Walter3rd

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  1. The one thing that threw me was it said it was telling the Gospel of Matthew, but uses a parable (about the rich man and beggar in a church) that was from the gospel of Luke (18:9)
  2. Hi - I'm interested in how many sub-genres we can name that we've seen or heard about in the course. There's the "Theatrical Musical" - Golddiggers, etc. Broadway Adaptation - Cabin in the Sky, Guys and Dolls....most of the 60's musicals Dramatic Musicals - Funny Girl, South Pacific. For the Boys. Horror Musicals - Rocky Horror Picture Show And.....?
  3. I really enjoyed the early musicals we got to watch. My dad was a huge Lena Horne fan and now I can see why. I've always like the Fred and Ginger films, but never had enjoyed the Golddigger films until now - the only Golddiggers I recall were the ones on the old Dean Martin show!
  4. I feel the same way - even though both end pretty much at the same place, Godspell is the more optimistic of the two.
  5. Am I the only one who enjoyed Godspell? The play was very much like the film, with a few segments switched. But yeah, Jesus is dressed like that in the play as well as the film, and one person plays both John the Baptist and Judas. Maybe it's because I had seen the play I enjoyed the film as well.... Btw - if you search Godspell on YouTube, you can find a making of the film as well as the original play Jesus and John singing "All for the Best".
  6. Walter3rd

    1776

    Our community theatre actually did the stage show IN 1976. 20 years later they tried it again and couldn't get enough men, so they filled in with women in drag. They're trying it again this year, and I bet they end up doing the same thing.
  7. Also, Jeremy Brett was dubbed in "On the street where you live" in My Fair Lady.
  8. Even though she did her own singing, could not stand Meryl Streep trying to sing ABBA in "Mamma Mia" except for one ballad. They should have cast Olivia Newton-John.
  9. What about - "Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?" (1969) and let's not forget Mae West's last film "Sextette" (1978) with that irresistible duet between Mae West and Timothy Dalton!
  10. The last dose - ? Funny Girl - 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 had belted the song out it would have taken us "out of the movie" and out of the moment. The 'softness' in the tone is what makes it personal, a moment of realization for Fanny, and a moment for Fanny and Nick. 2. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? It starts out as conversation as Fanny sings the intro, Nick and her are smiling and sharing honesty about themselves, she walks away, Nick follows behind, they both stop as the song truly begins, right after the line about their true selves (0:43) - "I guess we're both happy, but maybe we ain't." As Fanny is singing the first verse, she can hardly look at Nick, a sly glance, then she turns away, while Nick is silent and watching. She coyly smiles and looks at him while admitting about pride, and they are both "more like children, than children". Nick doesn't smile, but keeps a neutral face showing. His eyes are watching, though. When Fanny is singing about lovers, she becomes embarrassed, having turned away from Nick, it is here, with the phrase "you were half now you're whole", that the song becomes not about both of them, but Fanny herself. After all, "People who need people, are the luckiest people in the world." 3. How does the direction and editing of this scene support Streisand’s performance? Be specific about blocking, reaction shots, etc. The camera favors Streisand throughout. She is downstage while Nick is upstage. They begin on the same plane but then Fanny walks towards the camera. When Nicks walks towards her, Fanny is in Medium Close-up, while Nick is in a medium shot. Once they are on the same plane and both in Medium Close up , note that Fanny is up the curb, while Nick is still in the street, making Fanny taller. As Fanny moves away, the camera follows. The next time we see Nick, it is from the back while he is following her, and barely in the frame. He is in Shadows, she reaches the light, even though Nick is now closer (and larger) to the camera. From there it concentrates on Streisand, with one brief (3.5 secs) of a neutral shot of Nick. Then we have another shot of the two of them, where Fanny is taller than nick, closer to the camera, and the camera then closes in on Fanny for the final lines, giving us the famous Streisand profile to fade out to...
  11. 1. Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) Both Gaslight and MFL deal with a man manipulating a woman for their own ends. Boyer's role in Gaslight in more malevolent than that of Henry Higgens, who doesn't really see what he is doing. Both have confrontational scenes, save that the woman has the upper hand in Gaslight. 2. Note the emotional transition moments in this scene, how the actors portray them, and how Cukor supports them. The scenes' emotional moments are carried by Audrey Hepburn. Beginning of scene, she is crying, wondering what will become of her. Enter befuddled Harrison. He wonders where his slippers are. She throws the slippers, angerly. He tries to calm her down, saying things that just infuriate her, which causes the 2nd bout of crying. He doesn't understand, and she cannot make him see the problem. He puts her off, leading to the third set of crying. End scene. So - Eliza, emotional, distraught. Higgens - befuddled, off-putting, not understanding. 3. What do you notice about the relationship between Eliza and Higgins that seems enhanced by Cukor’s direction? There is a male domination sense to the direction, often Eliza is pictured as being below Higgens, subservient. Higgens is the master of his domain, a man who let this waif enter it for an experiment, and doesn't understand why can't things just go along as they always have? "Now listen to me, Eliza, all this trepidation is purely subjective." "I don't understand", sums it up nicely. Eliza is all nervousness, Higgins is calm, cool, collective. He is in control, she has veered out of it.
  12. 1. 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? There was a style and elegance in the thirties that transformed in the fifties to a more aggressive, masculine tone in the fifties and early sixties. Astaire vs. Kelly. The more stylistic dancers of the fifties (Gene Nelson, Bob Fosse) would often play second fiddles (and then become directors of others musicals.) 2. What other specific qualities do you notice about Robert Preston in either or both of these clips? In the Music Man, Harold Hill is an evangelist, spouting brimstone and fire against the evils of Pool. The way he starts with focusing on one person, then a group, then everyone, invoking along the way patriotism and apple pie. He is a con man, who plays his audience. Toddy, on the other hand, reads his audience, teases and jokes with them, allowing personal animosity towards a past lover to be part of the act. There is a sly way in his moves and comments, with the song being sung to entertain, not entice. 3.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, but, to use the example of one of his, if not, last film, "The Last Starfighter", his role was the "Obi-wan"/wise old man/mentor role that called for half con man, half honest, caring person. It was a microcosm of Preston as Harold Hill, which he did with ease. His hilarious turn as the "Dr. Feelgood" physician in Blake Edwards "S.O.B." was done by a man whose acting was natural, a fella who was enjoying himself getting paid to be in the film. An almost underrated performance.
  13. Daily dose #13 from Gypsy - 1. 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? The backwards nod is the story itself - It is about life in the theatre and the people you meet there. We see this in 42nd street, the Follies of the 30's films. Again, it is about the journey of one female from nobody to star. As for looking towards the future, I think the overall adult theme of the story, how a girl from 2nd rate vaudeville had to become a stripper to be a star and the relationship with her mother. 2. 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. From a stage performer, what an entrance! - she literally enters down through the audience, immediately grabbing the attention of everyone. And with Rosalind Russell, who can talk a mile a minute, she can take control of the situation in a second. She is a force to be reckon with... 3. 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). The way that the song echoes through various stages of the film, practically becoming Louise's theme song. "Let me entertain you, let me (make) see you smile...." In this first scene, thanks to Mama Rose, the girls take over the entire stage, engages the entire orchestra, and disrupts the entire audition process. BONUS Question- Discuss Karl Malden's character in this scene. What can you tell about him from just this scene?
  14. Besides a Dance belt, he probably wore knee pads. That's about it.
  15. Fred was also in the original cast of "Follies" with Gene Nelson.

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