Pjdamon

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Everything posted by Pjdamon

  1. 1. Even though both say they’re too busy for others, Streisand singing People say the exact opposite. The beginning is almost a hush I trying to get her feelings out. As she explains it further she is gently but with a gradually louder and more emotional voice. It rises to almost a fever pitch and shouting to the world her feelings. Then she ends it in a much lower voice, which one could imagine tears. 2. The scene begins with the two discussing how busy they are. They are close then as Streisand starts to sing she walks away from him. At that point she is center stage with Shariff either out of the picture or in the background. As the song ends they are much closer with the feeling the two of them will be together. As another mentioned she doesn’t look at him for the fear of crying. By walking away from him she can say what needs to be said. 3. The colors are muted to depict Fanny as unsure of herself with her feelings and life. The blocking shows in the beginning they were near each other then as the song progresses it block Nicky out of the picture. It gives Nicky a different look at her as a person and not just a performer. That reminds me of the shot in Ziegfeld where the real Fanny comes out for a rehearsal dressed up and Ziegfeld puts her in rags. He doesn’t see her as a,person with feelings but an object for his plays.
  2. 1. As with others these are two of my favorite films. Actually My Fair Lady is in the top five of musicals. Cukor does a fantastic in both. In Gaslight I view it done in a Gothic story and a thriller. In My Fair Lady it shows the growth of Eliza from an uneducated lady to a refined woman. The sets were muted in Gas Light andcolorful/alive in My Fair Lady even in the racing scene with the majority of the actors in black and white it feels alive and exciting. Charles Boyer slowly drives Berman mad. The scenes are muted in color and action. 2. In My Fair Lady the scene is different is that Eliza is totally in love with Higgins, who is totally clueless about it. Eliza faded into the background until the room emptied. It was only then she let her emotions show. Higgins is clueless and has no clue to his own emotions for her. It is only when she has gone that he realizes his feelings. 3. Unlike many other movies Cukor never shows them becoming a couple. It is only assumed as Eliza starts to bring Higgins his slippers.
  3. 1. In the Music Man he is not overtly a mans man like we see in cowboy or war films. He’s a con man to get what he wants in a sneaky way that is obvious to the audience yet not to the other actors. In Victor/Victoria he is a gay man yet given the time that the movie was made it isn’t overtly obvious. You can see it through some of his actions but more from the statements and actions of the couple he speaks to once his has finished singing. 2. In the Music Man he easily pulls the crowd in to what his line. That when you can see the con man come out. As another person said he plays them like an orchestra. In both movies he is sure of himself but yet doesn’t over play it to others. 3. Unfortunately I haven’t seen him in too many movies that weren’t musicals. I have see Reap The Wild Wind and How The West Was Won and to in my opinion he doesn’t stand out as a strong player as he does in these two musicals. In the musicals he takes command of the parts and runs away with them.
  4. 1. It looks backwards throughout the history of movie musicals starting with the auditions in the 1929 musical Broadway Melody audition. It also looks backwards of the child stars of the are like Shirley Temple, Denna Durbin and Judy Garland. It also shows the pushy parent which has been described that many of the child stars had during that era. 2. Rowland Russell’s entries reminds me of her entrance in Auntie Mame. She is loud, takes over control of the staff and is a bit bossy but yet in a nice way. 3. The sound has double meaning here. When we first see it the child is doing cart wheels and other tricks while singing the song. Also the child that Mama Rose talks off the stage in balloons is actually a sign of things to come with her daughter as an adult. As and adult Gypsy Rose Lee is doing her striptease act.
  5. 1. I don’t think it needs a more realistic approach at the end of the film. Through the vivid colors, different scenes and the music it allows the viewer a overall view of Paris. The ballet is what Minnelli and Kelly interrupt for Gershwin’s American In Paris. Quite frankly to me this is the best part of the film. It doesn’t need in dialogue but you can feel what Gershwin meant with his music. 2. Jerry really isn’t an unlikeable guy. You can see that in his interaction with the other artists, the woman at the cafe and finally with the second woman viewing his work. He try’s to be that way with the first woman when she try’s to give her opinion of his work. He’s obviously had discussions/interaction with others in the past and found them pointless and not very useful with his art.
  6. 1. From the very beginning you can tell that O’Conner isn’t there for the lesson but more for adding comic relief. The way he looks back and forth between the professor and Kelly you can see how he’s there to have fun and break up the seriousness. Then when he starts in back of the professor to make faces steals the scene. With the phrase rhyming it leads into the dance part of the scene. 2. The professor is trying to do his lesson seriously. Even as he losing control due to O’Conner’s antics he continues to try. He finally gives up with Kelly joins in. The poor guys final insult is when they loaditems from the office on him with the lamp shade on his head. 3. Even though all three are dressed professionally, Kelly and O’Conner are dressed in what I call business casual. The professor acts refined and and business like. Which is typical in Office. Kelly and O’Conner are more athletic as demonstrated through their dance routine.
  7. 1. Jane was portrayed more as a tomboy than the traditional female actor or in real life at the time. She wears pants even during the second video that we viewed. I could and still do relate more to her character being a tomboy myself. The 50s was also a time after the war where women returned to the home full time and didn’t really deck work outside the home. Especially ones as exciting as what Jane represents in the Wild West. 2. I’ve seen the majority of her movies. She always seemed like the girl next door. Even with her playing a tomboy in the film shown here. She could play strong woman as in Love Me Or Leave Me or the crazy one in her comedy’s with Rock Hudson. 3. Quite frankly I can’t imagine her other than a sunny disposition. Even in her more serious roles it was still there but not as openly visible.
  8. 1. The color of the outfits as well as the scene is mainly neutral. They all have equal time during the scene, even though they aren’t all on the screen at the same time. As alway Levant is the comic with his stunts, think of him carrying the ladder across the set. The one thing I notice not one of them dominated the scene. 2. None of the actors costumes stood out during the scene. The men were all in suits. Their suit coats were a little different in design but the color was still everyday business. Her dress wasn’t flashy or dressy. It looked like something that she could have bought at a department store. 3. No one stands out from the group. They complimented playfulness through their dancing and in song. None of them tried to out do the rest of the group.
  9. 1. Petunia is truly in love with her husband as seen in the scene. Not only is this shown through the song but by her actions. She is not only thrilled that he is alive but shows her love through her gentleness lying on the pillow next to him. When the scene moves to her taking down the laundry, Petunia wraps his shirt around her as if he is hugging her. 2. I envision the scene with a child would be similar to that of Little Joe. With the exception of maybe putting her head next to his and some of the words of the song. The similarity a child and Petuni’s love of Little Joe is that is unconditional. A mother typically loves her child unconditionally. 3. As with the film Hallelujah this is a major film for the black community. Even though the blacks had been making films and in the military for years this film WWII brought them to the forefront. They played and important role during the war as did every other ethnic group in the country. In films this got them beyond just being a servant or the help in the field.
  10. 1. I see it that Garrett is after Sinatra, much like we see when the role is opposite. It’s almost playful but you can tell that Sinatra what’s her to go away. It is also not what we were used to seeing in a musical with a lot of choreograph steps. But it actually fits the scene better with her chasing him through the ball park. 2. Here it is used to prepare Garrett for singing. At first it’s slow and deliberate and then it slowly speeds up to capture or nail Sinatra.
  11. 1. I remember seeing Athe Wizard of Oz on television before we had a color TV. I found her fastening and could really feel the meaning of Somewhere Over the Rainbow. I’ve probable watched it almost every year since because it shows how one can overcome almost everything if you have friends. And even though the majority of women in films in the 30s weren’t the strong type she was. She was a girl that could think her way through many situations in Oz. Yet remained a child. I will admit that I wasn’t fond of her later musicals but I did like her dramatic roles, such as the one in the Judgement at Nuremberg. 2. I also been watching her films over the past 60 years. The only real difference I saw in these film clips was she took charge from Gene Kelly over the piano. As far as I’m concerned she controlled and stole the scene. 3. I agree with others that her performance in A Star Is Born. It was her strongest performance as an adult that earned her an Oscar nomination. And in my opinion it is the best version outside of the first one. She out does all the other version with her performance.
  12. 1. As Cohen is being escorted to FDR the servent speaks of how he had seen him years earlier because Teddie Roosevelt had gotten him a seat in the balcony. The pictures on the stairway were of past presidents. The pictures in the office are of ships as well on FDR’s desk. Cohen kept glancing around to take it all in as a member of the public would in such a place. Also flags were everywhere. 2. Cohen spoke of how his parents were proud Irish American and his dad served in the Cival War. He had enter at the age of 13. 3. Knowing the time frame that that it was being filmed and released it works much better staring with FDR and the White House. If it had not worked if it started with his birth.
  13. 1. I agree that not only but other films of the era presents a brighter and happier aspect of life. It was in a way for much of the country to escape the hardships of the Depression. 2. What I’ve seen in most of the Depreeion Era musicals is that it doesn’t show the hardships or struggles of daily life. The actors were typically gay and lighthearted. 3. If this was done pre-code the women would have been,scantily dressed, instead of fully clothed head to toe. There would have been more of Zeifields relationships outside of his marriages. An example is bathtub scene where you can’t tell that she is nude as you can in some of the earlier films m
  14. 1. Two things come to mind with this segment. The first is Rogers reaction with Astaire begins to sing to her about his feelings. That wasn’t the typical reaction from the area of the women. The other was the change in the work the role of women especially in the work place. Rogers has her own career and is basically an equal to Asterire. 2. In this film the dance segment was just the 2 of them. In other films it was full theater production with more than the stars. 3. Shows what was happening in the real world where women left the house to help support the family. They were more than wife’s and mothers. It was a time of redefining roles of women. His Girl Friday comes to mind in showing this change as well. It would continue throughout WWII to not only support the family but the country.
  15. 1. It has the Lubitsch touch in it. I found it more in the props and the facial expressions of Maurice Chevalier. It made light of the scene and pulled in the comic aspect of it. The props, especially the number of guns he had in the drawer, you knew he was a player. 2. It starts at the beginning of the scene with the 2 of them yelling on the other side of door. It continues when the husband and butler enter the room just as the wife points the gun at Chevalier. 3. The movies of the era were escapism from the issues and basic surviving. The comic/musicals allowed that to happen. The majority of them were done in high society and in a comical way. I think Lubitsch did it the best of all.
  16. For me it would be John Williams. His career spans from the 60s through today. And he has work not only in the movies but television and was the lead conductor for the Boston Pops for a number of years. A couple of years ago I saw the interview with Williams and Spielberg. They spoke a length about the collaboration between them. It was more than each working in their own world giving each other the special touch. Probably is most famous score was Fiddler On The Roof for score adaptation (he won an Oscar). Other non-Spielberg films include: The Poseidon Adventure Tom Sawyer Cinderella Liberty Family Plot Towering Inferno The Witches of Eastwick Born on the Fourth of July JFK Harry Potter The Patriot That was just to name a few. He crossed all genres but most people done realize that.
  17. Mine are the older film but i can see how the Hitchcock touch inspired them. Crossfire with Robert Mitchum, Robert Ryan and Robert Young Act of Violence with Robert Ryan, Van Heflin and Janet Leigh Witness for the Procescution Shawshank Redemtion Double Imdemnity Manchuria Candidate And Then There Was None Diabolque A Touch of Larceny The Picture of Dorian Gray Twilight Zone
  18. 1. There are several differences between the Lodger and Frenzy. The Lodger opens on a street scene and a woman screaming. The music is dramatic to fit the scene. In Frenzy it's a panoramic view of London and a trip down the Thames. The music is majestic. It doesn't seem foreboding at this point. There is a crowd in both movies. In the Lodger it looks like they're at a food vendor. In Frenzy they're listening to a politician giving a speech about cleaning up the river. Three people notice the naked body in the river, but, no one screams. The Lodger is at night and Frenzy occurs during the day. 2. The Hitchcock touch can be seen in several ways. The most noticeable is the shot above London. This technique was used in Psycho, The Birds to name a couple of movies. He does his famous cameo as a participant in the crowd. He also likes to use famous landmarks or cities in his films. Here he uses London and the Thames. 3. Music plays a major role in all of the opening scenes throughout his films. Even though the titles fall back to an earlier style of lettering, the size and placement still play a role. He uses crowds in many of his opening scenes. They vary from a party, field of play, city scenes, ski lodge or winter ski competition. As Dr. Edwards noted that in this film it goes back to the root of his goes back to more of a working class society instead of the rich sophisticated ones in his the films of the 50s.
  19. 1. Marnie is a con artist is demonstrated by: a) the large amount of purchases, removing from the boxes and neatly folding them in a nice suitcase the multiple ids that she carries and swapping for a different one c) changing her hair color and style d) throwing the clothiers she had been wearing into a second suitcase e) leaving the suitcase with the used clothes' leaving it in a locker at the station and losing the key. 2. The music gives the air of mystery by following the repeated motions that Marnie is going through. It adds to the feeling to the viewer you know something's up but you can't quite figure it out at this point. 3. Hitchcock gives an inquisitive look at the viewer then back to the bellman and Marnie. It's a sign we need to pay attention.
  20. 1. The opening scene between Mitch and Melanie is like many rom/com's. It's light and playful. It reminds me of the opening scene of a Penny Serenade with Cary Grant and Irene Dunne. In today's film Melanie tries to pull off that she knows about birds, but Mitch see through it almost immediately. There is a flirtation between them before the clip ends. It makes the viewer think they might be seeing a comedy and not a suspense/thriller. But little do they know. 2. Hitchcock typically uses music in the background during the opening scene. In this movie the sounds of the seagulls and the birds in the whole make the predominant sounds. It's not unusual for gulls to fly around San Francisco but in this scene the noise is much louder. Melanie notices and looks up to the sound to see more birds than usual. Inside the shop that's the first noise you notice. Not the puppies or the other animals but the birds in the cages. Even at this point it doesn't seem to be of great importance. Just one of Hitchcock's touches. 3. He's emphasizing two or a pair. He's walking his two dogs out of the shop. Mitch is looking for a pair of love birds. Mitch and Melanie are at the beginning of being a couple.
  21. 1. Bass and Herrmann mesh the music and design perfectly in this film. Bass' lines represent prison bars, the slats of a half open window shade and ones mind on the brink of insanity and closing of the mind. Herrmann' music portrays a feeling of anxiety and anxiousness not only of the film but for the viewer. As the credits continue the lower pitched sound of the violins portray the villain and the higher pitched ones portray a woman screaming. The viewer doesn't know how, why or what direction the movie is going in but we know it will be thrilling. 2. The opening scene of the movie with the place, date and time has to significance. The first has to do with the present time in the hotel and what occurs. Also it's something to note for a possible significance later in the film. As for the present moment it shows Marion and Sam in an affair late in the afternoon. Marion is playing hooky from work. 3. Hitchcock pushed the limits with showing the affair of Marion and Sam in the hotel room. One way he got around it was that Marion stated that they couldn't meet again and that she was tired of sneaking around. Sam teases her that they've acted like it. I don't recall in any of the movies after the pre-code era that was so visually out in the open with an affair. Yes, affairs had been alluded to but not showing a couple half naked in bed. As pointed out the discussion for this lesson that you can see how the code was beginning to change from 59 to 60. The sentence that Eva Marie Saint spoke to Cary Grant had to be dubbed "I never discuss making love before I eat." And by the end of the 60s nothing was left to the imagination anymore.
  22. 1. This is probably the best sex scene of the era. It's all said with facial expressions and their voices. Saint flirts coyly from the start. Grant being Grant flirts with style and humor. Through the dialogue they get the point across and past the censors. It's more the nonverbal queues that speaks louder than the spoken word. They were two of the biggest stars that could have actually pulled it off. Once again Hitchcock with his fine ability knew exactly what to look for within their personalities to pull the roles off. 2. By using the matchbook with R.O.T it focuses away from their faces for the first time in the scene. The initials do have a significance but it also signinifies their sexual relationship catching on fire. It also adds to the tension and curiosity between them. Especially when she,draws his had near not once but twice. And finally blowing the match out. 3. The music provides a seductive background. It's soft and doesn't over power the scene. The movement of the train provides a sense of calm with it rocking. While visually you can see the scenery whizzing by. This gives the perception that neither their relationship nor the movie will remain at a slower pace.
  23. 1. The visuals and the music draws the viewer in with almost a hypnotic feeling. It draws you in from the first with just Novak's chin and the credits of Stewart. The lettering isn't out of the ordinary but the music actuates to make the viewer notice. The music intensifys ash the camera moves up her face and becomes more intense as Novak and Hitchcock's naked is shown. Once the camera focuses on her eye and the spirals start it draws you in even further. With the music and the spirals it gives a hypnotic feeling and mystery. Not quite foreboding but you know that it has something to do with Novak's character. 2. The spirals is what drew me in. The different shapes, colors and spinning gives the impression of falling into an abyss. The other thing I notice was the spiral within a spiral to further fall until it was the shape of an eye that zoomed out on the real one. 3. I think they went well together. You notice how well when the first spiral forms the music is in the same motion. As the credits play out the colors and the music change to feel like something suspenseful and ominous is going to happen but not sure what.
  24. 1. The opening scene gives you all the sights and sounds of early morning in the city. The set and sound design could have been any neighborhood in a large city. I felt like I was standing there with my tea checking out the morning activity in the hood. Because it's hot everyone has their windows open so you can hear radios, kids fighting etc. The cat going up the stairs and the milkman walking toward the street giving it even more of a neighborhood feel. The music isn't exactly light but not dark of things to come. 2. As the camera pans to Jeff, you can see his smashed camera. One can assume that it happened when he broke his leg. He's not only a photographer of sports but of current events and even the cover of magazines. The scene shows that Jeff's world isn't confined to his apartment but a voyeurist one to his neighbors. 3. Having been ill and having surgery in the past few years I know how Jeff feels being confined to his chair. Unfortunately I didn't have interesting neighbors to watch but the wild life. I've seen this movie before and I never really felt like a voyeur but someone that was that was enjoying people watching. 4. Yes, I agree that it's the most cinematic. The attention to the littlest of detail can be seen here.
  25. 1. There are several references to the cris-cross during the opening scene. A. Traffic crosses each other during the opening credits. B. Bruno arrives in a cab with a black diamond and white lettering. Guy arrives in a cab with the diamond and lettering in reverse to Bruno's. C. The foot traffic entering the gate comes from different directions. D. Each enter the car from different directions. E. They sit across from each other. F. They both cross their legs. G. Bruno is a flashy dresser. This includes his tie tack with his name, the horrible tie and the two tone shoes (they remind me of golf or bowling shows). H. Bruno is an extrovert and pushy. I. Guy on the other hand dresses more conservatively. He wears a dark suit, one tone dark shoes and a shirt and tie that doesn't stand out. J. Guy is an introvert and would rather be left alone to read his book. He basically ignores Guy with short answers. Even to the point when Guy sits next to him he ignores him. K. The shot of the rails crossing to may an X. 2. The obvious difference is in the way they dress. Bruno is much more flamboyant, while Guy is quiet and reserved. Bruno dominates the scene and over powers Guy with it. Bruno forces himself on Guy. This is further demonstrated by moving next to Guy and leaning over him while he tries to read. 3. The music during the credits the music is dark, foreboding and building suspense. When they get out of their respective cabs the music is much lighter. The music does get darker as it shows the tracks and stops when they bump shoes.

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