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Everything posted by RhondaWI

  1. I thought it was neat because it paid homage to many aspects of what this course and prior courses were about.
  2. I agree with others on the styles that are what the studios want from dances. I do want to point out that when you look at Keeler, I believe they also focus on her facial features so that you won't realize that she isn't really using all her body the way Powell does as a dancer. I also think when we look at their dancing styles we need to look at the set design and the props that can be manipulated for use by each dancer. That then further sets what we, as the audience is seeing when we look at the dance in its entirety. If we could find a clip where the 2 dancers are just dancing on an em
  3. I think the way we see the characters in not such "nice"lights - the true sense of what they hide from others. I also like how the shadows of Grant in the doorway when he asks her to drink it - he's halfway in but tilted/leaning in the doorway - do we know the true sense of who is-more to come as the movie unfolds.
  4. As others have already said this is a homage to the days of silents- Perils of Pauline, the Adventures of Rin Tin Tin, but it also reminds me of Dudley Do Right. That has someone is trying to do something great or good - that things happen - they are funny but they happen. In the end things turn out fine but that is how Edwards even sets things up - you know that it just make not be as smooth as it looks.
  5. I agree with others who have responded to this topic that the gags have been covered and everyone did a great job. What I think needs to be pointed out is how Peter Sellers embodies a character - he truly becomes the person he is portraying. Whether it is from the Pink Panther or Dr. Strangelove - you believe he is the character from every nuance that can possibly be done - that then allows a gag - that is being reused become fresh again for the viewer.
  6. 1. The use of color allows a viewer to see how truly beautiful Lucille Ball was and how she can make any color be forgotten in her acting style. 2. You have the view of the entire room, the concept that they are truly embracing what is going on with the trailer, but the story continues from room to room. It is like a real trailer would be, not the set concept that is seen in sitcoms. His angles, the depth and the lining up of shots and props is perfect. They are tilted but the world still goes on-especially when she is trying to go to bed. She is going to read, she's tired, but the tr
  7. It's a Mad, Mad, Mad World is one of my favorite movies because of the whole concept but then the cameos. It allowed me to watch a film with my parents and discuss the various stars in the cameos and what they were known for. I believe that cameos, if done right, can add to any film, but in particular comedy because it also plays to the intelligence and film background of the audience. I think many stars, especially in some time periods with their busy schedules as well as having private lives may not have the time to do a film, but can do a cameo. It also can be like a game for the audien
  8. Mr. Hulot is the kind man of the neighborhood. He takes care of others, even when they don't know it, yet his charm is disarming at times. The bulding helps his character be a fully developed "person" that one can relate to and the events that will arise from what he does.
  9. 1. I would compare Abbott and Costello's verbal slapstick similar to Groucho and Chico's in that they are delivering lines where 1 has to maintain the straight man point of view. However, unlike the Marx Brothers, Abbott and Costello have a slower delivery - so the audience is able (and really should) to get every joke. The Marx Brothers are so fast that sometimes people are unable to get the joke at all. 2. I agree with Gehring because I believe that today's humor can be in poor taste, sexist, racist or just plain stupid. I think that these comics in this time period were more refine
  10. W.C. Fields is someone that can make you laugh from a simple eyebrow lifted, to a gesture to the delivery of lines. Chase had that, but there is something more when a person watches Fields. The Marx Brothers do the same as Fields - one becomes part of the insanity - you suddenly realize that a sane person may not exist and that anyone who isn't in on the joke - you feel bad for them. For the second part it is as if we are in Fields' head as he is muttering to the camera, which is to himself, but really to us the audience - we become one with him and we are cheering him on as he has to dea
  11. What I like about this clip and the entire concept is that we are a nation that idolizes sports and sports figures - what better way to get interest but to combine comedy and sports. The physicality of the gags and the way the audience reacts is always fun to watch.
  12. 1. I would say that they could be the poster child or working definition of Dale's verbal slapstick. However, as I've looked at other replies on this topic I have to agree that Grant and Russell in "His Girl Friday" is also wonderful - my students in my film class are amazed at how fast they can talk and not goof up. I also think if you want a TV show comparison - Gilmore Girls-fast dialogue with so many nuances and cultural references. 2. One that stands out in my mind is the idea that Chico should sign the contract and Groucho is shaking the pen and he says that it's okay that he can't
  13. 1. I see the pain and the frustration that he is going through because of the what he thought the date looked like and the reality of her appearance. He also goes through pain with the water shooting at him as well as having to deal with a woman that he's not interested in at all. So you see him coming up with very inventive ways to solve the situation that he got himself into. The exaggeration of having one woman look for a lunch from another woman shows also a sense of make/believe. 2. I agree that he truly exhibits exasperation. He just can't believe how things are progressing-yet he
  14. I've seen the clip and truly appreciate Lloyd. When you watch it -it is totally relatblbe in that everyone wants to go to the amusement park or to go on rides and have fun. We see specific things that we know go with this type of outing and the relationship between the characters and then gags ensue. We can appreciate Lloyd because it doesn't seem contrived, but something that really could happen when our luck starts to fail and issues appear. I believe Lloyd showed that you don't need elaborate props or sets to make people laugh, but that anything, done properly can get a laugh out of peop
  15. I think that Fatty Arbuckle is one of those comics lost to history because others will surpass him in their innovative ways. That is why this is a great segment to watch for me. We see Fatty doing his bit, we see the early makings of Keaton, but then the artistry of Lloyd. Everyone who has every watched an old movie set at a carnival or gone to one is familiar with these games, but Lloyd does take it the next step because he allows us to continue along with him. Anyone would be confused and unsure of what was going on after the hit he took - but rather than doing the normal "scratch my hea
  16. Buster Keaton dresses and seems more like the "everyday man". Life is going great - he gets a house for a wedding present - but then chaos ensues because nothing is how it seems. The visuals are great in that the house is isolated, but we can see how strange it has been put together. The ceiling is starting to go as he uses the rope, but yet, we are concerned about the man above-then more of the gag plays out. It just shows that Keaton can make you laugh without the use of the facial expressions, but by his body language and the props he is working with. He truly suffered for his art but w
  17. 1. I agree that something is missing in today's visual comedies - they allow for the inactive viewer. I tell my students that they don't pay attention to everything on the screen - in essence they aren't truly watching the film. In the days of Chaplin and the others you had to watch everything - a subtle move of an arm set up the gag - not so today. Also today's visual is on sexist or stupid concepts -that only morons (sorry, but true) wouldn't get the joke. Visual comedy back then was pleasing to the eye and required a more advanced concept. 2.We can all think of animals and they're w
  18. 1. I agree that something is missing in today's visual comedies - they allow for the inactive viewer. I tell my students that they don't pay attention to everything on the screen - in essence they aren't truly watching the film. In the days of Chaplin and the others you had to watch everything - a subtle move of an arm set up the gag - not so today. Also today's visual is on sexist or stupid concepts -that only morons (sorry, but true) wouldn't get the joke. Visual comedy back then was pleasing to the eye and required a more advanced concept. 2.We can all think of animals and they're w
  19. 1​. I would agree to a degree because in this era-it was business as usual - which was to be the best at delivering the joke and so they all had to top one another at their business - which was comedy. However, it would need a new classification because we still have the Marx Brothers to come, the timing of Carole Lombard and others as they not only delivered great lines, but could also do physical comedy (think of Cary Grant and what he could do with a line and with props). I believe it also can be viewed differently when you examine the age of the people who are responding and their backg
  20. Chaplin was correct in that it all goes back to the personality of the character that he and others were portraying. We can see from the clips that he has his traditional costume, with the shoes, the pants, the hat as well as his cane, but that is part of the personality that he created. The rest of the personality comes in with his facial expressions and body movements as well as what he will do in a scene. I teach a high school film class and the students get a "kick" of the shoestring scene in "The Gold Rush" and when we discuss they can't believe the thoughts that Chaplin went through t
  21. Some others have pointed out Bugs Bunny and a cartoon that has similar aspects, but I also thought of the Three Stooges as well as Abbott and Costello when I watched it. It is relatable to these other groups because you take a simple object that most everyone would have had a issue with and you use it to bring humor. It also makes many of us think back to our childhoods and doing this during the summer - we laugh because we've done something "bad" but was it really that bad.
  22. The scene sets up that Marlowe isn't very impressed by his surroundings - he walks in as if he's see a mansion before. The lighting is typical but what sets his character is that he doesn't use his left hand until the girl faints. Why - don't know, but we don't see a wedding ring later in the nursery, we see on his right hand he has a signet ring - which may imply he comes from a middle to upper class background. He doesn't slouch, he has the power suit on, and Marlowe isn't afraid to tell the help that the girl needs to be dealt with. Finally, in the conversation with the general we now k
  23. I think the mood was not only set by the cinematography but by the music that was accompanying it -somber, serious, not messy around - things are bad and they have to change - that was what it said to me. The lines that they had with all their angles and shots, even the sky had a line of clouds and then the sense of the triangle that was seen as well. Using the triangle shapes also gave one the sense that there is a point - that point can be good or bad, but someing is coming to a head. I think by using the documentary realism style you are connecting to the viewers on both a cultural ba
  24. This clip has all the makings of suspense that we've seen with the German expressionism - the lighting, the normal places or routines that are no longer normal, the hint of violence or violence yet to come - the sense that an ordinary day just become extraordinary - good or bad - but it did now change. It also echoes Lang in that we don't necessarily see full face, we get hints of a face or body, hints of the angles or the people that are "occupying" the scene - but it whets our appetite more for what is yet to come. We go from a large, open to the public place of business and then we go
  25. Rita Hayworth owned that number,the set, the audience - she was what everyone's eyes were on- you couldn't lookk away. She enticed all genders, the way she used her body and hair invoked the story of the song she sang and the music that accompanied it. Her outfit hugged her body and as she moved many times did I think the top would come down, but no one looked away - even though Johnny looked angry at the start, we didn't see his face or reaction until she was done and pulled away from completely undressing in front of the crowd - which to a degree she had already done with the song and the
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