with the times (for this question I'll stick with the 70s onwards) Look at Rocky Horror from 75 my guess that was a BIG leap in musicals where a man could play a transvestite and also be gay in the musical. Flash forward to the 90s when Rent came out You could really see what was going on in the world thru the musicals at the time and as we know the code was gone so you can be as risky as you could. What other specific qualities do you notice about Robert Preston in either or both of these clips? Both clips he sings with people. The first clip he sings with the towns people about trouble and the second clip in the night club he starts trouble with the crowed in the club. Have you seen any Robert Preston films that are not musicals? If so, what do you notice about his characters and his approach to acting, now that you are more aware of his dedication to working his craft outside of his stage or film work? I have never seen any of his films.
  4. In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? Now when a show does auditions for a musical they always do it one on one and not with a group of people (such as later on in A Chorus Line) This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actress. Mama Rose is now the typical "stage mom" we now see in films/tv shows. Where the Mother is trying to live out her daughter's talent by trying to make her look perfect but really making her daughter look awful. Pay attention to the song “Let Me Entertain You” in this scene. Is there anything you notice in Sondheim’s lyrics that are sly, subversive, or edgy? You can also discuss the song’s performance and staging as disruptive (or not). Like many other people have said how the song is preformed and by who can change the meaning of the words just like that....a quick personal (edited) story I went to Vegas this year and went to a burlesque show and they made common songs sound as sexy songs.
  5. 1- As you have said and its kind of pointed out that this Paris is not the real Paris. Its almost a dream version of Paris, its the movie version of Paris. So if its a dream or movie version that means anything can happen in Paris. So having the ending as a ballet is fine for the ending of this colorful dancing film. 2- Jerry is not unlikeable in this one scene. He is only being rubbed the wrong way by a college kid who wants to talk about his art. Jerry (my guess) is that he has done that already in his life and now paints for making money and not fun anymore. Jerry is in the business to make money on his pantings not talk about his work. So he just pushes her along till someone who wants to buy his paintings comes along...
  6. 1- If you had followed Gene Kelly's dances from when he first started out until this point you could tell that he was getting better and better with his craft. 2-O'Connor was making fun of the professor at the start of the clip until it turned into a song. They both carried the professor around the room like a doll. The professor being the straight man the entire time. 3-Donold is the playful male who does not take much serious (in this clip) Gene takes the lead as the male in charge and the professor is just there to be "the smart one"
  7. 1- The movie is a western, she is almost like a tom boy in the film or in the clips. Its like My Fair Lady meets the west. 2- The only movie I have seen her in was The Man Who Knew Too Much. But i can say that Hitchcock took her out of the studio to shoot on location. And Doris was not use to that because Doris was a studio/backlot actress. 3- I also stand by another member without viewing this movie other then the 2 clips. I can not comment
  8. 1 - Think about it the first min and 20 seconds the song is around a chair and the 2 men and the women are walking around the chair in a circle singing. Then it starts with the singing and dancing. 2- Nothing much 3 men with suites and a women with a white dress on. The suites are just normal bland colors. 3-They use the stage as one big prop and throw in some old vaudeville gags into the mix. While singing about how the audience can react to various types of entertainment.
  9. What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? When the song cuts to her outside hanging laundry, she is just still working away but in a happy manner because her husband is okay and alive. And so she sings about it while working. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? No it does not change at all. Love is love. Weather its about a child, a husband, a lady friend, a friend or a family member.
  10. Thinking like a director and editor, describe how each shot spotlights key actions. Since this film is about baseball this number tries to use the baseball seating arrangements as actions for the song. Such as this when the main actors are walking or running across the wood floors its almost like they have taps on their shoes. She wanted Frank to throw ball with her so she had a baseball. When she says its fate she knocks on wood. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? From the moment the clip starts the music starts and the moves are choreographed. And you can tell not just from this film but many other musicals the man or women will not just speak their mind, they are going to speak their mind in song and dance!
  11. What was the first Judy Garland film you recall watching? What was your first impression of her? I watched (like many) The Wizard of Oz when I was a child. I had no impression on her just because I was a young child back in the 80s. How do you view her differently after viewing these clips than you might have viewed her previously? Well both clips have 2 different feelings. The first from Easter Parade you can tell its a song and dance clip and everything is happy. But the other clip is from wartime and depending what was going on back then a song can bring happiness to someone if only for a moment...if you have never listened to the radio show "commend performance" it was a weekly show for the troops. What films in her later career come to mind as examples of her increasing ability to capture an audience’s imagination as a storyteller when she sings a lyric? I would say A Star is Born. Because in someway that film was about Judy Garland a true auto bio about her own life. She started young as a child then everyone saw her grow up on screen (also type casted), then when you hit it big all you can do is go down and then have a come back. That what a star is born is for me with her in it a come back picture
  12. Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. The songs about America, anything to do with winning over there, stars and stripes. Promoting how great America is. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the screenplay work to boost American morale? Quote specific lines of dialogue in your response. The Buttler saying that the grand old flag song is as great or even better now then it was back then. As I said in question number 1 was how FDR was asking questions to Mr. Cohan about his Irish father on what he did when he was a boy about America and how he just flys the US flag high and to promote how great the US is. Since this is the opening of a biographical musical, how differently do you feel this film would be if it opened with the Fourth of July Parade scene in Providence, Rhode Island vs. the opening with FDR in the Oval Office? Defend your answer. I watched this 2 ways. The first way the way how it was shot and it worked great. You were introduced to people. Then I watched it from the opening of the 4th of July parade scene on. It did not work rather well. I prefer the way how it was edited together.
  13. Both are 2 different type of styles of dance. And you can tell which is MGM/WB. MGM had that 30s feel of a big set and almost dancing in one long take. The WB clip was more into special effects and set changes during the song and dance of 42 street. Lots of camera cuts during the song
  14. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I do not see anything to do with the battle of the sexes in this clip from Top Hat. just 2 people enjoying them selves dancing in the rain. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? I have not yet watched this film. So I can not yet say. What possible reasons might there be for the changes in roles between men and women depicted in these screwball comedy musicals that distinguish themselves from earlier musicals in the 1930s? I think in the screwball comedies between men and women both of them get into the mood for comedy. Almost like "Anything you can do, I can do better." And depending who is staring in the film both can play off each other rather well.
  15. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? All of the props were right next to each other very close by. The staging was almost staged like a broadway show or just a stage show. Based on this scene, what are some of the things you notice about the scene’s use of sound? Describe a specific sound or line of dialogue you hear and what you think it adds to the scene’s effectiveness. I am answering question 2 as my first question. i can tell you that the use of the gun shot was very loud and it got peoples attention outside the building. It was very effective. What themes or approaches might you anticipate from this clip in other Depression-era musicals? The themes are always seems to be about the upper class one way or another. one of the themes from this clip is a cheating wife on her husband. But also the wife wants to teach her husband a lesson. In the end money always wins.

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