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About starryeyzze

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  1. Did any watch Ann Lucasta last week? I was blown away by the performance of Eartha Kitt! She is stunning. Tonight I watched Claudine for the first time in like 20 years, I forgot how raw that movie is. Glad to see these movies being played instead of languishing somewhere and forgotten.
  2. No doubt, four different movies, all very well acted. A Soldiers Story really hits home for me, my father served and was wounded in combat during WWll. To fight for this country and almost lose your life, but to be separated and treated less than equal is a bitter pill to swallow.
  3. I am confused, who gets to decide and what is considered “believable” for African Americans? We lived through the Jim Crow years depicted in Sounder, many people understand and lived Cooley High, Sparkle is like a fictional telling of the Supremes, we also have been present in the military since the Revolutionary War, so what is not realistic about A Soldiers Story? I could go on, perhap this isn’t relatable to you, but many of these movies are very relatable to me and my community.
  4. TCM has a great lineup of African American movies playing this month, some, like Pinky, I’ve never seen before. After viewing Pinky, I felt it was bold for its time, a black woman goes up against the system and wins. On one hand, the movie was trying to be progressive, but at the same time, the decision to cast Jeanne Crain, a white actress, seemed as timid as MGM doing the same thing with Show Boat. I guess it was just too much to cast a black actress such as Lena Horne or Dorothy Dandridge to play Pink.
  5. 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 this song was presented as theatrical, and over the top, it would have undermined Fannie’s character and the mood of the scene. Fanny is shy and awkward and she is in the company of this handsome, worldly, debonair man. She is attracted to him, but she has no confidence that he would be interested in her. Streisand portrays Fannie's inexperience by singing with nuanced highs and lows, and she barely looks direc
  6. 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). A common theme that I see in My Fair Lady, and Gaslight both directed by George Cukor is the beautiful and detailed Victorian era set, which supports the actors and the story. The meticulous placement of furniture and paintings, represent tradition and control. Both Audrey Hepburn and Ingrid Bergman (G
  7. MJ said that he loved old movies and admired Fred Astaire. He does a nod to Astaire in the Smooth Criminal video. He also wears the white sock, similar to Astaire is another routine. Everything is new again.
  8. I really enjoyed all of the performances in Gypsy, Natalie is so beautiful and the costumes are great. I did some outside reading and it seems that Baby June and Gypsy Rose Lee had different accounts of their childhood. A lot of people don't know that Baby June went on the be the actress June Haver (pictured below):
  9. 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? Masculine performances in musicals change over the decades. If we start with Maurice Chevalier, Fred Astaire and Dick Powell from the 1930’s they represent the Beta leading man, they are charming, romantic, sophisticated and smooth in their tuxedos and top hats. The women tend to swoon for them and they win the woman by their wit and cleverness. By the post war 1940’s and early 1950’s we have actors like Gene Kelly (On
  10. You missed it. "A Star is Born" played last Thursday and it was discussed in the class-notes.
  11. Another way that this movie is disruptive is because it is telling the backstory of show business as it really was. Because of the code, we only saw a sanitized glimpse of the seediness of low end vaudeville and burlesque portrayed in past movies. The stage mother had been is alluded to for years, but Russell's portrayal of Mama Rose puts her in your face. This version of the stage mother is not pretty, she's cunning, manipulative and fiercely fighting for her kids to make it. We can see that this is also a vicarious way for her to be in show business via her children. Reportedly Judy Garl
  12. 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? This scene looks back to the back-stage musicals of the pre-code 1930’s when you had Ruby Keller or Joan Blondell trying to get a break in a show. In the pre-code 1930’s musicals, there was backstage hanky-panky and characters such as Ginger Roger’s Anytime Annie who were not hiding their willingness to sleep their way into a part or stardom. However, this film looks ahead because these characters are more overt with thei
  14. YOU said: "But the Bernstein centennial doesn't get a mention. I really don't care about Rita Moren's EGOT. The Bernstein centennial should have been mentioned." I get it about the Bernstein centennial, but that's no reason to knock the achievements of Miss Moreno. Being a EGOT (Emmy, Grammy, Oscar and Tony) winner is a big deal.
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