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About FredricMarchFan

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  1. I might be misunderstanding this topic, but I'll venture with: Footloose Dirty Dancing Rio Grande (all of the Sons of the Pioneers-esque singing/serenading drives romance between Wayne and O'Hara) 3 Godfathers Glory (the film score transitions in and out of being underscoring and source music--the drumming, etc.) Almost Famous
  2. Two quick thoughts: I think she can "get away" with some of the masculinity because there is a very front-burner female in the movie to say, "Of course, we haven't lost our minds. This female is successful throughout the film because, well, she acts right, throughout." I don't know if the studio would have permitted Doris Day to be so "free" if the movie weren't also sending the "girly-girl approval" message. But, Day as a powerhouse of the decade would be the one person to try any of this with. Awkward, but it was (rightly, I think) discussed in the lecture, so I'll just quickly s
  3. Songs I don't like: Gigi: Thank Heavens for Little Girls (Oy! Such a perv moment!) Band Wagon: The shoeshine song is SO racist. Rodgers and Hammerstein wrote several snooze-fest songs that drag on and on and on. Musicals I don't like: Hello, Dolly! Gigi, to an extent The Band Wagon, to an extent Carousel, even though I enjoy one of the songs Oklahoma! The Music Man The King and I Show Boat
  4. Great clip for demonstrating the theme of the lecture, down to the lyric, "Hip! Hooray! The American way!" By the end of the clip, you can't believe Fred Astaire hasn't busted out with a featured bit of dancing, the way we know he can. It is VERY lock step. And it stands out all the more because it is Fred Astaire "not busting out".
  5. While we know Judy Garland "acted" her songs long before MEET ME IN ST. LOUIS, you can see from this clip--wherein Ethel Waters multitasks while singing and uses facial expressions to convey the song's theme--that Minnelli likely helped Garland (and everyone in his films) improve/perfect (depending upon ability) that skill. At one point, Waters is full-on walking away from the camera to return to her laundry, and we're still engaged because she has already told a lot of story through the way she had performed the song to that point. We expect her to walk back to that laundry. That's Minnelli.
  6. I think something underappreciated about Judy Garland is that her humor and harmony allowed for far more interesting musical arrangements. Studios could write/arrange far more entertainingly because she had the personality and vocal skill to carry it off.
  7. I'm so late with this, but I just wanted to say I appreciate the lecture notes discussing how the revue format went away (and probably for good reason). In August 1963, MGM released Hootenanny Hoot, which is a movie about people putting on a show, with a thin, thin plot stringing the musical acts together. The first time I saw it (maybe in the '90s?), I was so frustrated by how the barely existent plot kept getting interrupted by musical acts. It was made in the '60s, so I expected it to behave better as musical. I was basically floored it was even a movie. Like, "They made this? Do they know
  8. Short reply, but my key takeaway is we already see Lubitsch's great eye for close shots on either inanimate objects or words posted on a window or other sign. Here, he closes in on the gun(s) in very genius ways. More to say but no time this time around. ? Great module! I'm loving this course!?
  9. My two quick observations: In that attempt to "clean up" in the Code Era, having Nelson Eddy appear in a policeman's uniform throughout the film "obeyed" that Code rule that criminals had to pay by the end of the movie. No spoilers, but since Jeanette is looking for someone on the wrong side of the law, it's key, by Code standards, that she appear innocent at all times. In the saloon scene, the people who "don't appreciate Jeanette" are seedy. The message is: Here's a bunch of riff-raff. Look whom they're rejecting. Class. This must mean members of riff-raff have no value. In your
  10. I think Judy had a versatility that crossed race and gender barriers, and MGM was interested in a broad range of musicals. Judy could scat, belt, and go low like Louis Armstrong. She sang white, she sang black, she sang femme, she sang Lothario. As Robert Osborne used to say, she really "performed" her songs. She could morph into anybody, and I think she naturally appealed to the people in charge at MGM. Deanna simply sang. Very talented but without nearly the dimensions of Judy. Universal made Deanna one type of star. MGM could place Judy anywhere.
  11. I see the bright-siding in the mise-en-scene: Anna's costume is bright white, giving a subconscious feeling of a carefree, well-manicured life where nothing is dirty. The theater is so opulent that Ziegfeld and his competitor sit on opposite sides, alone in their boxes. There's a feeling of there being "more room" than there might have been in the tight quarters of the Depression Era, where families had to move in together and tenements were less than pristine or people were flat-out homeless. Unfortunately, I also see the beginning of "beautiful people are successful, 'avera
  12. I have also always thought Donald O'Connor outdoes Gene Kelly in their numbers. In Moses Supposes, he is on fire.? But I agree about Fit As a Fiddle, too. (My son agrees, too.) So glad someone else said it!?
  13. Of all the "not Gene or Fred" dancers out there, who is your favorite? I love Tommy Rall, but I also really enjoy Bobby Van's style. The Nicholas Brothers, too. Tell us who your favorite "unsung" (undanced?) hero is!⭐ (The pictures are just suggestions.)?
  14. [Sorry if these are on the schedule and I missed them.?] The Umbrellas of Cherbourg (1964) Jesus Christ, Superstar (1973, starring Ted Neeley)
  15. So glad TOMMY is on the list. I went through a weird phase during college when I watched that constantly. I don't know where that came from, suddenly watching that film all the time. Then I just stopped.? I haven't seen it in years.
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