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finfan

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  1. When are we going to learn about the choreographers that made these dancers look so great? Who was Hermes Pan and why did Fred Astaire like to work with him? Did Michael Kidd dance in other movies besides It's Always Fair Weather before he choreographed Seven Brides for Seven Brothers? Did you have to be Fred or Gene in order to collaborate with your choreographer? Were the dance careers of Cyd Charisse and Ann Miller limited because they were taller than Gene and a lot of other male dancers? And composers - I know The Trolley Song was written knowing that Judy Garland would sing it, but
  2. 1. No, the ending ballet sequence is his dream of what his love would have been like with Lisa. Dream sequences in musicals always have an otherworldly quality to them, regardless of the preceding or following movie plot. 2. The reason Jerry is likeable in this scene is that he is integrated into Paris life, unlike the other two Americans, the art student and the rich woman. He knows and speaks to the people around him (en Francais); you can tell he has a sense of humor by the double-take he makes when he sees the Winston Churchill-like painter; and he seems surprised that anyone would bu
  3. 1. I have always thought Donald O'Connor was underrated. His gifts as a dancer are really apparent in this sequence where he matches the lauded Gene Kelly step for step. Not that I'm knocking Gene Kelly, but in this movie he plays a character pretty full of himself and a little of that comes out in this number. Gene's arm motions may be slightly smoother, but I like the energy and genuineness of Donald O'Connor. Donald is the lead in some movie with Vera Ellen playing a princess he meets in the catacombs and he does a stunning number where he dances with balloons. Maybe someone can help remind
  4. 3. Grant is playing close to type, his usual suave and debonair fellow, but this one has a lot of menace. In this scene, he stands over Alicia trying to make her drink the bromide. He continues to menace her in a polite way to get her to work for them - he wants something from her. Before this scene, he even punched her in the car so he could drive! Only Cary Grant could get away with punching Ingrid Bergman. This is like him pushing Katharine Hepburn down at the beginning of The Philadelphia Story. We like him so much, he gets away with it without us hating him. Bergman is playing strongl
  5. I finally get what all the fuss is about with Buster Keaton. I knew he was good at pratfalls, but this month has taught me how expressive his eyes are and how funny he really was. Thanks for giving us Buster as SOTM!
  6. Old movies take me back to a time when I was becoming an adult. Staying up watching the Late Show of old movies after the evening news, I had the living room to myself. When I babysat, old movies were my company after I put the kids to bed. I remember watching SO PROUDLY WE HAIL with Claudette Colbert and George Reeve and having the first stirrings of romantic longing. Old movies have great plots and it's great to see more than one woman in a film. Another thing I love about seeing the old movies on TCM is the chance to watch the "journeymen" supporting actors make their contributions in a w
  7. I agree THE GRASS IS ALWAYS GREENER would have been a great addition to the Jean Simmons SOTM tribute. It's the perfect Sunday afternoon movie, with a charming performance by Jean Simmons as the impish friend of Deborah Kerr, who is "perfectly typecast" as the lady of the manor, married to Cary Grant (also perfect typecasting) and having an affair with Robert Mitchum. It is very funny, witty, and even the butler is intriguing. I always like to think Ms.Kerr in this role is the wife Cary is returning to at the end of his last movie , WALK, DON'T RUN.
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