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DAILY DOSE OF DELIGHT #7 (From TAKE ME OUT TO THE BALLGAME)

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Watching the clip from Take Me Out to the Ballgame makes me think of how much fun filming a dancing team like Sinatra and Garrett would've been.  Lots of work and timing precision but fun.  What talent on both sides singing and dancing and acting - superb.  I watch this movie over and over - can't get enough.  My favorite duet of theirs though is in High Society.  

You can anticipate Betty Garrett trying to "catch" Sinatra throughout the sequence.  So much fun.  Sinatra also always a good sport and would do just about anything, even if others thought it corney.  Love them.

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1. The camera pulls in tight to the actors, like when Garrett corners Sinatra at the beginning of the scene, to highlight how she traps Sinatra. When it pulls away, it gives the feeling of a chase as she races up the bleachers after him. That wide shot also gives a comedic effect because it's amusing to watch Garrett keep up with Sinatra in that long dress and heels.

2. The music builds up to a crescendo with Garrett's "hey!" which then immediately transitions into the musical number. 

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1. Betty Garrett chases Frank Sinatra around the bleachers, cornering him at every chance. The actions go with the words of the song, "it's too late", like Frank has no chance to escape. He seems to give in a little to her toward the end, but she definitely has the upper hand. 

2. Sometimes it's just a line, it doesn't need to be much, but you just know a song is coming! 

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1. The choreography here is mostly focused on Betty Garrett's pursuit of Frank Sinatra through the bleachers; they (and the camera) occasionally pause for gags, like Garrett sitting Sinatra down and trying to lie on his lap, or Sinatra throwing a baseball in response to Garrett's "Play ball with me." The bleachers sort of entrap Sinatra, aiding Garrett in her attempts, and allow for some nice up and down motion to create interest in the cinematography.  

2. I thought the musical segway was actually pretty clever. Sinatra is coming from another room and is accompanied by a jaunty kind of background music, not anything you'd think too much about. When he runs into Garrett, however, the music comes to a pause: she interrupts him musically as well as physically. The music then transitions into the notes of Garrett's song, rather seamlessly. 

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1. Thinking like a director and editor, describe how each shot spotlights key actions.

The scene starts out with Dennis (Sinatra) relaxed tossing a ball as he enters the hallway where Shirley (Garrett) is laying in wait to pounce on him.  The narrow hallway helps illustrate that the "prey" here has no where to run from the "hunter".  Rather than push past her, he runs backward into the stadium/bleachers/ball field.  Shirley begins to sing her logical ultimatum letting Dennis know he shouldn't run or fight it anymore that fate has deemed them a couple. Even the setting shows the viewer that it's time for Dennis to "play ball" with Shirley, and no matter where he runs she is there waiting to get him.

2. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing?

When Dennis (Sinatra) enters the hallway, he is whistling and a little tune is playing in the background along with him.  He is also bouncing a ball in rhythm it seems to the tune.  Shirley (Garrett) has a playful look on her face as she spies him, with the music picking up tempo and matching their steps as they both begin to run.  It seems to reach a crescendo as she stops and yells "hey!", creating the intro to the song. 

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Betty Garett is trying to catch and woo Frank Sinatra.  Sinatra isn't sure of his feelings and is trying to avoid her.  He does everything he can but she is determined.  Moving up the stairs and into the bleachers shows the feelings of the charecters.  The background music at the beginning of the scene acts as the intro to the song.

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