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Mom of 4 Great Ones

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  1. I don't see a "battle of the sexes" in this clip - just a healthy conversation between two equals. In a battle, Fred and Ginger would try to outdo each other with new, fancy steps. But here, they're just dancing together, as a couple would interact and travel through life together. Women's roles in film could have changed in the 1930s to reflect a change in American culture. Many men, who had been the primary earners prior to the Depression, had lost good jobs that paid enough to provide for their families. These men were forced to take whatever job they could find, no matter how low
  2. What is most noticeable to me about these scene is that it is almost entirely in French, yet I know exactly what is happening, the emotions of the characters. I know the relationship between the woman and her husband: I would expect him to grab her by the arm and drag her out screaming. Yet this husband, after thinking she is dead, chooses to forget his anger at her betrayal and takes a moment to zip her dress and help her with her cape. He takes care of her, guiding her to the door. Alfred, after the initial surprise of the husband barging in, doesn't really seem to be to worried. The w
  3. Mmm ... on the surface only, maybe. Luise's character in this scene was not so innocent - she seemed very calculating in her decision to meet Ziegfeld, like she was adding up what she might get out of the meeting. (Yet in the latter portions of the film, (SPOILER ALERT) she just lies down as a doormat and lets Ziegfeld get away. Hard to put these two sides of her character together and come up with one person.) The difference between her and the child stars is that she is an adult - a grown woman acting childISH. Very different from Shirley and Judy being childLIKE. And Shirley and J
  4. What I find interesting about their interaction in the 2 scenes is how it is affected by eye contact. In the first scene, they talk while she has her back to him - no eye contact. He sings a beautiful love song, and we can see by her facial expression that it piques her interest - but no eye contact throughout most of the song. When she does turn to look at him, it is only with limited, short glances - and her interest in him becomes "what a goof this guy is." In the second scene, they don't speak. She sings, trying to use her talent in the only way she knows. He watches, catching her ey
  5. I love this film. Have watched it so many times ... and as I watched this clip, I found myself just as irritated by the character of Anna Held as always. I have never liked her childishness, her exaggerated lightness of speech and mannerisms. She seems to expect to be treated as though she's made of glass. Irritating. Now, having listened to the lecture and read the notes on this clip before viewing it, and focusing on the questions, I can see how her lightheartedness fits into the stylings of the 1930s musical. I love 1930s films, and I enjoy the light touch given to the care
  6. The great Bette Davis in All About Eve: "Fasten your seatbelts; it's going to be a bumpy night!" Margo Channing, reminding us that she is always in control, and she can make everyone around her miserable. Look out, folks, she's on the warpath ....
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