bunnygirl

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  1. I don't think it would have been as an effective if the song had been done in a theatrical fashion. This performance feels more intimate, natural, and conversational, as if she is singing directly to the man. As the lyrics are sung, the woman sort of looks away into the distance as if in a daydream, but the man looks admiringly at her, smiling. The direction/blocking is interesting. I really like the final shot, where you see her on the stairs hitting the final note and the man in the edge of the frame, smiling.
  2. Definitely noticing the thematic similarities with Gaslight. Eliza is upset and Higgins is basically trying to convince her that it is all in her head and that there is something wrong with her for being upset. I don't really understand the question about Cukor supporting them and emotional transition moments. I notice that while Eliza gets upset, Higgins tone remains the same. As far as their relationship and how it is enhanced by Cukor's direction, one thing I noticed is how elements of set and costuming suggested an oppressive household and relationship. The house is stuffed with with belongings and that necklace she wears looks like it is choking her.
  3. In the past, it seemed like films were trying very hard to emphasize masculinity and the alpha male. During the 60s, it seems like more sensitive, artistic, intellectual, musical types were popular. I loved that he was able to depict a gay character without using stereotypes. It was very natural. I have not seen any other Preston films
  4. I would have to agree with others that the scene does look like the old "backstage" films we have seen in the past, such as 42nd St. I haven't seen the movie, but I can tell from Mama Rose's entrance that her character is going to be controlling, overbearing, and direct the course of her daughter's life. The song foreshadows the girl's future in burlesque.
  5. I haven't seen this posted anywhere yet, but here is an interesting article about how Esther Williams almost died because of that gold crown she wears in her big swan dive. We are literally watching her break her neck! http://fashionhistorian.net/blog/2011/12/05/how-the-million-dollar-mermaid-costume-almost-killed-esther-williams/
  6. I don't think that the film needs to use a less-than-realistic approach throughout the film in order to include the more surreal ballet at the end. In fact, the use of realism throughout the film creates a contrast that helps the ballet to stand out more as a dream sequence. I thought he was a huge jerk at first, but his explanation for his behavior changed my mind, as I have definitely also been irked by pseudo-intellectuals in the past and understood what he meant!
  7. This is so silly, I love it! I notice their pre-dance movements contain a lot of percussion made with their bodies, whether clapping or pounding on the top of the piano, which mirrors the percussion of their tap dancing when they finally start dancing. The Professor has no purpose other than that of the bumbling straight man that they poke fun of - tying his tie around him, covering him with a curtain, sitting on his lap, and my personal favorite - piling all the objects they can find on top of him. In terms of masculinity, the Professor is not portrayed as a masculine character in the traditional sense - he is simply a toy they play with here. Gene Kelly represents the handsome, masculine lead while his friend is there more for comic relief, as seen in his mocking the professor behind his back
  8. I think this reflects conformity to traditional feminine roles that was emphasized in the 1950s. In the first clip, she is depicted as a trying to be one of the guys. She is overflowing with energy, constantly moving. Her song is about her job as a scout. In the second clip, she is more sedate, not moving as much, and singing a song about love. It definitely seems like she has conformed to more traditional feminine roles in this clip, and she is rewarded with the man she wants. It seems as if love and family are valued more than careers for women. I actually haven't seen Day in anything else so I can't answer #2. Without knowing anything about the real Calamity Jane, I can't say if her "bright and sunny" persona detracted from the role, but I personally enjoyed it in the first clip. Loved her energy.
  9. This clip kinda made me sad to watch Fred just sitting in a chair for a lot of it and not dancing. While the early musicals we discussed tended to focus on a lead like Fred who showed off his dancing skill with all sorts of fancy tricks, this clip barely had any dancing and the dancing that it did have was performed by all four characters in unison, and it was all basic tap - time steps and such. The costumes are drab and just look like every day clothes - nothing fashion. Definitely emphasized conformity and blending in. The actors dance together with no standout performances - there are no stars here.
  10. I think the cut to her hanging laundry symbolizes her dedication to her household duties and family. It also serves to show the passage of time since Little Joe is now well enough to join her outside. If Petunia was singing to a child, I think the theme of devotion would not be as powerful because in the case of romantic relationship, a woman must actively choose to stay with a man who cheats and gambles away his money. I can't think of what a child would do in the film to test Petunia's love that would be as grave as Joe's offenses.The fact that Petunia sings that (in spite of all his wrongdoing), all she needs is the love of Little Joe shows a sense of unconditional love that underscores the theme of the film One theme we explored this week is that filmmakers were trying to promote a sense of unity in the country, no matter what a person's background was. The issues in this film are universal (love, death, etc.) so I believe the filmmakers were trying to highlight issues with which both black and white citizens struggled.
  11. Like most people, the first film I saw her in was The Wizard of Oz. My impression of her in that movie was that she was sweet and wholesome, with a wide-eyed innocence. These clips, especially the first one, show a more humorous, goofy side to Judy that I really enjoyed. She also dances more and uses more physical comedy than in the Wizard of Oz. She's not afraid to look silly. Films in her later career that come to mind as examples of her increasing ability to capture an audience’s imagination as a storyteller include Meet Me in St. Louis and A Star is Born.
  12. As a choreographer, I noticed how movements of the characters punctuated sections of the music, went with sounds in the music, or created their own sounds; for example him throwing the ball, her throwing him against the wall, her stepping side to side to block his bath, him sliding down the banister. The fact that these movements corresponded with specific sounds helped to highlight the actions. Her movement of walking after him while the music begins to swell until he no longer has anywhere to escape creates a segue into the musical number.
  13. American values/patriotism are definitely promoted through the use of props and set. We watch as Conan ascends a staircase with portraits of the presidents on the wall, until he gets to the Oval Office (which features a large flag). In addition to the Oval Office scene, we also see a Fourth of July parade with hundreds of people waving flags. The dialogue also works to boost morale. For example, the servant remarks that the song "Grand Old Flag" is "just as good today as ever." Roosevelt remarks that he admires Cohan's love of country and the flag. I that think opening with a scene in the Oval Office vs the parade hints that Cohan will become someone important and powerful.
  14. I just want to say that as a tap dancer, it makes me so happy to see everyone having discussions about tap!

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