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Vertigo2

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Everything posted by Vertigo2

  1. The Landauers has no relation to the subplots in either I Am a Camera or Cabaret. Isherwood approved Van Druton's free adaptation of his Berlin Stories into the plotted Am a Camera though no such plot was in his stories. He was satisfied with the stage play, I Am a Camera. He has been quoted as being mostly unhappy with the stage musical of Cabaret because Sally and Cliff were in a romanic relationship which his original homosexual character ( based on himself) was decidedly not. The film was more accurate in that the character is now at least bisexual. Perhaps the screenplay's " going back
  2. Since much of the original stage version of "Cabaret" is also based on "Berlin Stories" saying the screenplay was "going back to "Berlin Stories" seems misleading, and this is especially true since the screenplay also creates a subplot involving a secondary couple not in "Berlin Stories" The stage musical's director Hal Prince and the musical's book writer Joe Masteroff agreed that in addition to the English and American lead characters, the story needed native Berliners as well to show the impact of the politics of that time on Germans AND foreigners. Thus the stage musical's subplot involvi
  3. Writers are notoriously good liars or maybe in this case, pathetically dependent.on the opinion's of friends to determine what one might like or not like. So the major difference in the stage version is the addition of the landlady's romance with the Jewish shopkeeper - THIS Isherwood's "friends" thought he would be so offended by that he never saw the musical version ( for which he, no doubt, happily collected royalty checks) ! The screenwriter (Jay Presson Allen) hardly "Mostly threw out the book of the musical and restored stories from Berlin Stories." Allen created the poor German studen
  4. I heartily agree. One of the remarkable aspects of Hammerstein's lyrics is the veracity of the lyric to the characters depicted. The simplicity is for me brilliance - lines such as "where the waving wheat can sure smell sweet when the wind comes right before the rain" are wonderfully poetic in their simplicity and exactly right for the character, the piece, the moment and this is emblematic of all their great shows.
  5. This issue was much discussed in a recent thread about Cabaret. If one walked into a theatre (or turned to a channel) to see WSS and was shocked, (shocked!) to discover that it was a MUSICAL involving gang members who would (OMG) sing and dance, then I suppose one might find it amusing. Otherwise it's a bit disingenuous, to say WSS is comedic anymore than a singing cowpoke, a carny barker breaking into song, or a crippled ghetto dweller singing gorgeous duets with an unrequited love. (Oklahoma!, Carousel. Porgy and Bess) it simply requires what most theatre does - A WILLING SUSPENSION OF DIS
  6. I like Robert Walker sometimes - especially in Strangers on a Train. I can't stand his acting though when he pulls his "naive young innocent" sctick and uses a phony forced vocal delivery. Bataan and Since You Went Away are prime examples of this.
  7. Re: The OPHOF - I think I just like the best of the best being played several times a year because I always like the idea of hooking newcomers to TCM who are uninitiated to the idea of all these classics being shown "uncut and uninterrupted". I have no knowledge of numbers - how many new subscribers each year (if any?) rise/ fall in ratings depending on the schedule? and do ratings matter much anyway? Variety in general is a good thing though.
  8. Personally, I've never understood the obsession with this topic. If we take out all the great "overplayed" movies, what do we have - many showings of secind rank films? TopB, from your past posts, I get the impression (I could be wrong) that you mostly use TCM as a vehicle for taping, not live viewing. Maybe a repeat offender is a chance for you to pull up one you haven't yet seen or watched in a while.
  9. Re;Joan and Olivia - I kind of agree. (no spark) Melanie in GWTW - spare me! But I don't mind her in The Snake Pit or in The Adventures of Robin Hood. Sister Joan works for me in Rebecca. LOVE Lombard, but haven't seen enough Kay Francis to have an opinion. Dunne always seems too smug and selfaware - in comedies it's as if she's practically winking at the audience. I enjoy The Awful Truth and My Favorite Wife in SPITE of her. But to each his own.
  10. Boy, talk about a failure to communicate! 1. I was VERY aware that your reference to Cabaret as being a "drama with music and NOT a musical" was referring to the film and NOT the Broadway musical version. My point re:the movie, West Side Story was that it is also close to your description - a drama with music - what I would call a musical. I doubt that many others would agree with you that Cabaret (the movie) is NOT a musical -but that doesn't really matter either - it's only more opinions. BTW, It must have been difficult and maybe even unpleasant to perform in a show for months that you sa
  11. When I Am a Camera was made, the topic of homosexuality was pretty much forbidden territory, though based on Berlin Stories, wherein there was no question of that character's proclivity. The filmmakers could probably have suggested it, and maybe gotten away with it, but may have figured - why bother?
  12. I'm surprised that YOU'RE confused or "don't understand" my defense of my opinion and that I respond to yours. (Isn't that the nature of the TCM board? And if we're not having fun what's the point of participating?) i was reacting to your assertion that Cabaret doesn't come "anywhere near a great musical, since the film completely eliminates, what the concept of a musical, as a form of storytelling is" , an opinion which I think is dead wrong.(MY opinion!) The musical numbers in Cabaret, do, in fact tell the story and reflect the character's narrative or the mise en scene. Just one example o
  13. I wonder if waspish Isherwood made a similar comment when (if) he saw the musical on Broadway, as the same sceanario occurs there. So therefore he shouldn't have been remotely surprised by the film version and I'm sure he was not. In fact, "his" character's "bisexuality" raised eyebrows at the time.i
  14. Anachronisms? What anachronisms?! I think Fosse's version is brilliant - start to finish. Fosse wisly keeps all the musicalnumbers in the cabaret, though all comment on theoffstage drama. Aside from the stunning finish to the Sam Mendes revival (Alan Cumming - awesome!), there is no need to remake it. A Sally Bowles who could sing and loved performing may not be Isherwood's Sally, but is a perfectly valid altenative. Do we really want to watch a film version wherein an untalented singer is on display in multiple musical numbers? If that approach HAD been taken, how many myriad of complaints
  15. I concur with so many here. Was pleased to see Billy Grey mentioned more than once. He was really terrific in Father Knows Best ( and deserved the Emmys that Young and Wyatt piled up!)Too bad the producers of that show would not llet him out of the show briefly to do the part he was offered in Rebel Without a Cause. (it made him bitter for years) Thanks Uncle Charlie for recalling the great Billy Chapin in The Night of the Hunter. The movie would not be the classic it is without his central performance. He should have had a much longer career. Richard Eyer was a busy child actor in th
  16. All these "Hot Spell" references here lately have me dying to see this. Well, TCM when is this going to be scheduled?
  17. You don't like Katharine Hepburn or Elizabeth Taylor? You don't need a lobotomy - you've already had one! (just kidding - but too good of a straight line from you not to answer back. Lol). But seriously Suddenly Last Summer is so over the top Gothic crazy, it would be a disservice NOT to chew the scenery. I mean could anyone do a successful SUBTLE performance in Tennessee Williams's melodrama penned wickedly for the screen by Gore Vidal. My cup of wildass tea!
  18. Well put. The one thread unlikely to infuriate. What a nice gift to all of us here!
  19. So much for proofreading..."Drowning Mona VANISHED with little notice..."
  20. I certainly admire Patti Lupone; I'm sure she was great. I saw and loved Glenn Close in the Andrew Lloyd Webber musical version of "Sunset Boulevard" and I have the CD, but it is the Lupone version that I played the most often. That show had plenty of detractors, but I was a big fan. was privelidged to see the awesome Angela Lansbury play it in the early 1970 's and she was unforgettble. That "Gypsy" remains one of my all time favorite theatrical memories. Her "Rose's Turn" was electrifying. As for Bette's version - one might have to be a fan to really enjoy it, I guess. Her performsn
  21. I wonder if TCM could play the version ( not sure, but I think it was made for cable) of this musical that starred Bette Midler as Mama Rose. Fun alternate take on the role and the show.
  22. "New Hampshire of all places". Well, why not? The beautiful, serene granite state is an apt spot for this esteemed actor's final resting spot. I lived in NH for seven years - wonderful place. Re: Lamarr, Colbert and Goddard - any details on this? Just curious - Head was usually very closed mouth on this kind of thing.
  23. "New Hampshire of all places". Well, why not? The beautiful, serene granite state is an apt spot for this esteemed actor's final resting spot. I lived in NH for seven years - wonderful place.
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