Hannah Beaudry

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About Hannah Beaudry

  • Rank
    Member
  • Birthday October 20

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  • Gender
    Female
  • Interests
    Frank Sinatra, Classic Films, Astaire and Rogers, Classical and Jazz Piano
  1. 1. The pre-dance movements of O’Connor and Kelly are perfectly timed, rhythmic, and lead very slowly into the dance. It’s a seamless transition. 2. The professor was very uptight and wrapped up in his work the whole way. Looking at him, I think of what a marvelous actor he must’ve been. It would definitely be hard to keep a straight face with those two dancing around you! 3. As I said before, the professor seems uptight. He’s a classic version of a high class father figure, who cares mostly for his work. Donald O’Connor is funny, and in my opinion the better dancer. He seems to be the trustworthy nice one, and that was perfect for his roles as a very sweet, thoughtful guy later on in the 50’s. Gene Kelly seems to try and be the alpha and dominant male, and is very hammy in this scene and his other films.
  2. 1. I think Doris Day is representing women in a more unique way than other movies of the 1950s. During this decade, women were back to being portrayed as fragile and extremely feminine. Calamity Jane is nothing like that. She’s strong and her own person, she wears « the pants » and doesn’t allow any man to tell her what to do or who to be. 2. Before this musical, I’ve found Doris to play many happy go lucky characters (with the exception of STORM WARNING of course), whereas this part gave her much more depth. Later in her career, she went on to make movies such as YOUNG AT HEART, THE MAN WHO KNEW TO MUCH, and MIDNIGHT LACE, and even though she still has her bright personality, she does have some very good and convincing drama scenes in those films. 3. I think Doris’s bright and sunny personality adds to the role of Jane. You could tell she was a go-getter off camera, and so was Calamity. She had a big and loud personality, although it could be very Pollyanna-ish at times, exactly like Calamity when she makes the transition to a more feminine and vulnerable character in the film.
  3. 1. As I watch the interaction between the four characters in this scene, I notice they include and relate to each other as equals. In the beginning of the number, Oscar Levant, Jack Buchahan, and Nanette Fabray are trying to pull and convince Fred Astaire into playing a part. Once Fred Astaire is convinced, they all dance together, none of them really stealing the spotlight. All four of these individuals were extremely taleneted in very different areas, but instead of Fred Astaire taking over with a complex dance routine, or Oscar Levant stealing the show with a Tchaikovsky Concerto, they all do a fairly basic song and dance routine about what show business is really about. 2. I notice the costuming of the characters in this scene is very classic 1950s American. Jack Buchanan’s character wears an artists jacket, indicating he’s most likely in the creative side of show business, and Oscar Levant and Fred Astaire both wore classy suits, indicating they’re just regular American males of that time period. Nanette Fabray has on a fun 1950’s blouse and circle skirt, that looks professional and strong, but still showcases her femininity. She has low heels on, and she looks and acts very powerful. 3. I notice the staging and the interplay between the characters helps define relationships through each person singing a certain line. For example, Nanette usually sings the lines about the women, while the rest of the men will sings humerous lines that all go with their character in the film.
  4. 1. Each shot definitely highlights key actions. In the beginning of the scene, the camera is in the center, and catches everything between Betty and Frank. Later on though, the camera follows them up the stairs and zooms in on them when Betty corners him or sits on his lap. This keeps things very fresh instead of staying at the same angle the entire time. 2. This sequence does a marvelous job of preparing us for the singing. Frankie comes into the room bouncing a ball from one hand to the other very rhythmically, and the music starts. Betty corners him perfectly in time with the set-up backround music. Then once they leave the room and head towards the bleachers, it gives us a new setting that’s very ideal for a musical number.
  5. 1. The first Judy Garland I saw was most likely THE WIZARD OF OZ as a child. I don’t recall watching it back then at all though, so I would usually say THE PIRATE. When I was around eleven years old, my mother borrowed it from the library and told me she wanted me to see it. I did, and I remember loving her voice, and her character. I saw her as very versatile as she transitions from singing “Mack the Black” to “Be a Clown.” She had a very unique personality, a mix of strong and vulnerable, and I found that to be incredibly interesting. 2. Well, as someone who’s seen both of these films, and the majority of her others, I don’t view her differently at all. She was an extremely talented individual who could do it all, both comedic, romantic, and dramatic. 3. A STAR IS BORN immediately comes to mind when thinking of films that show her increasing ability to capture an audiences imagination. Specifically the songs “The Man That Got Away,” “Swanee,” and “Born in a Trunk.” You can also see the increasing ability in movies such as SUMMER STOCK. She makes everything visual through her voice, something that in my opinion only three or four singers had.
  6. 1. The scenes in today’s daily dose were designed to promote American values to audiences during WWII through flags, patriotic songs (Three Cheers for the Red White and Blue), and of course, the White House and Mr. President himself. They speak about patriotism in the scene a great deal, and the ideas are said in a way that would encourage the people of that time to be more patriotic and help out for the war effort. 2. The dialogue boosts American morale a great deal. In the beginning of the scene, the valet speaks of President Roosevelt singing “It’s A Grand Old Flag” in the bathtub thirty-some years ago. Cohan says “It was a good song in it’s day.” And the valet responds with “Yes sir, it was and it’s just as good today as it ever was.” This speaks of the importance of carrying our patriotism through the years. Could you imagine if they lost patriotism after WWI? WWII would be a total flop. The song still is as good as it ever was, and it boosts morale to this day. 3. I feel as though the dialogue beforehand prepares us for the Fourth of July parade. If it opened with the parade, it would’ve felt overwhelming and loud. The dialogue explains to us what this movie is going to be about, and it creates a spark of interest as well instead of a same-old, same-old Fourth of July parade.
  7. 1. I notice that during the dance, Ginger is more involved. She proves she can do just as much as he can do, even though he’s leading the dance. I once heard in a documentary on TOP HAT that one of the oddest things about the dance is that after he twirls her, she twirls him. It showed equality, and was a quite unusual way of demonstrating it back then. 2. This film distinguishes itself from other depression-era musicals through its setting, characters, and plot. It’s setting is one of the most beautiful fairy-lands ever seen in musicals, although it was actually a Fascist Italy at the time. The characters have unique personalities, particularly your character actors. Erik Rhodes is wonderful as Beddini, Blore was hilarious as the rather stuffy valet Bates, and Horton and Broderick were a marvelously funny couple. The plot is an odd mix though, of stereotypical musical and screwball comedy, which we discussed in yesterdays lecture. If you removed the musical numbers, you would still have a funny and charming film, and with some tweaks, it could’ve been another MY MAN GODFREY or BRINGING UP BABY. Overall I find this film to be very unique up to this point, and Fred and Ginger both shine in their parts. 3. I think there were changes in roles of male and female in these 1930s musicals because women were just starting to establish themselves. We had the vote, so now we wanted and needed the workforce. Men were out of jobs, so the women had to go and make money for themselves. Although we’ve studied other depression-era musicals, the depression hadn’t really reached its height until 1935/1936, which is when people were truly desperate for money.
  8. 1. I notice that the Lubitsch touch keeps things light and funny although the scene would be serious in another light. Although most American watchers wouldn’t understand the French dialogue, he makes it easy for people of all cultures to understand through body language (this coming out only two years after the silent era, most actors were extremely good at that), and props such as the garter and the gun without bullets. These props along with the setting also give me the idea that Maurice’s character is a playboy, and isn’t serious about his relationships. 2. The arguing behind closed doors seems to be a technique they were just trying out at that time. They could never do such things in the silent era. Also, they used the gunshots effectively, which must’ve been a thrill for viewers of the time, who had never had the privilege to hear such things on film before. 3. I find that a French theme is used in many depression-era musicals, and it may have started with this one. Back then, the French seemed to be very romantic and carefree, which was what the majority of people in the depression were itching for.
  9. 1. I notice the bickering quality these two characters have in these scenes. Although they argue (seemingly often), they will most likely fall for one another in the end. This allows for witty dialogue to keep it light and humorous, but it also gives a chance for good romantic scenes at the end of the film. 2. Unfortunately, I haven’t seen these actors in a full film yet! These scenes inspire me to go watch this one. 3. These clips tell me that during that era, the male was always supposed to pursue the female in romantic relationships. It’s a similar scenario with Astaire and Rogers. The male sees the female, decides to chase her, only to discover she isn’t interested. Later, something happens to make her fall for him, and they usually live happily ever after. Under the production code, of course everything was very proper, with cute and funny flirtations.
  10. 1. I do believe this clip exhibits a brighter perspective of life than might be realistic. William Powell (Ziegfeld) throws money away on a regular basis as it seems, something that was certainly not going on at the time of the films release. 2. I would anticipate more light-hearted themes and approaches to depression-era musicals. No matter how poor or how rich the main characters are, I would always expect it to still have humour and gayity throughout. 3. If this film had been done pre-code, I would imagine that this clip in particular would have more show girls in it, perhaps a bit like LADIES OF THE CHORUS (1948).

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