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About 500efr

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    Grew up in an old-fashioned, neighborhood movie theater that my mom worked in. Learned to load the projectors and manually switch-over, rewind reels, etc. Professional IT person.

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  1. 1. This is a song with weighty meaning. Streisand sings it with introspection. We're looking at a basic human need that impacts our emotional happiness, safety and sense of belonging. You can't drop an emotional weight like this in the form of a show-stopping, theatrical number. What would be lost is the emotional impact of what is emanating from within. 2. The walking together, separating and and the adoring and sometimes the look of admiration come through. I think their acting expresses each character's desires to have what the other person has but may seem out of reach given their cur
  2. 1. In both films we are drawn into a very staid setting. Everything elegant and in it's place. Eliza and Paula (Gaslight) seem to fall into the shadows even though they are elegantly attired. They seem to belong there and yet seem out of place. Both women collapse down in emotional distress while the men stand over them making an appraisal of the situation. In both cases the men seem to believe that their appraisal is the correct one and anything that is wrong is due to the women's inability to see the situation as it is. 2. Henry has a real problem seeing anything from Eliza's point of
  3. 1. I feel like Robert Preston is a new kind of huckster. He comes with the fast talking lines one expects from a travelling salesman but he's not the aggressive, overly masculine (alpha male) type who wants to tell you all about what you've been missing because you don't have his products. He's more of a cajoler who can appeal to the people he is with and win them over with charm. If you look at the opening scene on the train, the other salesman seem angrier and more aggressive. They don't like the breezy, devil-may-care charm of Harold Hill because it flies in the face of the personae they've
  4. 1. I don't think that the whole movie needs to be a stylized extravaganza but it is. If we look back at The Wizard of Oz, the transition from sepia to color and back to sepia at the end of the movie makes Oz seem more magical. A lot of this movie could have been less stylized but I feel like we are being prepped for something bigger - the ballet sequence. It's the "Oz" of the film and it ties together what this artist secretly longs for - recognition & appreciation of the work and perhaps even a legacy. We are stepping in and out of some of the greatest art and most iconic art in a
  5. I never heard anyone say that about this poster but I think you are right. Subliminal salaciousness? Hmmmm
  6. 1. In the pre-dance sequence we see Gene getting what he considers a necessary diction lesson. He tries to repeat what the professor says with earnestness. Donald on the other hand mocks the professor, what is being said and the whole idea of diction lessons. Once they move into the dance sequence everything is in sync. The movements, dance steps, taps, etc. Each one gets a turn to show off a bit but for the most part they are dancing in unison. 2. The straight man is supposed to take what he is doing in a serious manner. The mockery of Donald goes right by him as Donald says, "Say anothe
  7. I have a harsh time dealing with female representation in many 1950's musicals because they almost feel false to me. The change in women's roles is more perceived than real especially in postwar America where women were pushed back into more traditional roles. I often wonder if these were made as "feel good" movies for women as they gave back a bit of what they gained (out of necessity) in the 1940s. That being said I love Doris Day as a singer and comedienne but not always in the same film. 1. Calamity Jane does bring some changes to the female role. Jane is less concerned with looks. Sh
  8. 1. This number and the corresponding lyrics allow each person to jump in and out of the song with equal weight. The number is set up so that no one is shown as a better dancer, better singer, better comedian, etc. Each takes a turn to carry each role as you would find in a play. They work in circles around each other as they sing to Fred. Each line of the song is passed on to the next person who then passes it back. The same is true with the gags. Earlier musicals has featured numbers that showed off specific talent whether it was Fred and Ginger in a signature number or Eleanor Powell s
  9. 1. Petunia has always had unwavering faith and a deep down belief in Little Joe. From bedside to laundry...it's all a metaphor for dedication to their marriage, their home and all that it entails. This is unconditional love scene at its best. She sings about what makes her happy even if the chores behind it entail toiling and hard work. She wants to "give" and in return all she wants is for Joe to simply "accept"...without complications and distractions. Everything that has taken place in their lives is stripped away so that we see her view of the essence of their relationship. 2. Wife...
  10. Today's reflection questions seemed to me to be 1 item that can't be separated so I've rolled my reply into one reflection. If the musical numbers are intended to further the story then there has to be a setup for them. Characters need to lead us into the purpose of the number. Sometimes the song is to profess the obvious like the love that two people recognize. In other numbers it's done with comedic relief that seeks to lift the veil between two people as in the "Fate" number in "Take Me Out to the Ball Game." The camera has to lead us into the number because musicals feature an inter
  11. 1. Like many people, my first view of Judy was in The Wizard of Oz. I didn't initially like her because in her opening scenes she seemed to whine all of the time. Once the film got rolling I realized she had no parents or siblings, was constantly surrounded by only adults, lived from "hand-to-mouth" and could only relate to a dog that gave her outward unconditional love. She grabbed and clung to Toto in desperation. She couldn't be heard by those around her because they were busy trying to survive a harsh world. I understood why she ran away but it was obvious that once the twister was coming
  12. 1. Patriotism is literally and figuratively on parade. We see flags flying; we hear patriotic songs; There are paintings of former presidents; soldiers are marching to supportive and cheering crowds. We're in this together. The movie is pushing a sense of unity. 2. George Cohan refers to the "Grand Old Flag." He mentions that his family committed to this nation during the Civil War. He reflects the immigrant journey to a better life in American. His Irish heritage and allegiance to the USA is evident in the words of FDR. We hear FDR mention "Horatio Alger" - the classic "rags to riches"
  13. This is one of my favorite Fred and Ginger numbers. 1. Although more than a decade apart, this number foreshadows the coming of the song "Anything You Can Do I Can Do Better" from Annie Get Your Gun. The competition/battle of the sexes plays out ****-for-tat in dance steps what what they don't realize is that their doing it on common ground...they're both dancers. That lets the battle take place on a level playing field. I think the fact that he extends his hand first at the very end when they shake hands is a sign that he acknowledges her equality. 2. Ginger is her own woman...suc
  14. I actually laughed out loud during this scene. 1. The Lubitsch touch is evident by the suggestive props - the garter, the guns (love the whole plethora of guns our Lothario has collected in the desk), the dress that is still unclasped at the back...all very sexy and dangerous on the surface. 2. I love the loud dialogue we can't quite understand before the door opens with the couple and the husband and butler. A whirlwind of something is about to burst through the door...but what? The first opening is the couple and the 2nd represents the discovery of the wife's affair! It's funny th
  15. My parents named me after this musical so it has special personal meaning! 1. The attraction is obvious if you watch their eyes, the tilt of their heads and their facial expressions. There is a feeling that they are both fighting this attraction but can't help but connect anyway. In the scene in the canoe, he cannot see her facial expressions as he sings "Rose Marie." We see her reactions which show interest, amusement and even agreement. Her objections to his singing other names confirms that the song feels right for both of them. In the bar room scene, it is obvious that she is a fish o
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