D'Arcy

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About D'Arcy

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  1. 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? The direction of this scene brings the viewer to an intimate union of the love and unbreakable bond that Petunia has religiously. For me, the simplest form of existence is to love and have purpose. Petunia performs this perfectly. Praising God, get the preacher, and everyone...tell them Joe is fine. She doesn’t want/need a doctor to fix anything as her faith in love and purpose is all she needs in this moment. She nurtures him back to health therefore fulfilling her purpose as his wife. Petunia is in perfect alignment with her beliefs and dedication as she sings outside tending to her duties and Joe close by. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? As for a child in place of her husband, the intimacy would not be as deep rooted. I feel it would be more uplifting and not as romantic. With a child it would be more of a hallelujah, possibly even seeing the town folk in the scene clapping and joining in somehow. What other thoughts do you have about this film, the issues of black Americans during WWII, and this film’s importance in this era? The clip is all I have seen, with that said, I see equality in a segregated time which is very progressive and amazing. It feels now as if maybe equal rights started with Hollywood, very interesting. Need to watch the film now. Goodnight all you Mad About The Musical Fans.....
  2. Thinking like a director and editor, describe how each shot spotlights key actions. Very comical clip, Sinatra being cornered. In a stadium no less. Each spot has huge exits and he still is not able to find a way around her as the camera closes in on intimacy. It’s brilliant. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? The segue speaks volumes with the action taking place. It does this amazing work of allowing the viewer to actually know with a feeling of hearing the actors in a conversation before the singing even takes place. The conversation has already begun with music. Excellent!!
  3. What was the first Judy Garland film you recall watching? What was your first impression of her? The Wizard of Oz.... as a 70’s kid, this was my all time favorite film. Grew up watching it, and couldn’t wait until the next year to watch it again. My year was not the traditional Jan 1st but Nov, the day of Thanksgiving, turkey all the fixings and an evening of brilliance. This was one time I was in complete control of the television box. I feel very fortunate to have grown up with this forever magnificent classic. I only knew her as Dorthy, had no clue she even had another name. She was my Disney Princess. She was magical walking out of black and white and into color. Her ruby slippers and her scarecrow, tinman, and lion, a child’s dream. She is the original have basket and pup will travel gal. How do you view her differently after viewing these clips than you might have viewed her previously? Its hard to compare as I didn’t see other films until much later in life. Almost like an old friend linking me to a time before I new how difficult this world can be. She is my safe place still today. I tear up....not until this class did I realize this. Comfort, safe, friend. 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? Haven’t seen many of her films (4-5). I need to. Meet Me In St. Louis, Merry Little Christmas, hands down my favorite all time holiday song my whole life. And yes, my children grew up with her as well which meant so much to me at the time. She is part of our family and will always be in our home. Love love love her. On a side note, seen Liza in Vegas 1988 VIP, she captured the audience magnificently, has her mothers touch. We cried, we laughed, we sang, with storytelling. She brought every emotion we as real people with real emotions have. Unforgettable. She blew my socks off.
  4. 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. Equality, unity and the pursuit of happiness. Good ol red white and blue. From the lovely parade to the the Oval Office. The veterans where loved and hero’s. More important than the president himself. It promoted we’re all in this together. 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. Melting Pot, no prejudice behaviors. One could even stage as the president and be thanked. Good hearted America. The entire dialog is set at promoting American values of the times. Fight for your country. 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. It truly brought honor to all events in film. Beginning with commander and chief’s recognition to Cagney. It displays the memoirs of a man who with so much patriotism was recognized and favored by the president. It shows realism, couple people who love their country chatting the common ground of love, honor, dignity, and friendship for their country. Yeah, this doesn’t exist today.
  5. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I found this scene to be very playful and a demonstration of whimsical compatability dueling tap relationship. Rogers decides, ok he’s interesting, let’s see if this may go some where. I feel the scene lacks any battle of the sexes. I see her with the upper hand throughout, Astaire already knows this, wants to be noticed. He begins with, come on...dance with me....don’t you think I’m cute? as her back is turned. The thunder brings her to make a decision in or out and the courting begins. In my opinion this is more flirty than battle, in Top Hat as well. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? The musicals have now lost the Broadway stage feel and grown into their own work of art. 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? This is the natural progression of Hollywood showing men taking the blinders off and giving women the credit deserved. This clip is a fabulous even brilliant way to show America, the world perhaps, the true essence of a lasting couple. You have your dance on, I have my dance going on, now let’s dance together and blow their socks right off.
  6. 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)? My first thought is 007. The scene is set in a lavish penthouse type suite, fiasco, girl, report to the queen. I believe this could be a hint of the original “Bond” experience. Haven’t seen the film, I could be wrong. 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. Lubitsch has been tedious about the details of the film, taking the eyes of the viewer to follow his exact direction of the film. The expression of the actors really puts you into the seat of each individual character quickly. As for props, I especially noticed the balcony door when opened/closed you could hear the crowd and felt Alfred couldn’t get any air out there. It was emotion driven as well as entertaining, fast paced, held my interest. What themes or approaches might you anticipate from this clip in other Depression-era musicals? Relationships with spice.
  7. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. They are one of the most adorable couples on screen. Haven’t seen any of their films but excited to get to know the characters and where the adventure leads. At this time from just seeing two clips, he is the hero, knight in shining armor, always to the rescue, perfect Mountie. Geez could he be anymore gorgeous hunk of a gentlemen. He is all for the girl playing and toying while he stakes a claim. She goes for the bad boys, hence the Italian Tenor. There is a underlying knowing but she continues to play hard to lasso. Although, seeing the failed saloon scene her character can be quite timid yet open to suggestion, she is seen fleeing. The two watch and ponder one another and off he goes to save the day or should I say catch the girl. Cute cute cute If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. What do these clips tell you about the male/female relationships as they are depicted in the films during this era? What norms might you expect are supported under the Hollywood Film Code? Courtship, appropriate lingo, playful yet not over the mark of what your great great grandma would approve.
  8. 1. Do you agree that the clip exhibits a brighter perspective of life than might be realistic? Why or why not?  An afternoon at the movies to watch The Great Zeigfield was a brilliant moment in life for movie goers in this era. Can you imagine the day to day life culturally? To meet your friends, get a soda and popcorn, and dream away the hustle and bustle of trying to survive on peanuts? No pun intended. This is a magical time when people could revive their hopes in faith of a better tomorrow, forget their troubles with a whisper and a giggle. It allowed escape and a time to decompress. 2. What themes or approaches might you anticipate from this clip in other Depression era musicals? Everything is jolly, easy breezy, no real conflict, and acceptance whatever happens is ok with me....like a rest in the field of poppies. Everything is going so well.  3. Since this is a musical that was made after the motion picture code was enforced, how might you imagine it might have been filmed or scripted differently if it had been pre-code? Give specific examples. More voluptuous in dress, and a possible show up of male competitors during a dressing change etc.
  9. D'Arcy

    TCM Presents: MAD ABOUT MUSICALS!

    Absolutely!!!
  10. After much thought and giving into.... I am not really mainstream when it comes to films I enjoy, here are my Top 5 Hitchcock films 5. The Farmers Wife 4. Rope 3. Lifeboat 2. Mr and Mrs Smith 1. Notorious is the winner This will change of course as I love his films Honorable Mention ....Number 17
  11. Ramin Djawadi --- German composer hands down, what Hitchcock could do with this talent. He now does a lot of HBO scores Westworld score is amazing. Sandy Powell - English Costume Design--- Caravaggio, The Crying Game to most recent Wonderstruck. Everything in between. Never really payed attention to editors until this class. Jane Goldman, James Franco, Tom Hanks and Ron Howard for collaboration, also Larry David, Wes Anderson, and Alexander Philippe(insight). These folks have a variety of talent with a splash of quirky if desired. As for Actors and Actresses he was no longer mainstream, an occasional Reese Witherspoon, Uma Thurman, Helen Mirren, and John Turturro, Geoffrey Rush, Christoph Waltz and Rutger Hauer to name a few would keep audiences coming back. I think he would bring new faces to the screen as Hollywood stars are time crunched and he preferred to take the time he needed to prefect his film with his Hitchcock Touch. It seems odd to think of actors/collaborators today in his films of yesterday.
  12. Well, this is where everyone looses me as I have just found Hitchcock as the Master of Suspense. This class has been amazing. I feel my list is questionable, so I have added an International list I researched and may watch a couple. Thinking of things just attacking Tremors, Gremlins, The Ghost and the Darkness The Great MacGuffin Usual Suspects, Pulp Fiction, Holy Grail, The Great Pumpkin Charlie Brown, Citizen Kane of course, Maltese Falcon, Star Trek, The Hangover movies, The Book of Eli (awesome movie), Saving Private Ryan, Dogma, Gaurdian's of the Galaxy, The Tourist. Tons more. When you get to thinking about it, wow what an impact Hitchcock has made. I never knew. Double Chase The Fugitive, Shooter, drawing a blank on any more I've seen, possibly.... The Wizard of Oz. I feel these are also random contributions. Game of Thrones seems to come to mind fitting all above criteria. I also really enjoy Mid Summer Murders a British series containing some Hitchcockian style. It will be exciting to see films mentioned with my new pair of Hitchcock glasses. FILMMAKERS UNDER THE INFLUENCE: INTERNATIONAL CINEMA IN THE TRADITION OF ALFRED HITCHCOCK Shelly Isaacs PROGRAM DESCRIPTION: Undoubtedly and uncontestably considered “The Master,” Alfred Hitchcock’s influence has continued to inspire directors the world over. These eight film selections bear witness to his unequaled legacy as a storyteller and cinematic craftsman. 1. Phoenix - Germany, 2015 - A disfigured Holocaust survivor undergoes plastic surgery and sets out to determine if the man she loved betrayed her trust. Without revealing herself, she becomes a pawn in a scheme to get her money. 2. Tell No One - France, 2006 - A doctor misses the wife who was murdered eight years prior when he was considered the prime suspect. Two recent murders in the same spot point to him again and he receives a message that his wife is alive. 3. About Elly - Iran, 2009 - A group of urban families travel for a short vacation to the seashore and take along a kindergarten teacher. She mysteriously disappears, leaving the couples to discover what really happened. 4. The Trap - Serbia, 2007 - In post Milosevic Serbia, an ordinary man's son is in need of a lifesaving operation. He answers an ad that thrusts him into an existential nightmare, where human life is worth little, and a normal life may be unreachable. 5. The Aura - Argentina, 2005 - A taxidermist dreams of committing the perfect crime, never intending to actually do it. Then a hunting trip changes everything. 6. Read My Lips - France, 2001 - Carla is frustrated by her hearing deficiency, feeling it is holding back her career. Then she meets Paul, an ex-con who sees her special talent as a way to make the big score. 7. Julieta - Spain, 2016 - A casual encounter with her estranged daughter's friend, forces a woman to re-evaluate her life to figure out where it all went wrong. 8. Mississippi Mermaid - France ,1969 - Francois Truffaut's film of passion, betrayal and deception, starring Jean-Paul Belmondo and Catherine Deneuve is a classic homage to "The Master" himself. There are some serious Hitchcock enthusiasts in this class, it's quite the honor to be part. Thank you all for sharing and expanding my view on films.
  13. I have another question I came across a Bernstein project in which Hitchcock flew to England to be part of, a film on German concentration camps which was shut down and Wilder made instead? Could you clarify the 1945 film and what ultimately became of this project? Are there more films Hitchcock has been part less known to the public and are they obtainable? Thanks for sharing your insight, Darcy
  14. Hello Prof. Edwards and Mr Philippe Your insight is amazing thanks to both of you. My first question is for Mr Philippe What other works of Hitchcock's legacy do find interesting enough to make another possible documentary and in short how would you describe your journey in getting to know the Hitchcock style, has it influenced your personal goals as a director? My second question is for both of you We've only touched the tip of the iceberg of Hitchcock's legacy in this class. What suggestions do you have in continuing and deeping our knowledge and understanding of his amazing career as a director? Where would I start, as there is so much information? Thank you, Darcy
  15. Impressive and breathtaking, this opening of Frenzy gives the sense of homecoming and completion. It is genuinely epic and surreal. Hitch returns to England, his roots. The differences of the two clips seen show the masterful cinematography of a changed London society after decades. It is light and spacious letting the audience know the whole world can see its movement unlike The Lodger which gives a sense of confinement and rural darkness. Frenzy's public is approached on a grand scale and being addressed as a community to again find its lands more favorable. There is a togetherness feeling which is absent in The Lodger. The Lodger is more individualized characters struggling/or not with a murder, more detail to process of event and shock with mockery of the woman finding the victim. Frenzy is made in a time where civilization is desensitized and instead of a scream it's simply "Look" nothing chaotic or fast paced. The atmosphere has changed dramatically and masterfully. It's clear these are ordinary people even the victim doesn't appear to be villainous just a blonde, as usual on London time . Also, the perpetrator has cast his evil doing amongst all to witness in broad daylight. Showing darkness is still lurking amongst the masses publically. Although it feels very James Bond, the audience knows he will not be the hero. The entire scene tells the story of what we are about to witness is a suspenseful dark story of crime. I have concentrated on the victim which concludes a possible MacGuffin as I'm sure the story line is much deeper than a single murder and will travel deep in London's underground. Hitch's purpose has come complete circle, a grand introduction, bringing all of the audience to his complete undivided attention. He has shown us this magnificent city which is historically a place of painstaking gruesome conditions unavoidable. I absolutely dislike London as if it's without refuge, but find it's history fascinating yet tragic at times. The architecture is unlike anything in the world. I have hiked across England twice finding the most beauty in the countryside along its paths of times gone past. A pilgrimage of sorts.

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