Chuck V.

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About Chuck V.

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  1. On the other hand, Lili is often classified as a musical, but yet only features one song and two short dance numbers. Genre classification is not as of yet an exact science.
  2. True, it is not very active, but it is still usable. I suspect the problem of people falling out of touch is just as likely to occur with a facebook forum as this one, so why create a new one?
  3. I don't think it's really necessary to create a facebook group. This forum will remain open. The forum for the first TCM class from 2015 is still open.
  4. Personally, I don't think that music plays a prominent enough role for The Producers to qualify as a musical. However, I don't see how labeling the film a musical constitutes an insult. Movies can fit into more than one genre.
  5. Horror would be a natural for October as TCM always shows a slew of horror movies every October.
  6. Thanks. Only just saw this. The system only alerts one to replies if they directly quote one's post.
  7. Chuck V.

    1776

    I still haven't gotten around to seeing this one yet, so I can't comment on the film's aesthetic qualities, but I just wanted to say that it was quite a timely choice for the final video lecture.
  8. Sounds great, although TCM would have to cooperate by airing the films. (I recall a French New Wave festival in the past.) Not certain if the French and British new waves should be mixed though. That might be taking on too much for one relatively short course.
  9. How about some more Mel Brooks? From History of the World: Part I
  10. But not just a complete world within the realm of one film, there were connections (of studio/unit style, performers, directors, composers) across the genre at the time. However, once we start leaving the prime musical era, these connections begin to be lost. The musicals become more isolated in the culture, less able to reinforce each other's power, as for example the current Marvel superhero movies apparently do. Darkness, pessimism and irony needn't have precluded popular success in the '70s, for example. That was a very common theme, especially post-Watergate. But Cabaret inspired no successors, so we can't look back fondly on that particular strain of cinema, as we can with the works of the Freed unit.
  11. Ken Russell, The Boy Friend's director, can be difficult for some, and although passionate about music, having directed several musicals and/or biographies of celebrated composers, he's usually not considered one of the great musical directors. I'm quite fond of his work myself, but even so, I wouldn't immediately label him as a musical director. (Perhaps due to a disinterest in traditional choreography on his part? TBF is probably his best on that front.) What he does excel at (or horrify at, depending on one's taste) is spectacle, and for that one might be better off going with tonight's Tommy, whose nearly continuous soundtrack by The Who (and guests) provides a good solid foundation for Russell's pyrotechnics. The story is utterly mad, but that shouldn't dissuade a true musical (or opera) lover.
  12. Which lecture video was this? Maybe I haven't gotten that far yet, I'm still a bit behind. To pick a couple random examples off the top of my head, I'll bet there are more versions of Dracula and Alice in Wonderland. Or am I missing some context?
  13. This seems appropriate. From the 1967 Beatles-directed TV movie Magical Mystery Tour.
  14. The 1962 film Jack the Giant Killer was a virtual replay of 1958’s The Seventh Voyage of Sinbad, same director, same actor as hero, same actor as villain, fairly similar plot structure. JtGK’s producers get sued by T7VoS’s producers which interferes with the re-release of Jack. After sitting on the shelf for roughly ten years, the film is partially re-dubbed as a musical and sold to TV. It's been recently re-released on Blu-ray in both the original and musical versions. Enjoy and marvel:
  15. Can anyone provide any thoughts (or links) that give some information about Sewell's editing style? I would be especially interested to see some analysis of what personal touches she may have brought to the material(s) she worked with.

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